Horvitz roots out a fun folk-rock outlet

The first half of 2008 has not yet been named Wayne Horvitz Season, but perhaps it should be.

Horvitz has four albums coming out between now and May, is embarking on a long-form collaboration with author Sherman Alexie based on the James Welch novel "The Heartsong of Charging Elk" and just got a remarkable review in The New York Times.

Writing about Manhattan's Winter JazzFest at the Knitting Factory, New York Times jazz critic Ben Ratliff wrote, "Mr. Horvitz should have a room named after him at the club ... his aesthetic and his music encoded the notion of 'downtown jazz.' "

One "downtown" notion was the idea that genres — whether jazz, classical or klezmer — need not be pure, hierarchical or, for that matter, even relevant. One genre that continually inspires Horvitz is traditional American folk-rock, including the lyrics, the kind done so well by Bob Dylan and his former group, the Band.

For about two years, starting on New Year's Eve 2005, Horvitz and his wife, singer Robin Holcomb, indulged in their love of such American roots music. They met with a batch of their friends Tuesday nights at Lottie's Lounge in Columbia City.

The group, which acquired the ironic name Varmint, celebrates the release of its first (and perhaps only) album at 8 p.m. Thursday at the Tractor Tavern in Ballard ($15; 206-789-3599 or http://tractortavern.ypguides.net).

It's fun stuff, with pianist Holcomb, guitarist Tim Young and pedal steel guitar player Jon Hyde picking up the vocals on a wild variety of songs, from cult musicians' favorites like Michael Hurley's "Portland Water" to guilty pleasures like Jimmy Webb's "Wichita Lineman" and Neil Diamond's "Solitary Man."

They also throw in Sun Ra's "Enlightenment" and Johnny Paycheck's chuckler "It Won't Be Long (And I'll Be Hating You)."

"The running joke was: 'No original material, no rehearsals,' " said Horvitz in a phone interview this week.

In addition to Horvitz, Holcomb, Young and Hyde, the band features bassist Keith Lowe and drummer Andy Roth, with backup vocals by Arni Adler and Nova Devonie.

Guests include singer/songwriter Karen Pernick, bluegrassers The Tallboys, singer/songwriter/drummer Terri Moeller and banjo player Dave Keenan, among others.

One of my favorite tunes on the album is Hyde's cover of the 1960 Floyd Cramer/Conway Twitty slow-dance-with-triplets hit, "Last Date."

"John brought that in," said Horvitz. "I was down with Bill Frisell in Nashville in April in this very slick hotel — gold records everywhere, a guy in the hotel lobby bar with the worst wig you've ever seen in your life and dressed in a very cheesy, 1950s style — and he was playing 'Last Date' on solo piano. It's got the most amazing set of lines: 'Set him free foolishly destiny misery/Tragedy on our last date.' "

Holcomb also hits the right tone on another lovelorn ballad, "Dues," written by Ronee Blakley for the film "Nashville."

Varmint is a ton of fun, but if your tastes run in other directions, a gorgeous recording of Horvitz's and Paul Magid's "Joe Hill: 16 Actions for Chamber Orchestra, Voice and Soloist," which premiered in Seattle in 2004, appears from New World Records in May. Songlines Records, from Vancouver, just recorded a new album by Horvitz's improvising chamber quartet, Gravitas.

And Horvitz has just completed a new album by Sweeter Than the Day, his piano-based jazz/funk/rock group.

"Why they all happened at once, I don't know," said the busy musician. "But come on out and have some fun."

Paul de Barros: 206-464-3247 or pdebarros@seattletimes.com