Linnzi Zaorski & Delta Royale-- Hotsy-Totsy

by Christopher Blagg

Sometime back in the dark ages, jazz music used to be fun, full of sex and sin. Linnzi Zaorski and her band Delta Royale seem intent on bringing back the cheery lustfulness of the mangled genre. Her second record, Hotsy-Totsy, doesn't aim for the hallowed contemporary jazz venues of Montreaux or The Village Vanguard, but rather unapologetically fills a comfortable place in between pre-war Paris and Tin Pan Alley. While most of the record does rely on tunes from that historic songwriting epicenter, as well as from Broadway's golden age, the leadoff track is an original, Zaorski's first. It's a bold move to place yourself in the company of the Gershwins and Ellingtons, but "Better Off Dead" fits snugly in the confines of Depression-era pop music. One of the first things that distinguishes this record from the last is the addition of Matt Rhody's rather wonderful violin playing. While obviously indebted to the elegant bowing of Stephanie Grappelli, Rhody makes his presence felt immediately with a stirring solo on the opening track. In fact, despite being technically a vocal record, the incredibly fluid and expressive playing of the band threaten to steal the spotlight from Zaorski's highly stylized singing style. This is more a compliment to the righteous swing of the musicians rather than a knock on the flirty vocals of Zaorski. For the most part, Hotsy-Totsy remains firmly entrenched in familiar swing territory, but does venture out occasionally, as in the slight Latin sway of the novelty number "Hernando's Hideaway." The decision to have a go at the more complex and subtle "Caravan" has mixed results. The jaunty arrangement and band are in fine form and seem eager to stretch out, but Zaorski's breezy tone just doesn't match the mood. She's more successful on the street corner guitar strum of the playful "Sugar" and the jittery bounce of the Ella Fitzgerald vehicle "When I Get Low I Get High." While jazz seems to have lost the war against intellectualism, Linnzi Zaorski and her fine band seem to be in a blissful state of denial.