The charm of Jeffrey Butzer emanates from the stage, his audiences often thoroughly engaged as he alternates between banter and song, jokes and serenades. It's clear he's comfortable before the crowd, an audience that grows with each show. He's become one of the city's more beloved entertainers, and as his popularity grows here, as it does abroad, as evidenced through successful recent tours in Asia and Europe.

Many attribute that growing popularity to his innovative style, one that strays from the usual four-man rock band set-up, and instead employs themes and variations that are light, though the hint of nostalgia often creeps through in a compelling manner. Known for his ambidexterity with instruments, Bützer's act often features an accordian, a bass drum and a toy piano, though the inclusion of other devices is common.

Formerly of the popular Midwives, Bützer now performs almost exclusively solo, though he is sometimes accompanied by other musicians, such as the popular Tom Cheshire.

Click here to hear his latest song, "The Case of the Unspiraled Staircase" while you read the interview below.

Pine Magazine: Can you tell me a little bit about the Midwives, and how you moved from that more guitar-driven style to the guitar-less sound you have now?

Jeffrey Bützer: Me and P.W. Shelton started Midwives years ago and always wanted a revolving line up. We had a set four-piece for a while, but then P.W. moved to Memphis for a while and my solo record came out, so we shifted into playing more of my solo music. I wanted to play as Midwives and only under my name when I was solo, but it seemed confusing, and every CD sale required an explanation

PM: Is the sound of your current solo project one that's played inside your head for a while? It's quite a diversion from the more trademark (and popular) Midwives sound.

JB: First, playing solo came out of necessity as my members were getting busy with other projects, then I started really arranging songs and building a set I could play alone. I like the limitations. When I made my first album it was a true four-track record – no studio over dubs. And I liked having rules. It made me play better.

PM: How so? By having walls in which to stay?

JB: Well, physical (as) I can only do so much with two hands and feet. So it forces me to be more creative with what to do on each song. And the walls of only four instruments per song on “She Traded Her Leg” meant I had to think a lot about how sonically I could fill up space.

PM: What prompted your choice to leave behind some of the more traditional instruments for more alternative choices like the toy piano, the accordion?

JB: I got into odd instruments when I first started writing; I learned quickly I couldn't make a guitar record on a four-track. This is when I was 19. I was really into Tin Hat Trio, Tom Waits, John Zorn and Harry Partch at the time. And I loved how diverse their instrument choices were.

PM: How long have you been playing and recording?

JB: I've played instruments since I was nine. But got my first four-track and started really writing when I was 18 or 19. Like I said, I was trying to write on guitar. But found I was more creative on piano.

PM: Why do you feel that is? What is it about the piano that lets you create in a different way?

JB: I don't know... I'm left handed and started as a drummer so I feel like I approached the piano differently. I always wanted to be an accordionist, so before I could play I tried to play piano like an accordion on the bass hand that's where my om pah pah rhythms came from. And since I don't really understand music, I play a lot of chords inverted on piano.

PM: Why an accordion? That's a fun -- but rather different -- choice for a musician, at least one in our day and age.

JB: I think it was around the time I first heard French musette (or cafe music, as it’s sometimes called) and “Rain Dogs” by (Tom) Waits. I fell in love with it. You have bass and melod; it’s easy to carry. It sounds like heaven. And yeah, I like that its old fashioned. It’s the new guitar. When I see bands pull one out, people in the audience's faces light up.

PM: It's a lovely instrument, though the polka kind of took it as its own for a while. Good thing people like you and Waits have come along. But, to me, your sound does strongly carry that French cafe sound a bit. Do you feel that adds to your international appeal?

JB: I hope so. I was worried in France because you can ride the metro and hear three street guys way better than me in a day. You should hear those guys; they'd be stars here, but there they're playing for change. I think it’s more exotic in America.

PM: The difference an ocean can make… So, how was touring abroad?

JB: It was great. The first night in Paris was crazy. Not to complain, but in Atlanta were use to half off our dinner and a few drinks but there we were served steak, wine and bread at a big table with the staff and crew. It was a lot of fun. And Hong Kong was the best experience I've had playing. The label promoted the shows so well, and crowds there really appreciate western music.

PM: You said before you could walk on the transit there and hear several guys playing a similar style. Did you feel your (at times) French-like style was well received in France itself?

JB: Yeah, they seemed to. over there they have Pascal Comelade and Yann Tiersen. So I don't think we stood out as well, but I think I have more fans in France than anywhere else.

PM: You're doing some collaboration, such as you and Tom Cheshire working together. How did that come about? And how is it going?

JB: I've bumped into Tom for years, and then in 2006, I asked him to sing at my Waits, Cave, Cohen tribute but he was unable. Then a year later, in the back of the EARL, we were saying "yeah, let's do something soon" and then six months later…

I think I'm a member of Westend Motel, if that's what he's going to call it for sure, and I wrote a song for him for my next album.

PM: To me, your styles would work in concert, so to speak, as his voice is something that might pick up well on the, at times, celebratory nostalgia you both seem to convey in your music. So I'm speaking for many when I say we're excited to see more of that.

JB: Yeah, it’s been fun. We played Friday with as a six-piece band.  I keep saying we sound like Crazy Horse meets the Bad Seeds.

PM: Overall, where do you want to take your music? Collaborations?

JB: I want to score a full length film, I've started my new album and I've talked to a few singers about guesting. One is Marianne Dissard do you know her work?

PM: I'm not familiar. Is she local?

JB: No, she's French but lives in Tucson. She made a great album with Joey Burns from Calexico.

PM: Any touring plans?

JB: I don't really want to tour America yet, but I want to go back to Europe and Asia. It feels more like a vacation.

PM: Will you be able to do that when Baby Bützer arrives?

JB: My wife and I have no plans to slow down travel when Francis is born. We’re taking him to Hawaii in March.

PM: For pleasure or for playing some shows?

JB: That's just for vacation. I’ve never heard of anyone I know playing there.

PM: There are always the resorts, though I think you'd have to incorporate a ukulele somewhere in there.

JB: I have some albums of that music... I like the lap or pedal steel guitars.

PM: See, you are already on your way! Beside Hawaii, what else is in your future?

JB: I have my CD with guitarist Claire Lodge coming out on iTunes and CDBaby, and my Charlie Brown Christmas show.

PM: What's all that about?

JB: It’s me on drums T.T. Mahony on piano and an undecided bass player playing the entire album at the EARL December 19. Last year was a blast. It nearly sold out

PM: That's amazing. Any dancing dogs? Or sad little trees?

JB: Yeah, we decorate and bring a sad tree.

PM: If you need anyone to dance around it, I'll be your woman.

JB: laughs

PM: Just saying...

JB: Well, that's my farewell for a few months. I will start playing out again in March maybe with a new band.

PM: Any hints on that project?

JB: I don't know... maybe a banjo/cello + me trio. I'm not sure, I get my heart set, and then change my mind or people are not available.

PM: Keep us posted!