Erin McKeown

After four albums of exceptional, introspective folk-pop musings, it's something of a shock to find Erin McKeown turning her attention to jazz gems of the Thirties, Forties, and Fifties. Still, she does a credible job of capturing the spirit of those songs with a wink and a nudge of irreverence...

By Lee Zimmerman

February 8, 2007

[
        {
          "name": "Air - MediumRectangle - Inline Content - Mobile Display Size",
          "component": "19274298",
          "insertPoint": "2",
          "requiredCountToDisplay": "2"
        },{
          "name": "Editor Picks",
          "component": "17482312",
          "insertPoint": "4",
          "requiredCountToDisplay": "1"
        },{
          "name": "Inline Links",
          "component": "18711090",
          "insertPoint": "8th",
          "startingPoint": 8,
          "requiredCountToDisplay": "7",
          "maxInsertions": 25
        },{
          "name": "Air - MediumRectangle - Combo - Inline Content",
          "component": "17482310",
          "insertPoint": "8th",
          "startingPoint": 8,
          "requiredCountToDisplay": "7",
          "maxInsertions": 25
        },{
          "name": "Inline Links",
          "component": "18711090",
          "insertPoint": "8th",
          "startingPoint": 12,
          "requiredCountToDisplay": "11",
          "maxInsertions": 25
        },{
          "name": "Air - Leaderboard Tower - Combo - Inline Content",
          "component": "17482313",
          "insertPoint": "8th",
          "startingPoint": 12,
          "requiredCountToDisplay": "11",
          "maxInsertions": 25
        }
      ]

After four albums of exceptional, introspective folk-pop musings, it's something of a shock to find Erin McKeown turning her attention to jazz gems of the Thirties, Forties, and Fifties. Still, she does a credible job of capturing the spirit of those songs with a wink and a nudge of irreverence and enticement. Though an able frontwoman, she doesn't ooze the simmering sensuality that ought to accompany the material's smoke-ringed sensibilities. However, when she hands the musical reigns to her small but assured back-up band, she literally gets in the groove via sheer exhilaration. Opening track "Get Happy," one of the set's better-known entries, begins as gospel shout-out only to detour suddenly into jazz and jive. Likewise "Paper Moon" becomes all but unrecognizable under the influence of its sambalike sway, while other songs are fast-paced performances propelled by kinetic drumming and brassy embellishment. McKeown's shift in direction might be unexpected, but if this is the work of a sinner, there's no reason to repent. — Lee Zimmerman

KEEP NEW TIMES FREE... Since we started New Times, it has been defined as the free, independent voice of Miami, and we'd like to keep it that way. Your membership allows us to continue offering readers access to our incisive coverage of local news, food, and culture with no paywalls. You can support us by joining as a member for as little as $1.