The Vaudevillian requires you to shine your ol' dancin' shoes as when you get to the gin mills, there are sure to be hoofers and trotters and all folk will be struttin' across the floor doing the newest dances they got out, most commonly the skoodle-um-skoo!
This 1920's trio has climbed back down the rickety, creaking staircase from the dusty attic and brings to you old, hidden tunes and numbers from out of a gramophone spiraling right into the soles of their worn down boots. Everyone is sure to get off their doggone caboose as the band scrubs the washboard, slaps the bass, flips the guitar and plays their kazoos and car-horns. They are known for their rare portrayal of the Roaring 20's and Dirty 30's, when prohibition had just come to an end.
Thankfully, PROHIBITION IS OVER.
With whiskey in the hands of flappers and briar pipes in the calloused palms of fine gentleman, every show The Vaudevillian puts on is most certain to be a hootenanny. Taverns and bars often have to turn folks away due to over-capacity, and most often, taverns run out of whiskey and their kegs run dry when The Vaudevillian is in town.
The Guilty Parties
Jitterbug James is a growling old school gentleman who will howl and stomp as he flips his guitar, all while looking you straight in the eye...
- with one of his squinted -
His calloused hands make distinguished sounds by finger picking on his National Resonator Guitar that not only replicates Blind Boy Fuller and Rev. Gary Davis, but crafts an unduplicated sound of his own.
With button suspenders, stained trousers, chewed up hat askew his slicked hair, and boots shined to the high heavens he can be found on the bar stool or atop of his wine bucket on stage; belting tunes and causing a ruckus. He is known for his shenanigans with Norah, often slapping her on the caboose or knocking over their shared symbol stand.
Norah Spades is a saucy lady who not only hits James' hat off mid song if he's bugging her, she also dishes it back with her raunchy backtalk on stage. With her thimbles and fingers picks on, she scrubs the washboard as if she were washing a pair of James' trousers...
- Ones she wasn't fond of -
With her dresses swaying on stage and in her ever-changing boots, worn out one after the other from stomping so hard on stage, she possesses a sensual elegance laced with true grit. With her singing melodies and her talking back she is reminiscent of tough suede.
She has fastened an old rusty clock she got in New Orleans onto her already rusty washboard and uses many bells and whistles to give diverse sounds to her old school percussion. Included are; a copper kettle lid she plays frequently in waltz, a bell from an old rotary phone her grandmother had given her and a cow bell she found in North Carolina.
Piedmont Johnson is a good ol' Southerner hailing from Chapel Hill, North Carolina the same town Elizabeth Cotton grew up.
Piedmont plays a slappin' upright bass all the while spinning the big ol' bull fiddle to astonish the crowd. He'll provide raspy harmonies and rings a cowbell he has fastened onto his Upright bass. Piedmont even plays the darn jug!
From time to time if the mood is right, he will even use a horse hair bow to play his bass. Similarly to his bow, he has long hair that is often under a straw hat accompanied by a pair of jean overalls. He has been known to take percussive solos, hitting the body of his bass while plucking the strings to Norah in a percussive battle.