I began listening to the Insect Trust in July 2024. These are the only two albums recorded by the band, which would never reform after its break up in 1971. The Insect Trust still have a passionate--if small--cult following, mostly thanks to the praise they received from famed rock critic Robert Christgau, who wrote the liner notes for the 2004 CD reissue of Hoboken Saturday Night.
The Insect Trust (1968): A-
Hoboken Saturday Night (1970): B+
The Insect Trust (1968):
Although formed in Hoboken, New Jersey by a group of amateur blues scholars (Bill Barth joined John Fahey and Henry Vestine on the successful quest into the Deep South to find Delta blues guitarist Skip James in 1964 while Robert Palmer went on to be the writer of the 1981 book Deep Blues), the Insect Trust have no interest in catering to the old guard on their self-titled debut or playing the blues in the established way. Some will point to the group's close association with the Holy Modal Rounders as the culprit but this group isn't nearly as wacky or untrained. Instead, a more apt creative kin is John Fahey, who also takes many liberties in his skilled and intellectual re-imaginations of country blues. But even a direct comparison to Fahey produces minimal similarities. Just look at the band lineup to get an idea of their unparalleled take on blues, folk, rock, and jazz: double tracked vocals from Nancy Jeffries, guitar from Bill Barth, banjo and guitar from Luke Faust, saxophone and flute from Trevor Koehler, and clarinet, alto sax, and recorder from Robert Palmer (with a rotation of guests on bass and drums). Although attempting to combine so many musical backgrounds could predictably go down like a lead balloon, their influences seamlessly amalgamate into a brand new genre of music that is held together by long instrumental passages and delightful vocal melodies from Jefferies. In the end, The Insect Trust sets flight with ease even in spite of its impressive ambition. A-
Hoboken Saturday Night (1970):
These folk-jazz-blues-rock musicians reel in their ambition for their second studio album and record an all out party jam. Opening with an a cappella number followed by the ramshackled title track then the quiet, soothing "Eyes of a New York Woman" then the hoppy, acoustic "Ragtime Millionaire" and then Koehler's lively horn driven "Somedays," it's clear that a unifying sound is thrown out the window. So is the concept of a lead vocalist. Where Nancy Jeffries took every vocal on their debut, Koehler sings a song he contributed, Faust sings his stuff too, and Koehler's six year old son joins in by the end. Despite the diverse material, the track listing nicely strings all these songs into a sequence that's a delight to tour. Where this album may trip up some people is in the beginning. While opening the album with the first two songs ultimately makes sense, it might turn off a perceptive ear to excellent work that follows. And indeed, the songs are weak enough to make this one slightly less recommended than their debut. B+
