Gaucho’s “Pearl,” released last month on Porto Franco Records and launched at the Jewish Music Festival of Berkeley, Calif., is the perfect accompaniment to a lazy autumn afternoon. Channeling the sounds of 1930s Paris, the San Francisco-based sextet plays the kind of gentle, sometimes-jubilant, sometimes-melancholy swing that doesn’t make you want to get up and dance so much as lie around and reminisce about bygone nights spent carousing. Like the best Gypsy jazz, this music is coyly nostalgic; it masquerades as carefree but leaves you with a mysterious ache.
For their fourth album, Gaucho have teamed up with the New York-based jazz vocalist Tamar Korn, and this collaboration makes for some of the music’s most exciting moments. Korn’s voice is high and girlish, with an uncanny tremor that makes it sound like it’s been lifted directly off of an old record. On the album’s first track, “Sing On,” a mischievous piece written by bandleader Dave Ricketts, Korn trades solo lines with cornetist Leon Oakley. The effect is humorous because Korn is such a good mimic, belting out brassy squawks of her own. (Later, in drummer Pete Devine’s tune “Little Sweetie,” her scat syllables take the form of distinctly feline yowls.) Following saxophone and cornet solos in the group’s jaunty rendition of the jazz standard “Avalon,” Korn sings the melody freely, with big swoops and operatic flourishes, as the drums and bass (Ari Munkres) maintain a brisk, chugging groove underneath.
Listen to ‘Sing On’: