Review: Parlor Greens ‘In Green/We Dream’
By Hal Horowitz
Ready, set…let’s groove!
Fire up the debut from Parlor Greens and take a trip back to the swinging 60s when organ-based music would fill dance floors with the strutting, bubbling, jazz/soul/funk of just drums, guitar, maybe bass, and of course a big ole’ Hammond B3.
This all-instrumental threesome relegates the sonic bottom to Adam Scone’s keyboards, condensing the approach, but not the vibe, down to a trio. Scenesters might recognize his name from Scone Cash Players or The Sugarman 3. He’s joined by drummer Tim Carman (of rugged bluesmen GA-20) and guitarist Jimmy James who oddly left the similarly styled Delvon Lamarr Organ Trio only to jump in here. These three had never met before joining in the studio, laying down these tracks in just four days.
Regardless of the casual way they assembled, it seems like the triad has been working together for years. Push play on the opening “Driptorch” and the crack of the snare drum meshes with James’ staccato guitar lick setting the vibe until Scone splashes some quick notes and off they go on a hip-shaking, foot tapping three minute journey into the next half hour.
Scone learned from some of the masters of this style such as Melvin Sparks and Dr. Lonnie Smith. There’s plenty of Booker T. Jones and The Meters’ Art Neville present too. Others might hear some Gregg Allman or the Rascals’ Felix Cavaliere as he leads this stripped-down trio through their funky/slinky paces.
Those who have seen Jimmy James tear up his guitar with the Lamarr band know just how wildly talented he is. But he generally lays back here, preferring not to display the Hendrix-like pyrotechnics he’s capable of in deference to a more supporting role. Rather he injects nimble yet subtle fingerpicked twanging, keeping solos securely compacted and more structured than his mind-melting, often wildly psychedelic intensity with his previous outfit. He provides a taste of his talents on the appropriately dubbed “The Ripper.”
From the Bo Diddley/Buddy Rich boom-boom beat of “Irish Goodbye” where James and Scone trade short stabs leading into a rhythmic drum solo by Carman (who simultaneously plays maracas), to the minimalist slow blues slithering through “Flowers for Sharon” and the percolating pop sparkling “West Memphis,” these guys lock in, find the pocket and nail every track with a proficiency and spontaneous skill only experience brings.
Some selections like the tastily named “The Jelly Roll” (as sweet and filling as it sounds) which fades in, appear to have emerged from jams edited by co-producer/mixer Leroi Conroy, but there doesn’t seem to be any, or at least much, overdubbing. Others such as the title track create a pre-determined riff referenced throughout as the musicians connect for a dance-floor-ready three minutes you wish would go on a bit longer, especially when James kicks into a brief solo that ends too soon.
Only two songs break the four minute mark and half don’t even make it to three. That defines the concise mindset which makes this such a throwback to the era before jam bands kept going… and going… and going. Quality not quantity is on the menu, leaving us filled yet wanting more.
Break out the miniskirts and flare bottom trousers. Parlor Greens’ music just might be the best, and grooviest, 30 minutes of your week.
“Drip Torch”
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