Mixing rough and tumble jazz with the gritty side of blues, Tin Pan offers listeners American roots music that captivates the soul. The band originated out of an innate need for music that meets people exactly where they are, providing an immediate, pure and energetic release from the everyday routine. Jesse Selengut, composer, lead vocalist and trumpet player first felt drawn to create Tin Pan after witnessing how his uninhibited style of performance differed from typical jazz presentations—his had the power to astonish and enrapture audiences with the kind of gusto previously reserved for rock n’ roll shows. Once that seed was planted, there was no question that the project would thrive.
Since their humble beginnings, the group has had the privilege of performing across America and worldwide. At the onset, one could meet Tin Pan on the street as their boisterous and booming acoustic performance easily enraptured even the most skeptical of pedestrians. Selengut’s original vision was comprised of select traditional songs. Still, the band’s repertoire has grown enormously since, culling inspiration from American songbook greats but evolving with each release into their own unique sound. Early Jazz and Americana, the first album and Selengut’s first incarnation of Tin Pan, featured mostly traditional works. While it was only their first album, Early Jazz left an undeniable mark on audiences, selling close to twelve thousand copies. Alice McNulty, their second album, brought more quirky, jazzy tunes into the mix. With their third, Hound’s Tooth, the band hit their stride, incorporating more originals, intoxicating rhythms and profound lyricism. In 2011, after releasing their successful live album Underdogs and Thundercats, Tin Pan brought together incredible guest musicians for their ultimate collage of sound in The Home Bartender’s Song Book. Having sold over 40,000 records over the last eight years, Tin Pan have just released their sixth full-length Yes, Yes, Yes. The 2015 release offers wild percussion, saucy instrumentation and even more heartfelt songwriting.
Tin Pan has been fortunate enough to have a long history of players and can be thought of as more of a collective of musicians. Originally from Massachusetts, Sam Kulik first joined in 2011 and has been an essential component to Tin Pan, working the trombone, tuba and guitar like a boss ever since. Texas native Adam Brisbin was brought on board for his bluesy and driving guitar licks while Sean E. Z. Cronin from Vancouver, B.C. lays down the smooth and sultry grooves on upright bass. While Selengut was composing and conducting for a theatrical production of Tennessee Williams’ The Mutilated, Anders Zelinski stood out as an intuitive and versatile drummer. Selengut asked him if he’d like to perform with Tin Pan and he accepted. Almost effortlessly, Zelinski joined the roster and brings a vibrant and multifaceted backbone to the group.
With this well-oiled lineup, it’s no surprise that 2015’s Yes, Yes, Yes presents a wild ride across a map of multidimensional sound. This isn’t your grandma’s swing or even your brother’s neo-art folk; Yes, Yes, Yes offers a raw and unexpected compendium for a new generation. While songs like “In a Van” and “Gambler’s Blues” border on the macabre and play with the grittier, dissonant side of blues, others like “Fat Baby” mix the sexy side of rockabilly with classic New Orleans ragtime. With every track, Yes, Yes, Yes achieves exactly what the name implies; it throws inhibitions to the wind and offers listeners a euphoric escape from the mundane. Tin Pan poses the question and answers it well: shouldn’t life always be this exciting?