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CD |
| 4.076 Ft
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| 1. | I'm Getting Myself Ready for You
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| 2. | Take a Number from One to Ten
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| 3. | A New Moon Is Over My Shoulder
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| 4. | Walking My Baby Back Home
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| 5. | Lookie, Lookie Here Comes Cookie
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| 6. | That's What You Think
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| 7. | My Canary Has Circles Under His Eyes
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| 8. | Have a Martini!
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| 9. | Au Bal Musette
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| 10. | Sentimental Gentleman from Georgia
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| 11. | I Love a Ukulele
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| 12. | Them Piano Boys
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| 13. | Runaway Blues
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| 14. | Who's That Knocking at My Door?
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| 15. | Roll on, Mississippi, Roll On
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| 16. | Sweet Papa, Momma's Getting Mad
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| 17. | I Don't Know Whether to Do It or Not
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| 18. | I Ain't That Kind of a Baby
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| 19. | Then I'll Be Happy
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Jazz
Janet Klein - Vocal & Ukulele
Musician Guest Artists:
John Reynolds plays National Steel Guitar, Plectrum Banjo, whistles and sings a duet with Janet.
Dan Levinson plays C-Melody Sax and Clarinet
David Barlia (Janet's CD Designer) sings a duet with Janet on the song "Piano Blues"
Ralph Reynolds (John Reynolds’s Brother) plays percussion and washboard.
Parlor Boys:
Benny Brydern - Violin and Stroh Violin
Corey Gemme - Cornet, vocal
Dave Jones - Stand-Up Bass
Brad Kay - Piano & Cornet
Tom Marion - Guitar, banjo and mandolin
Bill Steele - Guitar
Dan Weinstein - Trombone & Violin
Ian Whitcomb - Accordion, Ukulele, Piano, Glockenspiel, Vibes & Vocal
Randy Woltz - Percussion and Vibes
Ready For You opens with a bang-up bunch of swingy dance numbers by a spirited singer and band that has put a spit shine and polish on its ensemble musicianship. These wonderfully robust tunes will set you jazzing for romance and hurly-burly speakeasy steppin' out. Starting with the title track ("I'm Getting Myself Ready For You" a rare Cole Porter song originally recorded by Blanche Calloway - Cab's sister), you'll be rocking to the rafters and then Bear Hugging your baby.
From there, the tunes roll into new stylistic water with steamy Riverboat shuffles and a hot southern style repertoire specifically designed for and being performed in intimate historic settings in the US. New to the mix, this break out trio featuring Janet Klein and her first Parlor Boy - John Reynolds who's known for his expert whistling and hotter-than-hell guitar and banjo playing. John provided accompaniment on her 1st CD "Come Into My Parlor" and is joined with maestro violinist Benny Brydern (Hot Club Quartet) a Parlor Boy regular. This little threesome performs with tremendous drive and disarming simplicity.
Along with the swinging & swaying there's dreamy romance tunes delivered with great arrangements and timeless lyrics by the sweet and vivacious Ms. Klein. The CD has plenty of variety with obscure movie tunes, a load of sassy Dixie mania, novelties and jazz age tales of bad behavior all mixed with a yummy plate of down home fun.
Three songs feature Janet singing duets and harmonies with Parlor Fellows- John Reynolds (grandson of 20's 30's movie star Zazu Pitts), Ian Whitcomb (music historian and 60's pop star) and David Barlia (fellow ukulelian and eefing crooner). The CD is produced by Robert Loveless (of Scenic, 17 Pygmies & Savage Republic) Also featured is Tom Marion member of Robert Crumb's Cheap Suit Serenaders and Brad Kay, former member of The Original Mystic Knights of the Oingo Boingo.
This is the 6th CD from the enchanting Ms Klein and her highly acclaimed, girdle-bustin' bunch of West Coast Jazz Archeologists whose previous CDs include:
1998 Come In To my Parlor 2002 Put A Flavor To Love 2006 Oh!
2000 Paradise Wobble 2004 Living In Sin
Janet's own unique vocal style reflects the old-fashioned sweetness and charm of bygone singers like Ruth Etting, Josephine Baker, Lil Armstrong and Mae West.
Among the Parlor Boys is an alumni of R.Crumb's band "The Cheap Suit Serenaders", Tom Marion, on guitar, mandolin and banjo as well as recording and radio personality Ian Whitcomb, on ukulele and accordion, composer, band-leader and music historian Brad Kay, on ragtime style piano and cornet, and the amazing John Reynolds, on guitar and whistling (grandson of Zasou Pitts).
Janet has managed to charm these time-warped musicians into her parlor and out on the town, performing regularly for audiences in California and Japan. The band often makes trips to far flung historic locations and events.
Produced by Robert Loveless
Photos by Robert Loveless
Graphic Design by Janet Klein, David Barlia & Robert Loveless
Graphic Exacution by David Barlia
Janet Klein
Active Decades: '90s and '00s
Genre: Jazz
With her sleek bob haircut (usually with a flower or two placed just so), vintage dresses, strikingly beautiful looks, and artfully customized ukulele, Janet Klein might seem at first to be a simple novelty act, a Generation X hipster ironically recreating the subtly naughty look of a fin-de-siècle French postcard. Then she opens her mouth to sing. There's no Betty Boop hiccups or Mae West-style brassiness in her charmingly original voice. And when she starts to play the ukulele, it's clear that this oft-ridiculed cousin of the guitar is neither prop nor gimmick, but a delightful and underutilized musical instrument. Bearing an ever-expanding repertoire of, as she puts it, "obscure, lovely, and naughty songs from the '10s, '20s, and '30s," Janet Klein is a musical archeologist hiding in a Gibson girl's body.
Raised in San Bernardino, CA, during the '70s, Klein's early musical education came from her father, Stephen Klein, a teacher and avant-garde animator whose taste ran primarily to Frank Zappa and classical. Even more importantly, Klein's grandparents regaled her with tales of New York in the '30s (where her grandfather, Marty Klein, had worked as a stage magician), instilling in the girl a lifelong fascination with pre-World War II American popular culture. By the time Klein moved to Los Angeles to start college in the early '80s, this had translated into an interest in both early jazz recordings and the graphic design styles of the era. Through the former, Klein discovered early female jazz singers like Lil Hardin Armstrong (Louis Armstrong's wife and early manager) and Blanche Calloway (sister of Cab). The latter hobby led Klein to start collecting sheet music from the 1800s to the jazz age, at first purely for the pictures and artwork, then increasingly out of love for the songs themselves.
Around this time, Klein met Robert Loveless, a local post-punk musician (Savage Republic, 17 Pygmies, etc.) who shared her love for early 20th century art and design and encouraged her artistic pursuits. Although Klein was becoming progressively more intrigued with her favorite style of music, she initially decided against becoming a singer, instead channeling her creative energies into poetry and painting (she self-published a chapbook of poems and drawings, -When They Kiss I Leave, in 1989) as well as performance art. Along the way, Klein picked up the ukulele, and as she mastered the instrument, she began to incorporate some of her favorite old songs into her poetry readings. Klein's voice, a breathy alto, was perfectly suited to material from the teens and '20s, and by 1996, Klein dropped the poetry aspect of her performances entirely, concentrating on performing her favorite old songs in an authentic and straightforward style, staying true to the original material while entirely avoiding any whiff of kitsch or nostalgia.
Klein's low-key performing style places the lyrics foremost, so that the clever construction and witty rhymes can be best appreciated. Indeed, her debut album, 1998's Come Into My Parlor, is almost a solo record, with Klein's vocals and ukulele occasionally unobtrusively supported by John Reynolds' Django Reinhardt-style guitar and producer Loveless' accordion, mandolin, harmonica, and triangle.
After that album was recorded, Klein started putting together a band to perform with. The Parlor Boys are a loose-knit conglomeration that can include up to a dozen musicians but usually tops out around six or seven. Reynolds (the grandson of '30s comic actress Zasu Pitts) remains, accompanied by two charter members of Robert Crumb's '70s trad jazz group the Cheap Suit Serenaders, Robert Armstrong (Hawaiian steel guitar, accordion, and musical saw), and Tom Marion (guitar, mandolin, and banjo), plus music historian Brad Kay (piano and cornet), and, on occasion, musicologist, author, radio personality, and former British Invasion teen idol Ian Whitcomb (ukulele and accordion). Klein's second album, 2000's Paradise Wobble (like the first, bedecked in vintage photos and perfect replication of vintage graphic design), was credited to Janet Klein and Her Parlor Boys. The wide-ranging disc earns the communal credit, featuring several Hawaiian-flavored instrumentals showcasing Armstrong, as well as a delightful Whitcomb lead vocal on the profoundly odd "Tain't No Sin to Take Off Your Skin and Rattle Around in Your Bones," a 1930 obscurity with a title that later turned up in a William S. Burroughs poem.
---Stewart Mason, All Music Guide |
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