Biography
The Even Dozen Jug Band originated less as a stable ensemble than as a fleeting 1964 project assembled amid the jug-band fad that marked the close of the American Folk Revival. Drawing inspiration from 1920s predecessors such as the Memphis Jug Band and Cannon's Jug Stompers, the group employed atypical instruments including kazoos, jugs, and washboards. Its unusually large roster nevertheless featured several musicians who would later achieve prominence, among them John Sebastian of the Loving Spoonful and Maria Muldaur. Although the collective performed only a handful of concerts during its brief existence, it did record a self-titled album for Elektra in 1964.
Frequently eclipsed by the subsequent accomplishments of its participants, the Even Dozen Jug Band LP stands among the most notable releases of the late revival period. In contrast to the era’s many protest-oriented compositions, the tracks “Take Your Fingers Off It” and “Evolution Mama” carried no moral agenda beyond simple enjoyment, a stance that directly challenged the revival’s prevailing earnestness. Loose, exploratory instrumental passages on “Original Colossal Drag Rag” and “The Even Dozens” encouraged listeners to dance, while the sexually suggestive numbers “Come On In” and “All Worn Out” introduced material absent from releases by Joan Baez.
The ensemble dissolved once its predominantly youthful members elected to remain in school rather than tour in support of the record. As Richie Unterberger observed in the album’s liner notes, most participants eventually found roles within the music industry: Steve Katz joined Blood, Sweat, & Tears; David Grisman established his own quintet during the 1970s; Maria Muldaur, following her stint with Jim Kweskin’s jug band, launched a solo career highlighted by the early-1970s hit “Midnight on the Oasis”; Stefan Grossman founded a guitar workshop; and Joshua Rifkin served as an arranger for Judy Collins. Regardless of later paths, every member could take satisfaction in that initial venture. Four decades on, the Even Dozen Jug Band continues to embody sass, irreverence, and sheer enjoyment. ~ Ronnie D. Lankford, Jr.
Frequently eclipsed by the subsequent accomplishments of its participants, the Even Dozen Jug Band LP stands among the most notable releases of the late revival period. In contrast to the era’s many protest-oriented compositions, the tracks “Take Your Fingers Off It” and “Evolution Mama” carried no moral agenda beyond simple enjoyment, a stance that directly challenged the revival’s prevailing earnestness. Loose, exploratory instrumental passages on “Original Colossal Drag Rag” and “The Even Dozens” encouraged listeners to dance, while the sexually suggestive numbers “Come On In” and “All Worn Out” introduced material absent from releases by Joan Baez.
The ensemble dissolved once its predominantly youthful members elected to remain in school rather than tour in support of the record. As Richie Unterberger observed in the album’s liner notes, most participants eventually found roles within the music industry: Steve Katz joined Blood, Sweat, & Tears; David Grisman established his own quintet during the 1970s; Maria Muldaur, following her stint with Jim Kweskin’s jug band, launched a solo career highlighted by the early-1970s hit “Midnight on the Oasis”; Stefan Grossman founded a guitar workshop; and Joshua Rifkin served as an arranger for Judy Collins. Regardless of later paths, every member could take satisfaction in that initial venture. Four decades on, the Even Dozen Jug Band continues to embody sass, irreverence, and sheer enjoyment. ~ Ronnie D. Lankford, Jr.
Albums