It’s a country sort of month this month, with both my review records having a hint of the wide open prairie about them. I felt obliged to check out Sweet Megg’s new record sooner rather than later, as she kindly contributed to my July feature—but it’s out of unbridled, organic enthusiasm rather than any sense of obligation that I present it to you here. I last checked out Megg’s work back in 2021, since when she’s released three full-length albums and one live EP—so she’s long overdue a mention, regardless.
If you haven’t previously heard of Sweet Megg, then where have you been? The crossover singer-songwriter has built up a huge following blending old-time jazz and country music, with contemporary bandleaders like reedman Ricky Alexander (Early Bird Jazz Band), guitarist Justin Poindexter (Silver City Bound) and trumpeter Mike Davis (The New Wonders) lining up to be her backing band.
And while country music is without this publication’s remit, there’s undeniably enough swing to Bluer Than Blue to warrant its attention. The record’s twelve tracks include a mix of Western swing classics like the title track (previously a Bob “King of Western Swing” Wills number), Tin Pan Alley favorites like “It’s All Over Now” and solidly swing standards such as “In A Sentimental Mood.” All feature the wail of the fiddle and sighing lap guitar—but the brass section is just as prominent with its muted trumpet, soaring sax, and twinkling, Basie-esque piano solos.
Album closer “(Remember Me) I’m the One Who Loves You” is perhaps the most perfect blend of these styles, with just a hint of a ska sound to it as well. Elsewhere, tracks lean more or less towards suitability for either Preservation Hall or the Grand Ole Opry: “Once More With Feeling” is a Kris Kristofferson country number from the sixties, delivered in a suitably vintage style here; “San Antonio Rose” is another Wills number, but this swinging rendition would be ideal for a Carolina shag; and Moon “King of the Hillbilly Piano Players” Mullican’s “Lonesome Hearted Blues” is rendered here in a way fit to grace the Savoy.
The last of these features some truly jaw-dropping work from fiddler Billy Contreras. Mostly content to lend those sinuous string lines synonymous with sunsets and saloons, here he busts out a head-spinning solo that would make Joe Venuti raise an appreciative eyebrow. The stellar lineup of players on this record guarantees rock-solid work all around, but Megg really is the star attraction. Part Patsy Cline and part Annette Hanshaw, for me her voice ranks up there with contemporary chanteuses Gunhild Carling and Tamar Korn for its endearingly memorable uniqueness.
Sure, the cowboy hat crowning Sweet Megg on the sleeve of her Better Than Blue screams Western swing—but give it a listen and you’ll find within a sound as indebted to New Orleans as it is to Nashville. Check it out on Bandcamp now, where prices range from just $10 for the digital download to $30 for a 180g vinyl in a gatefold jacket.
