The bursting of the American ska bubble really made it difficult for groups to carry on past any point in the late ‘90s. And most of the folks touring and playing this type of music now aren’t doing so in the same configuration as just a decade ago. Band’s life spans have been drastically affected – it’s not anyone’s fault, but playing ska (or at least incorporating that style into one’s work) doesn’t really garner any extra gigs nowadays.

Members of the Debonaires, though, have been together for almost fifteen years at this point. Of course, they’ve a rather diminutive back log of recorded work, but what’s there is easily comparable to any stalwart’s work in the genre. Each player though is occupied otherwise – lead singer Kip Wirtzfield has done a bit of time in various other local ska-punk bands.

The Sound (yes that needs to capitalized) of the Debonaires is equal portions ska and reggae, soul and funk. While Hepcat incorporated longue into their work pretty successfully, the Debonaires are able to insert a helping of American styles via funky drumming, constant comping keyboard and Wirtzfield’s more than versatile vocals. Even a superficial listen to “Right Hand Man” from the group’s 2004 album Longshout displays ample soul and jazz chops that not too many acts can touch at this point in time. Westbound Train might come off a bit smoother – their vocalist is also more of a crooner as opposed to the soul shouting that accompanies much of the Debonaire’s music, whereas the Aggrolites intend to be a stripped down, rugged ensemble in a way that the jazzbos that make up the Debonaires wouldn’t ever consider.

The overt soul touch on top of the band’s Jamaican influence is only exaggerated live, where the Debonaires have been known to cover “Champ” by studio phenoms The Mohawks. It seamlessly fits in along side the self penned songs touching upon relationships – both personal and political, although the later isn’t delivered in a bothersome manner.

With ever shrinking markets and people having little (or no) money in their pockets, the Debonaires have sought to release music on a few different labels. Local, to the band at least, is Rivercidal Records. But more well known is Chicago’s Jump Up Records. Helmed by Dee Jay Chuck Wren, 2005 saw the band and the label work out the release of Longshout, which just post dated their first national tour with stops everywhere from Cleveland to D.C.

Waiting such a long time after founding the group to tour extensively probably didn’t benefit the Debonaires. But their warm reception at every stop should have perhaps suggested that subsequent tours could be mounted succesfully. Unfortunately, that hasn’t occurred as of yet.

But counting ten members in the band, when taking into account that ska isn’t really the most financially viable niche to work in, probably makes touring even more troublesome. The persistence – and moreover, the dedication – to this musical style, though, comes across rather easily after just a brief listen to any of the band’s work.