Tony Pringle cornet/vocals, Billy Novick reeds, Stan Vincent trombone, Peter Bullis banjo, Moishe Feldman piano, Jim Gutmann string bass, Bill Reynolds drums.

by Peter Gerler and Marce

November 22, 2015, Framingham, MA. The New Black Eagle Jazz Band brought their romping classic New Orleans Jazz to Ken’s Steak House and were greeted by a colony of loyal fans. They came from all over—New York, Connecticut, even London—including many from the former Sticky Wicket. Marilyn Charkins, present in the house, was in her 20’s when she first heard the NBEJB at the Wicket.  Elizabeth Mazza sold CDs at the breaks.

Ruth Schwab was there, driven by Joe Grassia. Ruth’s husband Walter created the first Black Eagle CD in their cellar. The Bob Chicoine family was here celebrating Bob’s birthday–his fervent wish. Artist Joe Mathieu accompanied them; he created our logo and has illustrated many Jazz CD covers. This band has faithful, steadfast friends.

 

 

 

 

They started the set with a prescient When I Grow Too Old To Dream, then Special Delivery Blues, Jim bowing bass for the first time of many.

 

 

 

 

Of Jelly Roll Morton’s Froggie More Blues, Tony Pringle said the title was supposedly taken from a contortionist who did frog imitations. (On the other hand, there is a corner of Joe “King” Oliver’s hometown, Donaldsonville, LA, known as “Froggie Mo’”) Pringle played lovely muted cornet (as did Oliver), underscored by rollicking piano and rhythm from Feldman,  Pameijer, Guttman, and Reynolds.

 

 

 

On Roaming, Billy Novick rendered some great alto sax. The tune was recorded by Luis Russell’s Band in 1930, with Henry “Red” Allen on vocal.

 

 

 

Stan’s trombone was featured on Ain’t Misbehaving, along with a Pringle/Feldman muted cornet/piano duet. Guttman and Reynolds followed, laying down fine bowing against soft brushes.

 

 

Following Cole Porter’s It’s All Right With Me, the band rolled out Paul Barbarin’s New Orleans chestnut Bourbon St. Parade. Second liners with parasols were nowhere in sight. We’ll have to fix that!

On Sam Morgan’s Bogalusa Strut, Novick played dance-step angulations, his solo echoing the original from Morgan’s 1927 New Orleans recording. Moishe’s piano threw gossamer over the heat.
 Morgan’s band was first in New Orleans to record spirituals in jazz time—a marker, since the black church was a crucible for swing.

This band is one of the few that still plays authentic traditional jazz as it was played in 20s and 30s New Orleans.  Leader Tony Pringle is adamant that this beat be maintained, which is what these people come to hear – tight ensemble and challenging New Orleans polyphony.

 

The band has just begun its 45th year.  The original members, still with the band since 1971, are Tony Pringle, cornet and leader; Peter Bullis (still wearing red socks), banjo and manager; and Stan Vincent, trombone.

Bill Reynolds started subbing on drums when Pameijer moved to Connecticut, but Pam pops back in for special occasions.  Billy Novick arrived in 1986 and has had a big influence on the band.

 

 

 

 

Sitting in were Jim Guttman on string bass – he plays regularly with Novick at Gloucester’s Franklin Cafe –and pianist Moishe Feldman. Moishe revels in being part of it, his hands evoking soft riffs and touches, giving distance to the soloists. It’s a perfect, conversational alliance.

 

 

The last set was a short one. On Ellington’s Rent Party Blues from 1929, Billy’s alto sax echoed Johnny Hodges’ lyricism, while Stan’s trombone evoked a New York City nightscape. Swaying at the keyboard, Moishe answered the band’s every move.

 

They closed with a fine solo by Bill Reynolds—one of New England’s best trad drummers–on the barn-burning Weary Blues. The Black Eagles have always burned that prairie fire—no different here. The tune symbolizes the New Orleans polyphony.  A 1978 recording has the Louis Nelson Band with Butch Thompson, Sammy Rimmington, and  Danny Barker, all of whom have played with the Black Eagles at one time or another.

Danny Barker, along with Tommy Sancton, were the last guests to play at the Sticky Wicket – it closed the next day, November 1990.  But the New Black Eagle Jazz Band continues with concerts all over the country, and the support of faithful fans.