Spooky Jazz Vol. 3 isn’t just a seasonal listen—it’s theatrical swing at its most playful, full of humor and stellar musicianship.
Turtle Bay Records
Hannah Gil – vocals; Gabe Terracciano – violin; Ricky Alexander – clarinet, saxophone; Danny Jonokuchi – trumpet, theremin, arranging; Sasha Papering – accordion; Justin Poindexter – guitar; Gordon Webster – piano; Philip Amble – bass
If you’ve ever wanted your Halloween playlist delivered tongue firmly in cheek, Hannah Gill’s Spooky Jazz Vol. 3—with an album cover Dr. Demento would be proud of—is your ticket. Her Hitchcockian intro, whispered over creaking, eerie musical cues, sets the scene: this is fun, mischievous, and full of great music. The party’s starting, and ghosts, jazz fans, and swing dancers are all invited.
The opener ‘Spider in the Web’ is mischievous. Webster’s piano sets a lively groove while Terracciano’s gypsy-jazz violin twirls around Ambuel’s bouncing bass, with Gill’s vocals twisting effortlessly between growling power and delicate softness. Ricky Alexander’s slinky sax, Justin Poindexter’s rock-tinged guitar, and Danny Jonokuchi’s trumpet all weave through the melody. It’s clear from the start that Gill has surrounded herself with a band of equals—their playing is as compelling as her singing.
The mood deepens with ‘Old Devil Moon,’ where Webster’s piano strolls in over bass and drums, laying a sultry, teasing foundation. Gill pulls at the phrasing, leaning back on the beat in an intimate, conversational way. Her voice hints at Peggy Lee and Chris Connor’s cool elegance, yet she can also summon the raw, bluesy power of folk singers like Judy Henske and Barbara Dane.
The middle section explores contrast and texture. ‘The Richest Guy in the Graveyard’ embraces the blues, with smoky vocals, fluttering violin, and Webster’s laidback, greasy solo spiced with quick flourishes in the upper register. ‘Moon Ray’ slows the pace, offering a dreamy, delicate soundscape where Gill’s softer, almost coquettish vocals glide over subtle percussion, lyrical violin, ringing guitar, and a gently walking bass.
The camp factor kicks into high gear on ‘I’m Gonna Haunt Ya,’ with blaring horns, pounding drums, and quick-hit solos from violin, piano, sax, and trumpet—and Gill overdubbing her voice to channel the Andrews and Boswell Sisters. ‘As Long As You Live (You’ll Be Dead If You Die)’ keeps the energy high with a brash horns and an oom-pah rhythm. ‘My Friend the Ghost’ continues the playful spookiness, its theremin, piano, and bass bouncing on a repeated phrase while Gill trades merry call-and-response with the band. ‘He’s a Demon, He’s a Devil, He’s a Doll’ eases into a relaxed swing, with Gill leaning into storytelling vocals that echo the playful, theatrical style of Betty Hutton, who originally recorded the song in 1950.
The final act brings romance and soulful drama. ‘Boulevard of Broken Dreams’ opens with Sasha Papernik’s accordion and Terracciano’s violin, framed by lyrical bass and warm guitar that support Gill’s tender, expressive vocals. ‘Wolves in the Tree Line’ closes the album with a gritty, rock-tinged drive, underpinned by a bluesy, melodic organ. Gill plays with phrasing, pulling and pushing against the beat, punctuating the story with a couple of well-placed growls.
Terracciano’s violin and Poindexter’s guitar trade fiery solos, the guitar leaning into a rockier, distorted tone.
Spooky Jazz Vol. 3 isn’t just a seasonal listen—it’s theatrical swing at its most playful, full of humor and stellar musicianship. Gill’s vocals twist, growl, and whisper with effortless control, while the band brings Danny Jonokuchi’s lively arrangements to life. As Gill puts it, “These projects are a reminder to be silly, have fun with jazz and not take myself too seriously. It amazes me that I’ve now made three of these silly, delightful records.” Whether dancing, sipping cocktails, or enjoying the macabre from your couch, this album proves jazz can be sophisticated, playful, and just a little bit spooky.
