Willie Nelson certainly has worked in more unexpected contexts over the years – not least of which was his thoroughly surprising and just as thoroughly enjoyable turn alongside Wynton Marsalis at the Lincoln Center. There have also been other, occasionally unfortunate duets with pop singers, reggae guys, and rappers, too. So, Willie and The Wheel,” a recording with Western swing preservationists Asleep at the Wheel released on February 3, 2009, boasted the warm feelings of homecoming.
“Sweet Jennie Lee,” the amusing “I Ain’t Gonna Give Nobody None ‘o This Jelly Roll,” Bob Wills’ familiar “Bring It On Down to My House” and the fiddle-driven “Right or Wrong,” for instance, followed the larger band’s easy-going syncopations. It was sweetly nostalgic, lightly grooved, always a great time. But, and this was odd for Willie Nelson, no real surprise.
Sure, Nelson’s most recognizable sound – a high warble that lives a bit behind the beat, all jazz even with the country content – isn’t all that far away from Western swing, the jumping hillbilly string music that swept through the American Southwest during the Great Depression era of the 1930s and ’40s. That’s no doubt why this project was first proposed decades ago. Legendary producer Jerry Wexler wanted to make Willie and the Wheel when both bands were under contract with Atlantic Records.
Before the idea came to fruition, however, Willie Nelson left for another label and it was shelved. Still, settling for a rote retelling might have sated the folks pining for Wills’ signature sound. But it wouldn’t have been nearly as interesting as Nelson’s more recent collaborations, even his failed ones. He’s become one of his generation’s most interesting recording artists by untying the seams that bind his influences – then exploring where those legacies eventually led.
Which is why I was so thrilled to find that Willie and the Wheel continued this fascinating journey, with an important assist from Asleep and its frontman Ray Benson. Wider influences for both principal artists were plumbed on this superlative 12-track set – beginning with the opener, “Hesitation Blues.” It was a skittering joy, recorded in Dixieland time and featuring a call-and-response lyric in the Delta style.
“Sitting on Top of the World” (this cool boozy remake with Asleep vocalist Elizabeth McQueen) and a countrified “Corrine, Corrina” went deeper into the blues canon, marrying the two principal influences in American popular music. “Fan It,” a brassy juke, charmed in the style of a New Orleans side-street marching band, but (of course) with a frisky steel guitar solo by Eddie Rivers. “Shame” and Bennie Moten’s instrumental “South” (the latter including Paul Shaffer and Vince Gill) sounded like a trip east out of Texas down I-20 – featured both turnrow picking and a gravelly R&B soul.
At 75, Willie Nelson’s off-kilter (for country) phrasings – not to mention his equally off-kilter musical sensibilities – ended up belatedly finding a perfect foil in the note-perfect professionalism of Asleep of the Wheel. By turns reverent and then rambunctious, Willie and the Wheel was a very fun ride.
Somewhere, Jerry Wexler – who passed away while the sessions were underway – is kicking up his heels.
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Wow! Thanks for a great review and thanks big time MUCH for adding the Letterman clip.
These joyful men of sound sure do know how to rock my world!