The improbably named Washingmachine quartet are one of the numerous combos to record for Dave Kelbie’s Lejazzetal label. Kelbie takes the music of Django Reinhardt as his main inspiration but is no mere copyist. The outfits that record for his label, among them the Angelo DeBarre Quartet and Evan Christopher’s Django A La Creole throw fresh light on the Hot Club sound. Both these acts have been reviewed elsewhere on this site.

Australian violinist and vocalist Washingmachine adds a new flavour to the pot-humour-but his quartet still swing like crazy. As on most of the label’s recordings Kelbie appears on rhythm guitar, driving his colleagues forward in his exemplary trademark fashion. He is the sole UK representative on this record with two other Aussies making up the group. Dave Blenkhorn plays lead guitar with Sebastien Girardot undertaking double bass duties.

The album was recorded in the unlikely setting of Room 301 of the Park City Hotel in Malaysia between the group’s engagements at the Miri International Jazz Festival. The quartet alternate between vocal and instrumental numbers concentrating in the main on American material from the swing area.

Behind Washingmachine’s zany persona there is real musical ability. Although he sticks to violin here he is in fact a talented multi instrumentalist. His singing is adequate, nothing more but is perfectly acceptable for this type of material. As a violinist he turns in some excellent solos over the course of the album as does Blenkhorn who seems to be particularly inspired on this recording.

The band hit the ground running with the first vocal item, a good natured take on “My Blue Heaven” with Blenkhorn taking the instrumental honours. Next comes a spirited romp through “Krazy Kapers” on which Washingmachine demonstrates his abilities with the bow and Blenkhorn shines again. Kelbie and Girardot provide a splendid rhythmic pulse throughout and the bassist enjoys a few moments in the limelight.

This pretty much sets the pattern for the record, a whimsical version of the song “Blues In The Night” is followed by the scorching instrumental “China Boy” taken at breakneck tempo. Marvellous.

I’m less keen on the arch vocalising on “Flamingo”, a number that strays a little too far into MOR and “novelty” territory. The following instrumental “Wes’s Tune” (Montgomery, presumably) comes as a welcome relief and features some excellent violin playing.

“Sam, Sam The Vegetable Man” is real novelty number but is so self consciously daft you can’t help but enjoy it. It evokes the spirit of the late Slim Gaillard but along with the zaniness there’s some dazzling playing and it’s all great fun. A langorous instrumental, “Oriental Shuffle”, brings things back down to earth.

Like “My Blue Heaven” “Heavy Date” also features other members of the quartet on backing vocals. The voices on “Heavy Date” recall the jump jive era even though the instrumentation is pure Hot Club with swinging solos from Washingmachine and Blenkhorn.

The next item “Solitude” is actually another vocal item. It is the album’s only ballad and Washingmachine’s fragile vocal is surprisingly effective. This reflective interlude is in stark contrast to the other material and this only serves to increase it’s poignancy.

It’s business as usual on the instrumental “Thats A Plenty”, a refreshingly brisk gallop in archetypal Reinhardt/Grappelli style. The final vocal item “He Ain’t Got Rhythm” bookends the album in enjoyable fashion.

The “Room 301 Sessions” is an enjoyable and unpretentious record that unashamedly seeks to entertain. Most of the time it does exactly that and I’m certain that the quartet’s live shows must be hugely enjoyable. Some of the vocal numbers may pall for the home listener after a while but the dazzling instrumental work largely makes up for this.

Another worthwhile offering from the Lejazzetal stable and one that casts a highly entertaining light on the Reinhardt legacy.
IAN MANN

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From the same "jazz should be entertaining" school of thought as the great Marty Grosz comes the inexplicably named George Washingmachine, an Australian violinist and vocalist who has appeared at a few Edinburgh Jazz Festivals over the years.

This new CD features him in Hot Club mode, with two guitars and a bass, and it showcases his excellent, swinging and joyful violin-playing. The vocals are fairly nondescript, but at least on CD the jokes are left out.
ALISON KERR

Recorded in the intimacy of a hotel room (room 301, thus the title), this cd from the violinist George Washingmachine (yes...that's his real name) abounds in all that is swing
... We notice that the hotel in question is in a town called Miri in Malaysia where the Miri International Jazz Festival is held every year. These sides were collected in between press conferences, interviews and various excursions around the island. Lets Rejoice! Apparently there is also swinging music in the South China Sea and the Malaysian Jungle!

George Washingmachine is an australian violinist, but also multi-instrumentalist and singer. Although based in Sydney, he has many active bands and recordings which he uses to export his Entertainment Art in Europe. His niche is without a doubt the 30's and 40's swing which he delivers with a particularly style, sometimes playing some extremely fast tempos. His drive on the violin and his joie de vivre while singing are appreciated by all. Especially because his repertoire is often humorous (Sam, Sam, the vegetable man, Heavy date) and he never hesitates to call on his band for group vocals (Blues in the night, He ain’t got rythm). Swing and blues are sometimes put to the side for the occasional bolero (Flamingo) or ballad (Solitude), but Mr Washingmachine seems a little less in his element....No, George's things is obviously the Swing, Swing....and more Swing!
SEBASTIEN LEGE

This CD is a force to be reckoned with and almost swaggers with good spirits (happiness/ high jinx).
The Australian singer and violinist George Washingmachine swings his way through a repertoire not heard every day of the week; one half instrumental, the other vocal. The quartet (consisting of Dave Kelbie and Dave Blenkhorn on guitars, Sebastien Girardot on bass and G.W. on violin and vocalchords) recorded this in Room 301, Parkhotel in Miri, Malaysia.
The musicians had an audibly good time in numbers such as "Blues in the night" or "He ain't got rhythm". There are no musical backflips (cartwheels) here, just relentless good humour and a band swinging like the clappers.
Simply marvellous!
Bernhard Gierstl

Voilà 2 nouveautés du label anglais Lejazzetal; tout d'abord le quartet du violoniste australien George Washingmachine (quel nom!): Dave Blenkhorn et Dave Kelbie, guitares, Sébastien Girardot, contrebasse, enregistré Room 301 du Park city everly hotel pendant le Miri international jazz festival de Malaisie. 12 standards, moitié instrumentaux ("Oriental shuffle", "Thats plenty", "China boy", "Wes tune"...) avec un petit côté Venuti/Lang, moitié chantés ("My blue Heaven", "Flamingo", "Solitude"...), réarrangés de manière très rafraîchissante par un quartet à cordes d'excellente tenue. Swing, swing, swing ! Tel est le mot d'ordre ici : rythmique d'enfer (cf. "Krazy kapers"), chorus virevoltants du violoniste qui conjugue drive et souplesse, et des guitares limpides qui jamais ne forcent. Si cet excellent quartet au feeling constant, tant sur tempo vif que sur tempo lent (cf. "Blues in the night") ne révolutionnent pas le style, difficile de ne pas avoir des fourmis dans les jambes, car il swingue du feu de Dieu (cf. "Sam Sam the vegetable man", très Slim gaillard). Ces gars là doivent mettre le feu dans un club; quant au disque la galette est très agréable à écouter.
FRANCIS COUVREUX

Here are two new releases from the English label Lejazzetal; the first from the quartet of Australian violinist George Washingmachine (what a name!) featuring David Blenkhorn and Dave Kelbie on guitars, and Sebastien Girardot on bass. Recorded in Room 301 of the Park City Everly Hotel during the Miri International Jazz Festival in Malaysia. 12 standards – half instrumental numbers (Oriental Shuffle, That’s a Plenty, China Boy, Wes’s Tune…) inspired slightly by Venuti and Lang – half sung (My Blue Heaven, Flamingo, Solitude) rearranged in a very refreshing manner by a string quartet of excellent standing. Swing, swing, swing! - This is the only word that counts! A hot rhythm section (Krazy Kapers), whirlwind solos from the violinist which inspire both drive and ease, and two relaxed swinging guitars. If this excellent quartet, so solid with both up-tempo and slow tempo songs (blues in the night), doesn’t revolutionise the style with it’s toe tapping jazz, no one will, because it swings like God’s fire (Sam Sam the vegetable man, very Slim Gaillard). These guys must heat up any club and this CD is lovely to listen to.
FRANCIS COUVREUX

Up next, was the humorous George Washingmachine Quartet from Australia/U.K./France. Judging by their name alone, you'd know this quartet is a ball of fun. Frontman George Washingmachine was like the court jester of jazz, teasing the audience with the band's idiosyncratic blend of swing and gypsy jazz.
LENNAT MAC

On Saturday, the imaginatively-named George Washingmachine Quartet put on a performance to write home about. The band played an irresistibly catchy set (said to be modern-day swing mixed with jazzy gypsy music) that was almost hypnotic in the way it made you want to tap feet, nod your head and smile goofily.  
Led by the charismatic George Washingmachine on violins and vocals, and accompanied by fellow Australian Sebestien Girardot on bass as well as guitarists Dave Kelbie and David Blenkhorn, the band’s quirky charm admittedly helped warm up the crowd a little after the more serious tone of Orak Naa Naa.
MICHAEL CHEANG

Halfway through the second half, we got close to what the audience had probably been expecting all along, when the duo were joined by Australians George Washingmachine on jazz violin and David Blenkhorn on guitar. Suddenly we had a swinging hot quartet, and classics such as Minor Swing and Lady be Good got the group treatment. So full marks to Taylor for making sure that, in adversity, the show went on at all, but I guess lots of us could have taken more of the period-style group stuff had it been offered.
BRIAN MILLER

Djangoism played the support slot to George Washingmachine at the Regal Arts Centre in Worksop last Thursday. We knew nothing about him so had no idea of what to expect - what we, and an appreciative audience, heard was fantastic swinging jazz in the style of Stuff Smith/Marty Grosz/Louis Armstrong. On this tour George was playing violin and singing (it seems he plays a lot of other instruments too) with Dave Blenkhorn on lead acoustic guitar, Dave Kelbie on rhythm guitar and Sebastien Girardot on double bass. Everything was delivered in a relaxed, effortless style with some great arrangements and splendid solos from George and Dave. There are just a few more dates of their current UK tour, if you are in London this weekend then do try to catch them.

Let's face it, jazz needs to be entertaining - music to relax from the daily chores, as much as to soothe the savage beast. Music affestc our feelings - evoking tender memories and romance, powerfully reminding us of happy times and softening disappointments, celebrating life and rejoicing in success, even stirring national pride.
Jazz music has something else too - the suprise of improvisation to kick you out of your mood.
A few years ago when I was new to presenting 'live' concerts, I was fortunate to compare an open-air entertainment at Darling Harbour. My shyness and timidity at facing a live audience - unlike radio listeners, people I could actually see, was swamped by one act that night. The on-stage exuberance of George Washingmachine and Ian Date charmed and engaged the audience immediately. Their music, as well as revealing their splendid musicianship, also reflects their easy personalities and their quick sense of humour.
George Washingmachine and Ian Date are individually the most entertaining musicians in Australian jazz. They have performed together now for a number of years; they are the musical beasts to soothe the savage.
Be sure to see George and Ian in person whenever you get the chance. This album is the latest and clearest evidence of their enormous talent.
JIM McLEOD

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