Artist Information
Biography
"A beautiful voice, a fantastic musician, with the heart and soul of an angel." -Willie Nelson
Formerly the driving force behind the hot jazz/Western swing trio Hot Club of Cowtown, violinist and singer Elana James is an internationally acclaimed performer who has been featured at countless major concerts and music festivals worldwide. In 2005 Elana teamed up with Bob Dylan as part of his touring band, the first female instrumentalist to do so in thirty years. In the summer of 2006, after having had her own band for less than a year, she was invited to tour as the opening act for Bob Dylan's summer US tour, beginning in August 2006 . Elana has also been a regular guest on NPR's A Prairie Home Companion and has been featured on numerous television and radio shows including WSM's Grand Ole Opry, NPR's All Things Considered, World Cafe, Mountain Stage, E-Town Live, Forty Dollars a Day with Rachel Ray, and many others. In the UK she has appeared twice on Later with Jools Holland, and on numerous BBC radio and Television broadcasts, most recently as part of the BBC TV's live coverage of the Glastonbury Festival in 2005. One of the youngest members ever to be inducted into the Texas Western Swing Hall of Fame, Elana makes her home in Austin, Texas.
"What fiddling!...and a beautiful voice."
-Laurie Anderson
"Her fiddle...evokes memories of the wizardry of Stephane Grappelli and the magic of Johnny Gimble....Special, original, and a true treasure. Listen."
-Fred Foster
Producer, Founder, Monument Records
"Elana James is my favorite fiddler hands down! And it looks like I'm not the only one who's noticed (wink wink nudge nudge)."
-Laura Ellen KPIG Radio
Santa Cruz, CA
"Elana is one of the sexiest, most talented musicians. Her style hints of another era...taking you places you thought were unreachable by today's standards. And yet, here she is..."
-Raul Malo
The Mavericks
"[Elana's] throaty violin solos arrived in terse, epigrammatic phrases with a sprint, every so often, into chromatic harmony. She also sang in a breathy, un-self-conscious voice that made every double-entendre seductive."
-Jon Pareles
New York Times
"Western Swing was first created in the late 1930's by a generation of country players who adapted string bands to play big band jazz. On Elana James' first solo disc she demonstrates that this musical genre's vibrancy hasn't faded in the intervening years."
- Vintage Guitar magazine
Beginning in 2007 Elana's trio now features the inimitable WHIT SMITH (from Hot Club of Cowtown) on guitar and vocals, and the dazzling BEAU SAMPLE on upright bass and vocals.
Gear
I play a 1962 Mittenwald violin and, when I'm not playing acoustic, use an L.R. Baggs transducer pick-up run straight into an early 1980s "Minibrute" Polytone amplifier with a 15" speaker. I only ever use Dominant strings because they are great. I have four bows on the road at all times -- one fiberglass and three wood -- which I usually get rehaired about every six weeks with Mongolian stallion hair.
Instrumentation
Elana James: Violin, vocals
Whit Smith: Guitar, vocals
Jake Erwin: Upright bass, vocals
Occasional guests: Cindy Cashdollar (Steel, Dobro), Erik Hokkanen (Fiddle, Guitar), Dave Biller (Guitar), Joe Kerr (Piano), Redd Volkaert (Guitar)
Discography
Debut CD "Elana James" USA Distribution release date (Redeye) July 24, 2007.
INTERNATIONAL: Also available in Japan on Buffalo Records and in Australia on Shock Records
Previous recordings (by most recent):
Fiddle, with Johnny Gimble on "Last of the Breed": 2-CD set (Lost Highway) with With WILLIE NELSON, RAY PRICE & MERLE HAGGARD, PRODUCED BY FRED FOSTER (Lost Highway). Released March 2007.
With BOB DYLAN:
North Country Soundtrack "Tell Ol' Bill" (2005)
With HOT CLUB OF COWTOWN:
Continental Stomp (2003) Hightone Records
Ghost Train (2002) Hightone Records
Dev'lish Mary (2000) Hightone Records
Tall Tales (1999) Hightone Records
Swingin' Stampede (1998) Hightone Records
Video
Photo Gallery
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Elana
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At The Fuji Rock Festival, Japan 2007
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At The Fuji Rock Festival, Japan 2007
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At The Fuji Rock Festival, Japan 2007
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At The Fuji Rock Festival, Japan 2007
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At The Fuji Rock Festival, Japan 2007
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Elana James
Download print quality (high-res) version -
US State Dept. Tour, Azerbaijan 2006
Press
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A Dylan Co-conspirator Swings out of the Past
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Elana James by Don Allred April 3rd, 2007 4:24 PM When East VillageÐconceived, Austin-based...
Elana James
by Don Allred
April 3rd, 2007 4:24 PM
When East VillageÐconceived, Austin-based swing trio Hot Club of Cowtown broke up in 2004, co-founding fiddler-vocalist Elana Fremerman was soon called by Bob Dylan to be the point person in Cap'n D's near-nightly assault on his own hallowed repertoire. Emboldened by this experience, Elana has now changed her surname to James (more likely to be spelled right by promoters), scooped up Hot Club guitarist Whit Smith for her own tour, and released her self-titled solo debut. She still sings with a smile, Hot ClubÐstyle, but her sharp little teeth are more apparent on Elana James.
Her old band's albums consisted mostly of covers, to scattered effect, but James wrote six of these 13 tracks, and this set's a story. The centerpiece is "All the World and I," in which a chiming guitar briskly times the dreamy drones of bowed fiddle and bass as well as the held notes and images of James's multitracked vocals. The tension of timing, even in dreams and memories, winds through the hyper-real brightness of "Silver Bells," a fiddling duet with Western swing great Johnny Gimble, and on to the urban twilight of Ellington and Strayhorn's "I Don't Mind": "I don't mind the ice and snow/The
tears of brine that make love go . . . I'll take a chance." Out of the past, but to be continued! -
A Fiery Violinist Takes it Solo
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By Chris Cooper Swing can take many forms. It can bop and bounce like Calloway and Ellington, or...By Chris Cooper
Swing can take many forms. It can bop and bounce like Calloway and Ellington, or it can sprout a 10-gallon hat and spurs in the hands of Bob Wills and his Playboys. It’s been reborn time and again whenever a younger generation looks to the past for something new and inspiring to embrace. After all, “it don’t mean a thing if it ain’t got that swing.”
For Elana James, former violinist for Hot Club Of Cowtown, the many facets of this music are by now probably second nature. Drawing together the intensity of Reinhardt and Grappelli’s Gypsy jazz and the slippery sixth chord harmony of western swing, HCOC covered a lot of ground before calling it quits in 2004. This left James open for whatever opportunity might’ve knocked, and when it did, Bob Dylan was on the other side of the door. How’s that for luck?
James’ solo album is a mercurial listening experience, shifting between nostalgic reverence for its roots and a youthful need to tweak things a little. The opening track comes out, well, swinging, and her violin is in top form — a warm, woody marvel winding through a forest of thumping piano and guitar. Her vocals throughout the CD maintain a coy sense of humor and intimacy, but what you really hear is a distinct, instantly recognizable personality.
But then, after James and the band vault their way through the traditional “Goodbye Liza Jane,” you stumble into a hazy, exquisite dream. “All The World And I” takes about as sharp a left-turn as you could expect, a gentle wash of Appalachian melody that’s so hypnotic you almost forget to catch the quirky little harmonies James layers under her vocals as in the last line of the chorus goes “... across the ocean wide.” Lovely. In contrast to the rest of the music collected here, this song is quite an anomaly — slow and simple, reliant more on layers and repetition than frenetic movement and ornamentation. Which is exactly why it’s one of the finest tunes on the record.
Though the majority of the album floats around that swinging “comfort zone,” it never loses momentum, and the playing all round is so confident and perfectly placed there’s always something happening that perks your ears, like the purring violin beneath the piano solo in “Oh, Baby” or the playful duel between James and Johnny Gimble on “Silver Bells.”
The guitar work of Dave Biller and Luke Hill is inventive and impeccable at every turn, whether chopping out chords on a Selmer/Maccafferri one minute or stringing sixteenth notes on a jazzbox the next. Check out Biller’s ten seconds of guitar bliss on “Down The Line” for a lesson in making a statement quick and to the point without sacrificing an ounce of musicality.
What Elana James does best is what you’ll find on the greater part of this album, but what really seems to make an impression are the songs that allow her to stray outside the margins — the ethereal “All The World And I” and her take on Ellington’s “I Got It Bad (And That Ain’t Good)” in particular.
It’s certainly not another “fad/revival” album. James makes music that pays homage to the places it came from but lets you know with a wink that it could go anywhere at any time, so you’d best pay attention. -
Plucky Newcomers Fiddling with Tradition
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By Scott Galupo January 26, 2007 Rock press hacks, glossy magazine list-compilers and newspaper... By Scott Galupo
January 26, 2007
Rock press hacks, glossy magazine list-compilers and newspaper critics such as, ahem, yours truly regularly declare themselves on the lookout for "women who rock" Ñ a reductionist, and more than a little condescending, enterprise that defines proper rock stardom by an ability to thrash a guitar with masculine aggression and, a la Courtney Love, break through the glass ceiling of public debauchery.
ÊÊÊÊBut forget about the guitar and the gutter.
ÊÊÊÊWhat a you-go-girls pleasure it was late last year to hear a pair of specialty albums that brought an exotically fusty aesthetic to indie rock and pop Ñ which, all things considered, could stand a jolt of source material that extends back beyond, say, 1977.
ÊÊÊÊLongtime readers may recall this reporter gawking at piano-and-voice performers such as Amanda Palmer of the Dresden Dolls, who props up a punk-rock posture with cabaret-era musical motifs that are older than her grandparents.
ÊÊÊÊAll we can say is, things are getting even further backdated, if not downright esoteric.
ÊÊÊÊJoanna Newsom, a classically trained harpist from Northern California, dropped the inexorably eccentric "Ys" (pronounced "ease"), which must have utterly confounded buck-a-song cherry pickers: The album Ñ a lush, languorous cycle of five very long songs that ignores every directive of popular music composition Ñ may be purchased only in full online, with a guarantee to scramble IPod-regulated attention spans......
ÊÊÊÊThen there's Elana James of Austin, Texas. After gigging to some acclaim with Western swing revivalists Hot Club of Cowtown, Miss James landed a dream slot playing violin in Bob Dylan's touring band in spring 2005 and last summer. A flurry of songwriting soon followed. Her self-titled debut, rounded out with covers of Duke Ellington and her former boss (she nails "One More Night" from Mr. Dylan's country-rock foray "Nashville Skyline"), dropped in September.
ÊÊÊÊMiss James' musical specialty is far more familiar to Americans Ñ and infinitely more cheerful Ñ than that of Miss Newsom. Not unlike fellow Texan Norah Jones, Miss James is fiercely traditional, and yet oozes an effortless contemporary charm.
ÊÊÊÊHer bow work, sweet and nimble, references Western swing legend Bob Wills and jazz master Stephane Grappelli. But then she can purr like Nancy Sinatra: "You might be a cipher, and you might be a cad/But you're the closest thing to love this heart has ever had."
At this point, it might, indeed, be caddish to point out that both Miss Newsom and Miss James are rather fetching in the looks department.
ÊÊÊÊA win-win, right?
ÊÊÊÊNot for the likes of Mr. Eggers, who, in his Spin magazine column in praise of Miss Newsom, posited the possibility that audiences accept musical eccentricity from females only when it's accompanied by a pretty face Ñ that even indie connoisseurs are susceptible to the same kind of visual enticements that rule the pop world.....
ÊÊÊÊÊÊÊÊThe perennial "women who rock" sweepstakes mentioned above, then, might be code for "women who are hot."....... -
Music Review: Sexy and Solo, Elana James back for self-titled debut
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By Ben WindhamÊ Editorial Editor ÒElana James" (Snarf Records) Being gorgeous hasnÕt hurt he...By Ben WindhamÊ
Editorial Editor
ÒElana James"
(Snarf Records)
Being gorgeous hasnÕt hurt her career a bit but Elana James is a top-drawer musician as well. SheÕs simply one of best fiddle players around.
She also has a pleasant voice. Unfortunately it isnÕt always well suited for the material on her new release, ÒElana James" on Snarf Records.
James came into the public eye as the featured vocalist/fiddler in the Hot Club of Cowtown. The band, based in Austin, drew its inspiration from both the Hot Club du France, Django Reinhardt and Stephane GrappelliÕs jazzy ensemble; and Texan Bob WillsÕ Western swing. But Cowtown ultimately imploded.
Bob Dylan promptly persuaded James to sing and play violin with his regular touring group. It was one of the most controversial moves in recent years for the Minnesota bard; fans are still arguing whether the obvious electricity that crackled between Dylan and James on stage was more than musical.
In any event, she suddenly disappeared from the band, then returned -- and then left for good.
Now sheÕs back as a solo artist with much of the old Cowtown lineup on her new album, augmented on a couple of cuts by Texas swing legend Johnny Gimble.
When she sticks to what she does best -- the sophisticated Parisian-style swing of her originals like ÒTwenty-Four Hours in a Day" or ÒOh, Baby" -- JamesÕ new album, scheduled for release next month, really cooks. Her breathy vocals neatly match the music, her fiddling is hot (though not always inventive) and her little band swings like mad.
The rhythm section of Beau Sample on bass and Mark Hallman on brushes is particularly strong, providing a firm foundation for the piano, guitar and fiddle leads.
Curiously, itÕs when James tried her hand at Western swing that the album falls short. The playing is fine but a piece like the reworking of ÒGoodbye Liza Jane" demands a hard-core Texas voice -- a Carrie Rodriguez, say, or a Sunny Sweeney -- rather than JamesÕ well-scrubbed vocals.
The same is true on ÒRun Away With Me," though itÕs partly redeemed by a hint of playful sexiness in JamesÕ singing.
All is forgiven, however, when James sings Duke EllingtonÕs ÒI Got It Bad and That AinÕt Good." The laid-back arrangement effectively showcases her sultry vocal work, accented by Bruce BrackmanÕs woody, throaty clarinet. Hands down, itÕs the best piece on the album.
Another jazz chestnut, Eubie BlakeÕs ÒMemories of You," isnÕt far behind.
ThereÕs a lot more to like. JamesÕ tip of the hat to her former employer on DylanÕs ÒOne More Night" is pleasant enough. She holds her own with Gimble on the Western swing instrumental ÒSilver Bells." And her own ÒAll the World and I" is a complete departure, a multi-tracked folk vocal with an Appalachian feel (though itÕs miles away from what IÕd call real roots music).
Overall, itÕs a good debut, but the album could use more focus. IÕd love to hear James do an entire collection of jazz standards, for instance. If they turned out as well as the Ellington and Blake pieces here, then that would be a collection for the ages. -
Musical Breakup forced change in direction
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The San Diego Union-Tribune POP MUSIC Musical breakup forced change in direction By Mikel Toombs ...The San Diego Union-Tribune
POP MUSIC
Musical breakup forced change in direction
By Mikel Toombs
March 9, 2006
'I just saw 'Jaws' last week, and I guess I read somewhere that a shark has to keep swimming or it will die,Ó Elana James is saying over the roar of a passing train by phone from Redwood City. ÒAnd there's this weird part of me Ð maybe a lot of musicians or great performers have this Ð but I feel like a shark.
ÒUnless I'm playing and touring, I kind of feel like I'm dying. So it was just really exciting to come out to California yesterday afternoon, and I suddenly felt like this shark that was moving about in this cold, dark water once again.Ó
So what we have on our hands, with apologies to Woody Allen in ÒAnnie Hall,Ó is a very live shark. Things are going swimmingly now for violinist-singer James, known as Elana Fremerman when she performed with the San Diego-nurtured, Western-swinging Hot Club of Cowtown. (No, she hasn't gotten married: James was the given name of her paternal grandfather, from whom Elana obtained her middle name, Jamie.)
James, who performs tomorrow with her Hot Hot Trio at AcousticMusic San Diego, is back in charted waters again, after being left all-at-sea when her Hot Club partner, guitarist and singer Whit Smith, abruptly broke up the trio.
ÒHe just wanted to do his own thing, that didn't involve me. Even though that's kind of annoying, it's also understandable. But what are you going to do? I guess that's OK,Ó James said.
ÒI was like a rat clinging to a piece of bark floating in the sea. I would have stayed with that forever. It wasn't my choice, but at the same time it was a good thing for me, because it caused me to turn in different directions and get out on my own.Ó
Musically, James' direction hasn't changed all that much since she met Smith in New York City in 1994 after she had placed an ad in the Village Voice. The couple moved into a Pacific Beach cottage in 1996, spending a year here establishing the band.
Combining traditional American music like ÒIda RedÓ and ÒOrange Blossom SpecialÓ with vintage Òhot jazzÓ in the manner of guitarist Django Reinhardt Ð and adapting its name from his 1934-formed Hot Club of Paris Ð the Hot Club of Cowtown played for tips Òat the Farmers Market and Balboa Park,Ó James recalled, before moving to Austin.
If James seems a bit bitter about the Hot Club breakup, she's happy to have gone out on such a high note, as the group was tapped to tour with Bob Dylan and Willie Nelson in 2004.
ÒIt was incredible. It was so exciting, it was fantastic. What can you say? It was amazing,Ó James said. ÒThat summer just turned out better than I could have ever dared hope. We hung out, and Willie would play (an encore) with us every night. And then halfway through, we get invited to sit in with Bob's band. Those are the kinds of things you just can't ever anticipate, but when they happen, it's like the most wonderful thing ever.Ó
Performing on the tour gave James, whose cheerful singing style strikes some as stylized, a renewed appreciation of the effortless vocal mastery demonstrated by Nelson Ð and also by Dylan, she insists.
ÒThe most important thing I'm trying for is to sing confidently and in tune. And to make it like Willie Nelson does. He'll sing a song, and then only after the song is over do you realize he was actually singing notes,Ó said James, who is cutting her tour short to play on a Nelson recording session in Nashville. ÒHe's a master. His phrasing is incredible. And Bob does that, too. That's like a level of singing live that I'm hoping to head toward as time goes by.Ó
Mikel Toombs is a Seattle writer. -
With new album, Dylan gig, Elana James reinvents her vibe
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With new album, Dylan gig, Elana James reinvents her vibe CHICAGO SUN TIMES February 25, 2007 ...With new album, Dylan gig, Elana James reinvents her vibe
CHICAGO SUN TIMES
February 25, 2007
Within a span of 18 months, violin player Elana James lost her band, Hot Club of Cowtown; she was recruited by legendary Nashville producer Fred Foster to play twin fiddles with Johnny Gimble on a Willie Nelson record; and before she could commit, Bob Dylan asked her to join his band.
Holy Cowtown!
CONCERT PREVIEW
BRUCE ROBINSON WITH ELANA JAMES AND THE CONTINENTAL TWO
When: 8 p.m. Wednesday
Where: FitzGerald's, 6615 Roosevelt Rd., Berwyn
Tickets: $15
Call: (312) 559-1212
All that serendipity comes together on James' self-titled debut record, out Tuesday on Snarf Records. She's in the Chicago area the next day for a FitzGerald's gig, playing swing, country and string jazz.
"Elana James" is a departure from the skirt-twirling, retro-chestnut swing she was known for in Hot Club of Cowtown. She covers Eubie Blake's jazzy "Memories of You," serves up honest country in Dylan's "One More Night" and touches on jump blues in her original composition "Twenty-Four Hours a Day." Guests include the New Orleans Jazz Vipers' Bruce Brackman, who lends traditional jazz clarinet. James' vocals are warm and immediate.
And again, James' timing couldn't be better. These are good times for female vocalists, ranging from the Dixie Chicks to "Snorah" Jones and the The Bird and the Bee (a buzz-worthy project with sweet vocals by Inara George, daughter of the late Lowell George of Little Feat). James' producer, Mark Hallman, has worked with Ani DiFranco, Eliza Gilkyson and co-produced "Pearls: Songs of Goffin and King" with Carole King.
"People like females who sing and play instruments," James said from her home in Austin, Texas. "The older you get, the less common that becomes. A female bandleader who plays an instrument other than a guitar is even rarer. There's restrictions to arcane, melodic music that is kind of simple, which is something I like a lot. If that's a wave I can catch, I would be happy."
"Elana James" is such an engaging record because it captures an artist ignited by the sparks of evolution. James explained, "When Hot Club dissolved, it was unclear to me what my role was in how much that band succeeded. But then things I did as an individual gave me confidence to step out and do my own thing, whether it was being invited to go out on the Bob Dylan tour or being invited to play 'Prairie Home Companion' several times as myself."
But it was a gut check for James to reflect on her life with Hot Club.
"There was despair of having worked eight years with my band," she continued. "All the stuff we went through, traveling all over the world, the records, standing in the convenience store at 2:30 in the morning and staring at the Ho-Hos. That's what life was like for so many years until things started to turn your way. It was excruciating to imagine it had all been for nothing. But I was pleased to find that in a lot of ways that message carried on into my own thing."
The band dissolved in 2005 when James and guitarist Whit Smith decided to go separate ways. Ironically, James has now hired Smith to appear in her road band. Beau Sample is on stand-up bass, and he also plays on the record.
The Hot Club's last big stand was in the opening slot for Dylan and Willie Nelson's 2004 tour of minor league ballparks. James was asked to join Dylan's road band for his spring 2005 tour with Merle Haggard and last summer's tour with Jimmie Vaughn. Dylan put James up front, and often her violin parts accented his material in the gypsy spirit of "Desire"-era violinist Scarlet Rivera.
"He gave me such a prominent space on stage, and some people might have thought that was bizarre," James said. "It was such incredible fun. I just wish I could have been better prepared. But that taught me that you don't have to know every single thing when you get on stage. It's OK to try stuff out of left field that you've never done before.
"After I joined the band, I bought a couple hundred dollars' worth of Bob Dylan CDs. And on the [Hot Club of Cowtown] tour, I got to sit in every day. But it was hard to understand what was going on on stage because it was so deafeningly loud, like 'Watching the River Flow.' One CD I really liked was 'Nashville Skyline.' We never played 'One More Night' when I was on tour with him, but I loved that song. And I wasn't trapped in the 'boot-skating, skirt-twirling, retro-chestnut hell' of what people often perceived the Hot Club of Cowtown. It drove us out of our minds. If I saw one more review that mentioned chestnuts and skirt-twirling, I was going to gag. So I thought, 'Hey, I can do this Bob Dylan song.' "
Also in 2005, Foster asked James to play on "You Don't Know Me: The Songs of Cindy Walker," Willie Nelson's tribute to Nashville songwriter Walker.
Foster met James when she appeared with former Texas Playboy fiddle player Johnny Gimble at a live Walker tribute in Austin. (Gimble, 80, has two guest slots on "Elana James" including a sizzling electric mandolin part on "Goodbye Liza Jane.") Foster did recruit James to play on "Last of the Breed," the Nelson-Merle Haggard-Ray Price collaboration due March 20 on Lost Highway. "Fred's been like an under-the-radar advisor the last several months," she said. "He's been giving me different ideas about things."
James is from Kansas City, Mo., and relocated to Austin with Hot Club of Cowtown. "The only thing I knew about Austin was that Johnny Gimble lived here," she said. "The fact I would be living near his zip code was enough."
Hard-core Cowtown fans might remember James as Elana Fremerman. She didn't get married.
"Fremerman?," she asked. "Let's face it. Life is hard enough, why put yourself through more difficulty. Jamie is my middle name, so I changed it to James. It's been hard to say on stage, 'I'm Elana James,' like that's total b.s. -- I'm not Elana James. But I think in time I could become Elana James. The first step was saying it to people."
The second step is listening to the music. -
Elana James & the Continental Two 2006
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Inside Bay Area Violinist from Bob Dylan's band is back in town By Jim Harrington February 4, 200...Inside Bay Area
Violinist from Bob Dylan's band is back in town
By Jim Harrington
February 4, 2006
The artist's name didn't sound familiar when the publicist mentioned it on the phone.
"Elana James," he said in a hopeful tone.
Nope. Never heard of her.
"She use to play with Hot Club of Cowtown," he added.
Oh, THAT Elana. Now we're talking. I'm all ears, Mr. Publicist, because that Elana happens to be my favorite hot jazz and Western swing violinist. Plus, it doesn't hurt matters that she's extremely easy on the eyes. But I remember her as Elana Fremerman.
Well, it seems that Ms. Fremerman has changed her last name, for showbiz reasons, to James. I'll have to kid her about that the next time I see her, which thankfully will be rather soon. Elana Fremerman Ñ oops, sorry, I mean Elana James Ñ returns to the Bay Area to headline the lovely Little Fox in Redwood City Thursday and March 5 at the Freight & Salvage in Berkeley. I'll definitely be there.
The Hot Club of Cowtown was a great band while it lasted. In concert, the trio used to burn through hot jazz and swing numbers like nobody's business. I still remember one gig at the Freight & Salvage that was so hot that the Berkeley Fire Department almost got called to the scene. The band was nearly as good on record, especially on 2002's "Ghost Train."
The last time I saw the woman formerly known as Fremerman was in March 2005 when she shared the stage with none other than Bob Dylan at the Paramount Theatre. The great Merle Haggard, who wasn't so great in concert, also was on the bill. Even with two first-tier musical legends appearing that night, Elana stole the show with her killer violin work and undeniable enthusiasm as a member of Dylan's band. That really says something about the magnitude of her talent.
The violinist, who is also a fine vocalist, is now stepping out and leading her own band Ñ Elana James & The Continental Two. And it's another winner. Check out the songs that are available on http://www.elanamusic.com, and you'll likely agree with my assessment. I particularly like the version of Duke Ellington's "I've Got It Bad (And That Ain't Good)." (While you are there, also make sure to download the Hot Club of Cowtown's take on Bryan Ferry's "All I Want is You.")
Fremerman. James. Whatever. This is one violinist that fans of Stephane Grappelli-style hot jazz won't want to miss. For more information on the Little Fox show, call (650) FOX-4119 and for the Freight gig, (510) 548-1761.
One final note to Elana: Should you ever feel like changing your last name again, may this cheeky monkey of a music critic suggest Harrington?
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Elana James & the Continental Two 2006
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First Etta, then Steve, now Elana James April 6, 2006 San Antonio Express-News by Jim Beal, Jr...First Etta, then Steve, now Elana James
April 6, 2006
San Antonio Express-News
by Jim Beal, Jr.
Elana James has a little explaining to do. What happened to Elana Fremerman? What happened to the Hot Club of Cowtown?
"I decided it was too much trouble spelling my name," said the fiddler, singer, songwriter and leader of the new band Elana James & the Continental Two. "James is my dad's dad's name, so I was happy to change it to Elana James and a burden was lifted.
"I went to a record store and flipped through the racks to see who I'd be close to and realized Etta James changed her name and so did Steve James. I made the right choice."
James will lead the Continental Two, former San Antonio denizen Beau Sample (bass, vocals) and Luke Hill (guitar, vocals), into Casbeers, 1719 Blanco Road, Saturday. Downbeat is 9:30 p.m. James worked with guitarist/vocalist Whit Smith in the continental-meets-Western swing band Hot Club of Cowtown for almost a decade. That ended last year.
"That band was him and me for nine years. Whit wanted to start his own thing over a year ago," she said. "I like to do what I was doing. Thank God I found some fantastic people. It's my band and my name but it's about making music collectively. Everybody sings and everybody plays well."
James didn't have time to mope around about Hot Club breaking up. The end came while the band was on the road opening for Willie Nelson and Bob Dylan. James was asked to be a guest on Dylan's shows during that tour. She followed that with another tour as a full-fledged member of the Dylan band.
"Bob Dylan did a combination of new songs and old songs. The only thing they had in common was I hadn't heard them before," she said, laughing. "I know them now."
James hails from Kansas City. She started playing Suzuki Method violin at age 5. Though her parents weren't strict about the music she played, James was strict with herself when it came to sticking with the classical repertoire.
"It was 'Don't take off these blinders.' I had the attitude that I couldn't stray, but I always was attracted to other kinds of music, and then all roads led to ... other music that was more suited to my talent and temperament," she said.
Indeed, with Hot Club, James made high-quality, swinging, fun music. The band, which released a string of CDs on the Hightone label, was adept at doing cool arrangements of classic songs as well as adding to the book with original compositions. With the Continental Two, James is doing something similar.
"One thing I learned from Hot Club is something can be taken away from you at the drop of a hat and all the capital you've built up goes with it," she said. "I decided I wanted to create a format that couldn't be taken away and, with my name on it, it can't be taken away.
"I hope that as my own name gets out there Beau and Luke get their names out there too. We do a lot of the same tunes I did with Hot Club, ones I wrote or ones I like to do. We also do songs that Beau and Luke sing, new songs I've written and songs Beau and Luke have brought in. It's not quite as Western as Hot Club but it's as sophisticated and exciting."
James, the youngest inductee into the [Texas] Western Swing Hall of Fame, recently finished recording with Nelson in an all-star studio crew that included swing fiddle legend Johnny Gimble. She also has recorded with Dave Stuckey, Kerry Polk and Tom Russell.
"Johnny Gimble told me, 'Play every chance you get and be real lucky.' I try to live up to that. I learn every time I play. In my own life I have kept clear the ability to follow my passion," she said.
And James will keep clear the ability to change a name now and then.
"My mom was visiting and we were talking about band names," James added. "She likes the name Elana James' Hot Hot Trio, so the name might change."
jbeal@express-news.net -
Elana with Bob Dylan 2005
[+ Show ]
ÒThis might be one of the finest touring bands DylanÕs] ever had. The dominant instrumental voice is...ÒThis might be one of the finest touring bands DylanÕs] ever had. The dominant instrumental voice is fiddler Elana Fremerman, who gives the proceedings a folksy authenticity without compromising the band's rock edge in the slightest.Ó
Dave Tianen,
Milwaukee Journal Sentinel,
April 10, 2005
ÒFiddler Elana Fremerman is a welcome addition to [DylanÕs] rootsy roar.Ó
Ben Wener,
Orange County Register,
March 23, 2005
ÒThe fiddle, in particular, helped make this show so special. Elana Fremerman, of Austin's great Hot Club of Cowtown...has juiced up the songwriter's sound with her own expertise in hot jazz and Western swing. Plus, she's such a dynamic and charismatic presence that she automatically draws the crowd's attention...Dylan sounded superb on a revitalized rendition of "Mr. Tambourine Man." Accompanied by Fremerman's perfectly forlorn fiddle, the singer cuddled up to the somber mood and delivered the most heartfelt music of the night.Ó
Jim Harrington,
Oakland Tribune,
March 18, 2005
ÒDylan, as usual, was all about change...The biggest change is that fiddler Elana Fremerman, formerly of TexasÕs Hot Club of Cowtown, is at center stage, fiddlinÕ away as Bob stays on the sideline, blowing harmonica solos more frequently than in the past. Fremerman, who is, as they say, easy on the eyes, seems to have energized old coot Dylan.Ó
Don Miller,
Santa Cruz Sentinel,
March 19, 2005
ÒDylan has a mostly new band thatÕs been taking center stage since his latest tour began two weeks ago in Seattle. In fact, Dylan planted himself behind an upright piano off to one side, only venturing to center stage a few times to boogie a little and direct the band...with fiddle player Elana Fremerman taking the spotlight at center stage. Formerly with the Austin, Texas-based Hot Club of Cowtown, her presence brings a vibrant energy to the lineup.Ó
Elaine Anderson,
Reno Gazette Journal,
March 21, 2005
ÒDylan has revamped his band, adding violin player Elana Fremerman from the Hot Club of Cowtown, and transformed several of his songs with western swing arrangements. Fremerman's frequent solos...provided some of the evening's most enjoyable moments.Ó
Glenn Whipp,
Long Beach Press Telegram,
March 22, 2005
ÒWith a lineup that includes flashy Elana Fremerman on violin...Dylan and the six-piece unit roared with the fury of a locomotive, barreling down the tracks so fast that if you missed a note or a vocal line you'd be run over.Ó
Robert Hilburn,
Los Angeles Times,
March 23, 2005
ÒThe latest edition of his backing band proved adept at roadhouse rocking, country-tinged maneuvers and blues stylings. Fiddler Elana Fremerman from Hot Club of Cowtown...[is a] welcome addition to the group, adding fine textures to lovely reworkings of "Just Like a Woman" and an especially delicate "Girl of the North Country.ÕÓ
Darryl Morden,
Hollywood Reporter,
March 23, 2005
ÒEven though Dylan, a big fan of the lovely hybrids in American music, has countrified his material before, his sound this time had a very specific foundation - the superb violin/fiddle of Elana Fremerman from the Hot Club of Cowtown...a classically trained violinist from Kansas who has also played on New York subway platforms.Ó
David Hinkley,
New York Daily News,
April 21, 2005
Ò[DylanÕs] latest band...had a violinist, Elana Fremerman, who was joined for keening, soaring twin-fiddle passages by Donnie Herron...With this band, Mr. Dylan's indictments became both pitiless and exhilarating.Ó
Jon Pareles,
New York Times,
April 19, 2005
Ò[Dylan] left center stage to his new violinist, Elana Fremerman, whose haunting bow work added real depth to the music.Ó
Kurt Wanfried,
Oneida Dispatch,
April 21, 2005
Ò...Center stage stands [DylanÕs] new violinist, Elana Fremerman, who at first listen reminds one of DylanÕs 70s violinist Scarlet Rivera, but she soon sheds that comparison in favor of a broader style, one that encompasses flowing grace as well as sharp attacks of her bow.Ó
DillonWallin,
LA Voice,
March 23, 2005
"[Dylan] spent the entire show behind a keyboard, hunched over like a vulture to reach the low-flying microphone...The focal point on the stage was violinist Elana Fremerman, who added a pleasing texture to the honky-tonk-flavored set.
"Dylan closed strong with a Hendrix-style rendition of ÔAll Along the Watchtower,Õ during which Fremerman's fiddle channeled the spirit of Jimi's guitar. This final number eclipsed the rest of the [nightÕs] performance, pumping new life into a great old song.
Geoff Schumacher
Las Vegas City Life, March 25, 2005
"Though Don Herron's pedal steel was a nice touch, the true star of the show was violinist Elana [James], whose country-fried fiddling could have found her a spot in [Merle] Haggard's tight-as-a-snare-drum band."
Elizabeth Sinclair-Smith, Skyline View, April 4, 2005
"Fiddler Elana [James], from Texas's Hot Club of Cowtown, brought a touch of feminine grace to the passel of boys dressed up in gray suits and black shirts that Conway Twitty's band must have thrown away."
Joel Selvin, San Francisco Chronicle, March 16, 2005
"Dylan's new six-piece band is flavored by driving Western swing persuasion from Elana [James], whom Dylan hired from the Hot Club of Cowtown...Dylan had the idea to apply a spiraling Roy Head 'Treat Her Right" riff to "Cat's in the Well," and, feeling frisky a few minutes later, he teamed up with [James] for a sultry cocktail version of 'If Dogs Run Free."
Dave Hoekstra, Chicago Sun-Times, April 4, 2004
"Dylan's longing to be a sideman in his own band is interesting. He sets up off to the side of the stage and fills the void at the center with an unused microphone stand and the talented Hot Club of Cowtown fiddler Elana [James]."
Donnie Moorehouse, The Republican, April 25, 2005
"Three new bandmates --fiddler Elana [James] from Hot Club of Cowtown, BR549's multi-instrumentalist Don Herron, and Texas blues guitarist Denny Freeman...[push] the ensemble away from bare-bones intimacy and toward a bigger, richer sound...Today's edition has a ferocity not normally associated with Dylan."
Phil Gallo, Daily Variety, March 22, 2005 -
Elana James (general)
[+ Show ]
"Her fiddle...evokes memories of the wizardry of Stephane Grappelli and the magic of Johnny Gimble....."Her fiddle...evokes memories of the wizardry of Stephane Grappelli and the magic of Johnny Gimble....Special, original, and a true treasure. Listen."
-Fred Foster
Producer; Founder, Monument Records
"Elana James has made a record whose excellence is so plain that anyone who argues for it wastes his breath, and anyone who argues against it shows his ignorance. This disc is fully realized in every department: the solos are elegantly and humorously composed, the writing is expertly concise, mix and mastering are in-your-face...and what a voice! She leads a tune around like Gene Kelly swinging Cyd Charisse. Her talent is unforced, and generous enough to allow for subtlety, seduction, and the brash, unexpected stroke. Elana has bigger and better things ahead of her than folk clubs and hipster magazines, you are hereby warned."
-Robbie Fulks
"What fiddling! ...and a beautiful voice."
- Laurie Anderson
"Elana is one of the sexiest, most talented musicians. Her style hints of another era...taking you places you thought were unreachable by today's standards. And yet, here she is..."
- Raul Malo
"[James's] throaty violin solos arrived in terse, epigrammatic phrases with a sprint, every so often, into chromatic harmony. She also sang in a breathy, un-self-conscious voice that made every double-entendre seductive."
- Jon Pareles, New York Times
"Here's a young woman who took my advice--I don't remember ever giving her any advice, but somehow she took it without my having to give it to her: Have a big life, go out and do all kinds of different things, she could only have a good time. She grew up in Kansas, her mother was a violinist in the Kansas City Symphony, her dad played the piano so she started out learning Classical music then she went off to learn Indian music. She lived in Kathmandu for a while, from Kathmandu she went to Colorado and she learned cowboy music and she founded this cowboy swing jazz band, a great band, called the Hot Club of Cowtown--they made some great, great albums."
- Garrison Keillor,
A Prairie Home Companion
Setlist
Oh, Baby
One More Night
Twenty-Four Hours a Day
I Can't Believe You're in Love with Me
Deed I Do
Goodbye Liza Jane
Down the Line
I Got it Bad and That Aint Good
Cotton Eyed Joe (the 1941 version:)
Orange Blossom Special
Tchavolo Swing
Fuli Tschai (traditional Gypsy)
Lover Come Back to Me
The Little Green Valley
Run Away with Me
Oklahoma Hills
I'd Understand Why
I'll Be Your Baby Tonight
I Can't Give You Anything But Love, Baby
Basic Requirements
Calendar
There are no upcoming dates at this time.

