Review: Jon Cleary ‘The Bywater Sessions’

Review:Jon Cleary ‘The Bywater Sessions’

By Hal Horowitz

Those unaware that veteran roots New Orleans piano master Jon Cleary was born and raised in the UK will likely be shocked. After all, his stylistic knowledge and uncanny skills meshing the many great pianists from that city like James Booker, Fats Domino and Dr. John, is so deeply ingrained in his musical personality, it seems impossible he wasn’t fed a steady diet of beignets and gumbo when growing up.

That’s evident in all of Cleary’s albums, but especially for ‘The Bywater Sessions.’ Although he has typically played in a trio format, his band expands to an eight-piece for this live-in-the-studio session. By adding a trio of horn players and even a second keyboardist, the music blossoms into a larger, more immediate sound that still adheres to Cleary’s typically traditional New Orleans approach.

The disc’s name is the location of his home studio, situated in the Bywater neighborhood of New Orleans. Recording in such a personal space infuses these 10 tracks– a combination of re-recorded originals, covers and some new compositions—with a relaxed yet vivacious feel.

Imagine walking into one of the city’s storied clubs like Tipitina’s, The Maple Leaf Bar, or Chickie Wah Wah on any night, and this is what you’d hear; a bunch of guys who have played New Orleans’-styled music their entire lives, opening up and letting loose. Or as Cleary states in the promotional notes “Sophisticated, nasty, good-time, low-down funk is the folk music of New Orleans.”

The set kicks off with the lighthearted, upbeat party of “So Damn Good” as the band gels on an explosive, rhythmic tune featuring call and response vocals, frantic tambourine and of course Cleary’s acrobatic piano work. “I’m happy when I get the blues,” he sings and he sounds it as his fingers fly to the right side of the keyboard with fast, furious tinkling that’ll have you wondering how he does it with only two hands. If the disc ended there, you’d get your money’s worth.

But there’s plenty more.

On the playful, ribald “Zulu Coconuts” (“I don’t want no ifs ands or buts/Keep your dirty hands off my nuts” he warns) the musicians lock into another spirited romp. The crisp percussion raises this already energized music to the next level. That’s especially true of “Fessa Longhair Boogaloo” where bass, congas, and cowbells take an extended Latin break before Cleary displays his animated jazz chops.

The fun kicks into even higher gear on a cover of The Meters’ classic “Just Kissed My Baby.” Cleary has already recorded this, but the arrangements have evolved over the years and this vigorous version of the funk classic with its Stevie Wonder-styled keyboard licks tops them all. Cleary sings with gritty soul as guitar, clavinet, piano and horns join. It launches into space with bass and drums locked into a Sly Stone groove, impossible to sit still for. Everything suddenly halts four minutes in, Cleary shouts “Loose booty” and the band resumes their indisputably scrumptious groove.

He reaches back to revisit and rescue “Unnecessarily Mercenary” (Bonnie Raitt also covered it) from 1999s unfairly overlooked ‘Moonburn’ disc, bringing the bump-ity-bump bass heat for a heart palpitating, foot stomping “Boneyard” that’ll make you stop everything, grab a nearby partner and dance.

Jon Cleary should be hired by the Crescent City’s Chamber of Commerce because after one spin of this exuberant set, most listeners will salivate about a visit to New Orleans and get exposed to this music first hand.

It may not be as life changing as a trip down there, but ‘The Bywater Sessions’ is awfully close to the next best thing.

Watch “Just Kissed My Baby”