Ani DiFranco
To The Teeth
On Sale Now
For $12.48

Out of the clouds and mountains of upstate New York, Righteous Babe studios has dropped another Ani DiFranco gem upon us. The strength of all 13 tracks certainly live up to their album’s title, To the Teeth (Righteous Babe).

On the CD’s opening and title track, "To The Teeth," Ani sheds a sympathetic light on the rash of kids shooting up their schools. She finds a better target in the institution of suburbia, the accessibility of weapons, and today’s media, which has no problem mentioning movie stars and mad-men in the same breath. She sings, "Some boy gets the milk-fed suburban blues, reaches for the arsenal and saunters off to make the news. Look where the profits are that’s how you’ll find the source." All the while Julie Wolf’s organ and accordion combine with Kurt Swinghammer’s atmospheric guitars to create a soundscape similar to a bagpipe funeral song. A new-found funk and jazz influence is heard at the tail end of this predominantly somber track with Brian Wolf’s trailing, happy-go-lucky, if not disjointed, trumpeting.

"Soft Shoulder" and "Going Once" are letters to a person that could be Ani herself, a passerby, or a loved one; both are enhanced by the ambiguity. What distinguishes "Going Once" is the arrangement. A full band and a tight horn section consisting of Irvin Mayfield and Mark Mullins play behind DiFranco. She resurrects the late, great Ella Fitzgerald on the tune, displaying a mastery of jazz vocals that deserve more exploration.

She continues the jazz mission on "Back, Back, Back," demanding, "You better put some beauty back, while you got the energy." Throughout the song she skillfully uses the repetition device in the title.

Famed saxophonist Maceo Parker makes his first appearance on "Swing," adding levity to the breathy chorus, "Are you weary as water, in a faucet left dripping, with an incessant sadness, like a sad record skipping." DiFranco’s voice gravitates to the sax on this piece, going up a few octaves higher than normal and staying there. This refreshingly light tune further stretches the spectrum of To the Teeth.

In the CD’s most uplifting and surprising song, "The Arrivals Gate," Jason Mercer’s bluegrass banjo combines with—of all things—a jungle beat, creating a fast-paced backdrop for Ani’s ode to people’s behavior in airports. She cites the excitement of public affection, children’s arms outstretched for grandpa’s necks, mother’s smiles and the transformation of family dogs into dancers.

"Providence" is a love letter that went sour, Anied to perfection and personified by the lines, " It’s a narrow margin, just room enough for regret, in the inch and a half between hey, how ya been? And can I kiss you yet?"

To the Teeth’s swan song is a slow, soft lullaby to an old drinking hole. She puts you right in there with references to blinking Christmas lights, a clouded mirror, and a sweet-faced barkeep by the name of Grace.

Ani DiFranco’s new offering is worthy of a road trip, a break up, or a wake up. Her versatility amazes and her song writing reputation precedes her. How she exponentially grows as an artist befuddles, but we are thankful she does.

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