by Marce
Monte Carlo front line, Bob MacInnis, Blair Bettencourt, John Clark
This isn’t Traditional Jazz. As the name implies, it’s Ensemble. Emphasis is placed on the musicians working together, and their chemistry was there from the start. Musicians tonight were Bob MacInnis cornet/flugelhorn, Blair Bettencourt clarinet and soprano sax, John Clark alto sax and clarinet, Robin Verdier piano, Bill Reynolds drums, and last, but certainly not least, Albie Bernard on that monster tuba.
Robin Verdier meticulously picks every tune and arrangement like a painter creating a complex masterpiece, and re-creates the dance bands of the 1920’s. (see complete listing at the bottom). Butt it’s still fresh and harmonious in the hands of these talented New England musicians.
Robin rolls up his sleeves, sits at the piano with his back to the band. There is powerful stride and solid interplay between both hands.
He leads.
He blends together new ideas and constantly refreshes the material.
It was very different from his Slide & Guide September of 2010 or the Frabjous Fall Fling of November 2011.
It was different from the beginning. If Dreams Come True featuring two clarinets, with MacInnis first on Flugelhorn and then cornet, ensemble sounding off like chimes.
How Am I To Know? Robin inserted a Stan Kenton piece of Eager Beaver that fit very nicely in the middle……
….perfect tempo for Dr. Dave and Helene – who love to dance!
Irving Berlin was one of the most prolific composers. His C U B A was not exactly PC:
Cuba, where wine is flowing
And where dark-eyed Stellas
Light their fellers’ Panatellas
Albie gets a rare solo on this one.
My Dreams, by another one of Robin’s favorite composers, Tiny Parham. The front line is absorbed in Robin’s intricate arrangements. They get it right – and there are smiles all around, especially on Robin, and sighs of relief from the band.
Blaire played soprano sax with passion and intensity on Sidney Bechet’s Southern Sunset. We hadn’t heard him for some time. In the late 70’s, some of us were dancing to the Yankee Rhythm Kings in the back of New England Life Hall in Boston, with Blair on reeds.
He retired in 2006 after 36 years as Music Director and Coordinator for Westford Academy, and still maintains an active schedule as a performer on clarinet and saxophone. It was a special treat having him back!
The first set ended with a Fats Waller tune, that he never actually recorded but just about everyone else did, Come on And Stomp, Stomp, Stomp. Great upbeat tune!
The Sherborn Staff took this opportunity to surprise manager Phil Cocco with a Happy 75th birthday cake. It was Phil who welcomed The Blue Horizon Jazz Band, and other Traditional and Dixieland Jazz, to the Sherborn Inn over 17 years ago.
Phil’s wife and family were gracious enough to share him with his other “Jazz Family”. We all enjoyed the delicious cake!
Back to business – Bob MacInnis gave a gripping performance that touched everybody on a complex arrangement of Oriental Blues. Hearing that Bob MacInnis is back from Florida is like finding a treasure every spring.
But he’s actually been back since mid-April, in time to play with the New Liberty Jazz Quartet at the Red Sox opener, as well as the 100th anniversary of Fenway Park, and also in parades in West Roxbury, Arlington and Lexington. He doesn’t waste much time; he plays every night in Naples Florida!
Shadows on the Swanee was relatively modern for this Ensemble – 1932. Lost1936.
Lena, Queen of Palesteena – latin beat –
Robin temporarily moved to tambourine.
Lu Watters, Yerba Buena Strut – ensemble intro, nice clarinet by Blair, and Clark on alto sax. (Yerba Buena is a small island outside of San Francisco. )
Time was running out. The third set had a combination of two tunes, Quincy Stompand Blame it on The Blues. Then two ‘Crazy’ tunes in a row, Crazy ‘bout My Baby, with ensemble intro, then sax, cornet, clarinet solos, backed by Billy’s rim tapping on the drum and Albie’s tuba covering the bass lines. (This was the first time they’ve done it.) Next, Crazy Rhythm, for these jazz musicians, is inescapable.
And of course, you can’t go back to the 1920’s without theCharleston!
Nancy Carter, from North Easton, performed it flawlessly.
Sonny Clay’s Cho-King – MacInnis used his hand for a mute on cornet, with the clarinet and sax comping. Bill Reynolds on choke cymbal. Perfect!
Reynolds is a long time jazz drummer on the Boston scene, he plays regularly with the New Black Eagle Jazz Band and is a faculty member in the jazz program at the University of Connecticut.
He’ll be one of the guest artists at Jazz Vermont Band Camp for Grownups August 12-17th at the Mount Snow Grand Summit Resort in West Dover, VT.
Finale – running out of time – Mule Face Blues started in a frenzy – Robin playing rapid stride, John Clark intense on alto sax, ensemble building momentum, the whole band was running WILD!
These were the Roaring Twenties, and we were there, if only for a brief moment. This was a fitting ending to a pleasurable trip back in time with our favorite Historian and his Monte Carlo Jazz Ensemble.