This article first appeared in the St. Louis Beacon, July 19, 2012 - Two-fifths of the band Boss Hall – vocalist/flutist Margaret Bianchetta and guitarist Tom Hall – share a back booth at O’Connell’s with me for an early afternoon discussion about the group’s debut recording, “In the Pale,” which will be available for the first time Saturday, July 21, when Boss Hall plays a CD release concert at BB’s Jazz, Blues & Soups.
In between decisions about what to order, the conversation covers the usual topics: how the group got together, details about recording the CD and how the songs were chosen, etc. But the most interesting question during the conversation wasn’t one I asked Bianchetta and Hall. It was a question Hall asked me regarding the music on “In the Pale.”
“We’re trying to figure out exactly what to call the music on the CD,” states Hall. “Can you tell me how you would describe it?”
It was a question I certainly didn’t have an easy answer for. Several listens to an advance copy of “In the Pale” underscored the eclectic, seemingly effortless mix of styles on the recording. Hall’s instrumental songs – “Bedazzled,” “A Fool’s Lament,” “Tiempo Por Katrina,” “920 State Street (The Herb Song)” and “In the Pale of the Day” blended elements of folk, bluegrass, Latin, blues and jazz in varying proportions.
Bianchetta’s originals – featuring her on vocals as well as flute – add a jazzier feel at times, but the eclectic feel is maintained throughout thanks to the contributions of Hall, dobro player Bob Breidenbach, bassist Vince Corkery and violin player Kevin Buckley.
Adding to the stylistic diversity of “In the Pale” is the CDs concluding sequence of tracks. Labeled “The Irish Quadrilogy” – it’s a sequence of traditional Irish folk tunes ranging from “Wild Mountain Thyme” and “Mason Apron” to a medley of “Sally In the Garden” and “Star of the County Down.”
Given all that, I didn’t have a simple answer to Hall regarding what to call the music on “In the Pale.” Instead, what I heard on the recording was the result of what happens when five talented musicians with a wide range of musical backgrounds – who are also familiar with each other from playing together in various combinations – all find a comfortable and compatible groove. At that point, labels don’t matter. It’s just memorable, enjoyable music.
A quick look at the backgrounds of the musicians in Boss Hall illustrates the musical range – and the compatibility – of the band.
After graduating from the University of Missouri - Columbia with a degree in music education, Bianchetta returned to St. Louis and soon moved from duo performances with guitarist Lyle Harris to become lead vocalist for Spatz, a band that gained a strong area following and toured nationally for a time.
She moved on to form Hot Club Canary with vocalists Monica Casey and Mary Dee Brown, then played with a variety of groups, including the mighty Big band, Jobim Dreams and the Western Satellites.
Hall started his musical career following in the footsteps of acoustic blues greats like the Rev. Gary Davis and Mississippi John Hurt, developing his own distinctive style on national steel guitar and working with such bands as the Geyer Street Sheiks. Over the years, Hall has expanded his instrumental repertoire to include fingerpicking guitar and banjo, and has mastered a variety of world music styles.
Breidenbach’s impressive musical resume includes stints with the Road Apples, the Lonesome Pines, the Orbits, the Palominos, Notable Haberdashers, the Western Satellites and more – not to mention some credits as a sideman on the Nashville recording scene. Like Breidenbach and Bianchetta, Corkery is a member of the Western Satellites and has worked with Breidenbach in the Orbits, Lonesome Pines and several other bands.
Buckley’s musical background combines a strong background in traditional Irish fiddle music with a decidedly contemporary pop focus. Buckley founded Grace Basement, which gained considerable positive press for its two releases, “New Sense” and “Gunmetal Gray.”
“I’ve known Kevin since he was 14,” says Hall, “and not only is he a great Irish music player, his bands, Grace Basement and Magnolia Summer, were really amazing. It’s great to have him in the band.”
Bianchetta, Breidenbach and Corkery had plenty of experience together in the Western Satellites, and Hall had worked with all the other musicians in various combinations. As a result, an immediate rapport among the musicians became clear at shows – and a strong energy as well.
“The band first came together around the middle of 2010,” recalls Bianchetta. “Tom and I started playing on Sunday afternoons at the Shanti in Soulard along with friends from various bands, and it just seemed to evolve. It really became something we looked forward to doing every week, and I naturally began writing songs for the band.”
“From the start, I think we all looked at the band as a channel for songwriting,” Hall says. “So I have to say that was real motivation for me. I had sat on the song, “920 State Street” for about 30 years. I pulled it back out for this band and I ended up writing about five more new ones in a fairly short time period.”
By the end of 2011, the possibility of recording a CD to document Boss Hall’s music was increasing.
“A friend of ours encouraged us to record a CD,” says Bianchetta. “And we were thinking along the same lines. So that really gave us a focus for the new songs.”
The band went into the studio to record in April, and after mastering and getting the CD artwork together, “In the Pale” will finally be available this Saturday at the BB’s CD release performance.
“We’ll probably just do the new CD straight through at BB’s,” says Hall. “And in addition to the regular band, we’ll have Chris Weddle there, who played the bodrain on several tracks on the CD. It should be a fun night – and it’s also Margaret’s birthday. And if anyone can’t make it to BB’s Saturday, we’ll be having a post CD release party at the Shanti on Sunday!”