Tony Pringle leader/cornet, Stan Vincent trombone, Billy Novick clarinet and alto sax, Bob Pilsbury piano, Peter Bullis banjo and red sox, Jess Williams string bass, Bill Reynolds drums
Starting into their 43rd year this month, the NBEJB still has it – the Traditional Jazz that draws crowds. Everybody was elbow-to-elbow at the Sherborn Inn’s Wednesday luncheon, just like the old days at the Sticky Wicket. People were bussed in from Senior Centers and enjoyed the Inn’s fine food and especially the music. There were still some Stickey Wicket ‘regulars’ here, loyal fans, who have followed the band for all those years.
Part of crowd at the Sherborn Inn’s luncheon
The Band played many of their old chestnuts, Tony singing When Your Hair Has Turned To Silver. I’m Travellin’ – Jesse Williams is the newest member; he injects new vigor into the band. (He was probably beginning first grade when the band started at the Wicket.) Louisian-I-A, Tony on vocal.
Scott Joplin’s 1920’s ragtime by Arthur Marshall – Kinklets, is actually a pre-jazz number published in 1906. They didn’t improvise but Pilsbury played it as a fine ragtime number, Jesse bowing the bass.
Earl Hines 1930’s Rosetta. Together. Duke’s East St. Louis Toodle-oo, Billy on super sax. Mahogany Hall Stomp.
Jesse Williams slapping bass
Billy’s incomparable tenor sax was featured with the Rhythm Boys on Body and Soul. Peter’s plink, plink, plink, banjo maintaining the Trad Jazz Beat, and still wearing his red sox. (The Boston Red Sox won the World Series Pennant Race a week later!)
Billy featured on Body and Soul. Note Peter’s red sox.
Stan Vincent solo on Old Rugged Cross
Jesse’s string bass echoed Peter’s banjo on Old Rugged Cross. Bill’s soft, skillful drum roll backed Stan’s fine tailgate trombone solo.
They finished with another Sticky Wicket chestnut – Panama. Two hours went by too quickly!! The crowd loved every minute of it!
The Eagles will be back here at 7pm on their usual 2nd Thursday of the month, November 14th. Check out their site and available CDs at http://blackeagles.com/.
The Sherborn Inn lunches are held on the 2nd and 4th Wednesday of the month, 11:30am-2pm. Good deal: Great music, 3-course luncheon, tax and gratuity, complete for only $25.
A few basic rules of the road can help informal jam participants get fair playing time and enjoy a harmonious, fun experience.
Here are a few procedural guidelines that have proved to be helpful at our Lincoln jams. (They are called “guidelines” because they are intended to be a flexible framework.)
1. PLAYLIST:
We play from a playlist chosen by the players’ voting ahead of the jam. This gives participants a chance to choose the tunes they would like to play and it gives those who want to prepare time to do so. It also saves valuable playing time at the jam which would otherwise be spent on negotiating what to play next and in what key, etc.
2. TAKING TURNS:
(a) Pianists:
· Typically, more pianists tend to show up than for any other instrument, and since only one can play at a time the result is they all end up getting too little playing time and go home dissatisfied.
· To avoid this, we designate pianists for each jam, notified in advance, and rotating from jam to jam.
· Undesignated pianists who show up do so knowing that they might not get a turn, depending on whether the designated have gotten adequate playing time (usually defined as three 3-tune sets).
· Pianists rotate every 3-tune set.
· Unless we have someone present who is willing and able to count in and lead, it is up to the pianist to play a lead-in.
(b) Other instruments:
· No more than 2 of the same instrument to be on stage at the same time. (No playing from off-stage.)
· If more than 2 players of an instrument show up, they rotate so as to give everyone fair playing time.
· There is a limit to how many pairs of instruments can be on stage at the same time, e.g. 2 clarinets + 2 banjos is OK, but 2 saxes + 2 trombones + 2 trumpets is not.
(c) Vocalists:
We try to slot singers in for up to 3 (non-consecutive) songs, preferably from the playlist. Because vocalists generally don’t sing in the usual keys, the question of who is going to accompany a singer is worked out beforehand.
3. SOLOS:
· Too many solos per tune means too much repetitive accompanying for others in the band, and too much time waiting for a turn for those sitting out, so we generally keep it down to 4 one-chorus solos per tune.
· In the absence of a leader, before we begin a tune we decide who the 4 soloists will be and the order of solos.
· A one-chorus vocal by someone who is not primarily a vocalist may be substituted for one of the solos.
· Feel free to trade 4’s, 8’s, split solos, extend solos on 12-bar blues, etc
4. GENERAL:
As everyone knows, it is vital to listen to and respect what others are doing. Without clear communication and co-ordination the result can be a cacophonous clashing of discordant sounds as individuals go off on their own, out of sync with each other, playing conflicting riffs, losing the tempo, soloing out of turn, stepping on each other’s solos, etc.
It helps if players offer feedback between tunes. If you feel something is wrong, say so, so we can fix it. (Or, if you prefer, have a one-on-one private word with an individual player.) If you feel a tune went well, tell everyone so we can repeat what we were doing. And praise a soloist for an especially hot solo if you feel like it. Help foster amicability and mutual respect. It will come back to you
The Frenchman, by Barbara Boudreau (Boudreau Jazz)
The Frenchman can be found at the following locations:
The Bookstore, 61 Main St., Gloucester – (978) 281-1548 Toadhall Bookstore, 47 Main St., Rockport – (978) 546-7323 Sawyer Free Library, 2 Dale Ave., Gloucester, MA – (978) 281-9763
Rockport Public Library, 17 School Street. Rockport, MA – (978)-546-6934
and at the links below the review.
Now, I need your help!!! Help! Reviews are very easy and quick to do, and they make a huge difference in the exposure of the book. Before I got some reviews, when I searched for “The Frenchman” on Barnes and Noble and Amazon, I had to search for it among many other books that included the words, “The Frenchman.” Now it comes up first. I don’t know exactly what that means, but it’s good news! Please, please go in (after you have read the book) and give me a review. If you hated the book, please email me and tell me you hated it and why, or call me – but skip the review, OK? 🙂 Certainly, if you have issues with anything I have written (continuity, details), please let me know. I can make changes, after all, and as Tom Clancy said, “Fiction has to make sense.”
Thank you for supporting the arts that we all desperately need. Our world is becoming increasingly insane, and a good story takes us away from all of that.
Barb
Quick look:
Robbery, escape, rendezvous, pursuit and romance all season “The Frenchman ” as Jean LaChance, running from his criminal past, finds solace in the isolation of the bleak California desert. There, in search of the money he and his unscrupulous partner have stolen, LaChance instead finds Lilly Parsons and her children. Over four days they forge a sense of belonging for the first time in their lives, loneliness and despair begin to melt away. This bond of trust is seemingly broken when Lilly flees with the children, unaware that the money is in the trunk of her car. Now LaChance is in determined pursuit of the woman and children he has grown to love, but he is unconvinced of their motive for leaving, taking the money and sending the cops. What will he do when he finds them?
Early praise for The Frenchman:
From the beginning of this fantastic novel through to the end, it holds you on the edge of your seat, not letting go…. for anything.
This review is probably going to be very short, for the simple fact that this book is so good there isn’t really much point at all trying to review it.
The characters… are perfect. We love and hate the main character at the same time – almost reminiscent of the film The Prestige, in which our opinion of the characters are always changing. The language used in the story is lush and ingenious, and that is what held me in its grip. – Josiah Morgan, The Review Hutch
Bottom up – Bob Barta, Bill Reynolds, Jeff Barnhart, Daniel Barda, Alain Marquet, Noel Kaletsky, Ian Frankel, Emily Asher, Freddy Vigorito, Tom Palinko, Gordon Au, Lou Bocciarelli, Joel Schiavone, Albie Bernard
By Sue Finn Pictures by Sue Finn and Marce
Daniel Barda and Alain Marquet
It was wonderful to have Daniel and Alain there all the way from France to perform for us. How they did it through the jet lag is beyond me. I was particularly impressed with Daniel’s ‘Ory’s Creole Trombone’. I was sitting close enough to hear him say that he had no warning that he was going to be asked to play that – amazing! And hearing Alain & Noel together was magical – especially ‘China Town’.
I thought the addition of the Friday night concert was a cool way to give us all a chance to hear D & A in depth. Nice touch having Bill play washboard on ‘Washboard Wiggle’ – wonder if it made them feel at home!
Paris Washboard, with Bill Reynolds on washboard
Saturday afternoon started the weekend ‘proper’ with the full contingent of super-talented musicians, in various permutations for all of the two days. There were many different styles.
Emily Asher and Daniel Barda
Some highlights: ‘Mood Indigo’ with two trombones,
Fred Vigorito and Gordon Au
‘Cakewalking Babies’ with trumpet and cornet,
‘Bogalusa Strut’ and, of course, ‘Joel’s Banjo Frenzy’ sing along with Noel being a good sport and playing a banjo again – although he always says he won’t!
Joel’s banjo sing-along
Noel Kaletsky on banjo
The finale for this set was ‘South Rampart Street Parade’ with 11 of the 14 musicians joining in.
Finale Saturday 4pm
The ‘history lesson’ on Saturday evening was very informative and something new (I think – I wasn’t at the 3rd House Party so Jeff may have done it there). In my opinion this set included some of the best music of the weekend, including the aforementioned ‘Ory’s Creole Trombone’. I was surprised at the bebop number – definitely learned something there. I always thought bebop was like swing and the dance similar to jitterbug. Needless to say this trad jazz fan didn’t like it but it didn’t sound as if Jeff expected anybody to! My favorites from this set were: ‘At a Georgia Camp Meeting’, ‘At the Jazz Band Ball’, ‘Stevedore Stomp’ & ‘Big Bear Stomp’.
Saturday night Finale
Sunday brought more wonderful music – where do they get their energy?? – and included some novelty numbers – ‘Down in Jungle Town’, ‘A Chicken Ain’t Nothing But a Bird’ and the (unplanned) ‘Rooster Song’ solo by Jeff. Also another sing along. In this set I especially liked ‘Limehouse Blues’,
Gordon sings
‘Happy Feet’ with Gordon singing, Jeff & Ian’s piano duet and the grand finale of the weekend with ALL the musicians playing ‘High Society’.
Volunteers served delicious meals
Can’t end this without a mention of the volunteers – they are amazing, working quietly, mostly behind the scenes and making sure it all runs smoothly and everyone has a truly memorable weekend.
Now we all have to be very patient and wait until October, 2014 for the next one! We are SO lucky to be able to hear such talented musicians play amazing music just for us…………
>From Marce: List of 16 hours of Tunes!
Eric’s videos are in the works, there will be more on this later. If you were a witness to this marvelous weekend, please share your comments with us. Send to marce@nejazz.com.
I’ll See You In My Dreams
Comments: Eric Devine:
“It’s hard to put into words the feeling I have when I’m at Jeff and Joel’s House party. I find myself literally surrounded by incredibly talented musicians and enthusiastic fans who all like what I like. It feels like a big Trad Jazz family reunion in some ways. This house party (number 4) may have been the best yet. It’s hard to say this because each party has been exciting, fun and unique, but the addition of a Friday night show with Alain Marquet, Daniel Barda, Jeff Barnhart and Bill Reynolds was really spectacular. On Saturday night Jeff narrated a 50-year history of jazz that was interesting and funny. There were so many great moments from this party, from the comedic interchange among musicians to the really hot tunes to the conversations with musicians and other fans. I am grateful that Jeff, Joel and all of the house party volunteers find a way to make this party happen and I look forward to the next one.”
Marilyn Snow:
“What a great weekend–jazz heaven. Loved the music (such great talent) and the surroundings, food, and company, all just wonderful. What a marvelous concept.”
Fred Vigorito, cornetist: Thank you Joel Schiavone and Jeff Barnhart for a fabulous, fun filled weekend of hot Jazz! Thank you Glen and Carol Ott for the delicious food! Over 200 Jazz fans enjoyed the sounds of 14 talented musicians giving it their all. Thank you, volunteers. It couldn’t happen without you! This was so much fun! Playing with Daniel and Alain of Paris Washboard! Sharing the trumpet slot with Gordon Au. Working with trombonist Emily Asher, drummers Bill Reynolds and Tom Palinko, bass man Lou Bocciarelli, clarinetist Noel Kaletsky, banjoists Bob Barta and Joel, tuba man Albie Barnard, pianists Jeff Barnhart and Ian Frenkel. You should have seen and heard Jeff and Ian’s duet, with one piano! Sad to see it all come to an end, but the good news is that it will happen again next year, Oct 11 and 12, 2014. This will sell out for sure, so buy your tickets soon! Go to: www.jeffandjoelshouseparty.com“
Dave Whitney Quintet with special guest Christine Fawson
The Amazing Things Arts Center is the best place to listen, and really hear, two master trumpeters; marvelous acoustics. It just doesn’t get any better than this, Christine Fawson and Dave Whitney, twining around each other on trumpet or vocals – they have synergy, supported by the fine rhythm section of Jon Wheatly guitar, Mark Carlsen bass, and Reid Jorgenson drums. Dave and Christine never sounded better! What a great way to spend a rainy afternoon!
New England’s Dean of Trumpeters, Dave started first, backed by the rhythm section, on a Rose Room, circa forties’ era Jazz and Swing tune. He focused on Louis Armstrong, singing an early 1932 Louis’ That’s My Home. Down In Honky Tonk Town Louis recorded in 1940.
Jon Wheatley on acoustic guitar
Louisiana featured Jon with special vamps on ‘agnostic’ guitar.
Besides being a Talented soloist, Jon is a great team player laying down beautiful chords and keeping solid time.
He has a great capacity of repertoire, being comfortable in everything from Dixieland to modern jazz. He has listened to many great guitarists: Eddie Lang, George Barnes, Barney Kessell and Herb Ellis to name a few but has his own personal style.
Christine lets it all out
Dave introduced the talented Christine Fawson singing an upbeat Irving Berlin tune on this dreary, rainy day, Blue Skies.
Christine added some of Ella’s inventive scat-singing on Do Nothing ‘Till You Hear From Me, with Dave behind her on muted trumpet. Their passion for this music is infectious.
Reid Jorgensen’s plays soft drum with his hands
Charlie Chaplin’s favorite, Smile is a song based on an instrumental theme used in the soundtrack for the 1936 Charlie Chaplin movie Modern Times. Chaplin composed the music; he would have loved Christine’s vocal, backed by Reid playing softly with just his hands, on the drums.
This is Christine’s theme song – Don’t Fence Me In. She likes Cole Porter’s lyrics and chord changes “They don’t write like this today.” Celestial trumpets played sweet harmonious sounds, Dave taking the melody first, Christine counterpoint.
Dave and Christine in sync on trumpet
We all know Tangerine from Herb Alpert’s Tijuana Brass Whipped Cream album; fabulous, with Reid’s drum tapping on snare drum.
Mark Carlsen
Mark has a history of playing with the new Tommy Dorsey Band led by Buddy Morrow. He is also a great team player, laying down beautiful chords and keeping solid time. He’s an excellent soloist, but prefers to take only one or two choruses on a tune, instead giving the group great bass lines and working flawlessly with Jon and Reid.
Here he is backing Dave’s vocal on Irving Berlin’s Marie.
Christine was back with a smokin’ Avalon – from her CD. Glorious trumpet duet, with Chris and Dave taking turns singing.
Christine took a break. Dave returned with the rhythm section. He latched on to Putting All My Eggs In One Basket from Cape Cod’s cornetist Ruby Braff. I Can’t Get Started, from Mister Trumpet – 1937 Bunny Berigan, the tune that put him on the map. Dense interplay between trumpet and guitar.
Dave and Reid have been together for many years, in Dave’s Big Band and small combos. Reid’s brushwork is weighty, but particulate – he listens. He was featured on a good ol’ good one, Found a New Baby.
Reid Jorgenson
Jon Wheatley, solo, on Slow Burning
Jon’s flowing finger work and sounds were featured on his solo of George M Smith’s Slow Burning.
Dave called Christine back. Reid’s drumming softly complemented Christine’s soulful scatting on I Could Write A Book.
She put heart and soul on In The Wee Small Hours of The Morning, revealing her own singular, personal style. Video by Harold McAleer.
Louis did this one with Velma Middleton, You’re Just In Love. Dave and Chris played trumpets in harmonic syncopation, then sang totally different choruses from the tune – at the same time.
Christine teaches at the Berklee College of Music and also sings with the vocal jazz group, Syncopation. She said she’s learned so much from watching and listening to Dave play. Obviously.
They closed with the Trad Jazz “National Anthem”, The Saints. It was a warm, friendly afternoon of fine Jazz and Swing; it was a real pleasure being here and listening to these virtuoso musicians!
We never know when they will get together again, but you can bet it will be on the www.nejazz.com calendar!
Seacoast Stompers (with videographer Harold McAleer)
These musicians love making music, playing Jazz, and this audience loves listening to them. It’s a symbiotic relationship – and never gets dull. You never know what will happen next. The Seacoast Stompers do not repeat songs – Frank Stadler has kept a list of every song they’ve played at the AJC in the last five years, so the tunes are seldom repeated.
Surprise! Frank announced that this afternoon they would be doing EXACTLY the same set list as their first gig, 5 years 3 months ago at The Acton Jazz Café. Then it was at night at 452 Great Road, a six-piece band, with Frank Stadler piano, Jimmy Mazzy banjo/vocals, Jeff Hughes cornet, Ben Goldstein clarinet, Steve Taddeo drums and Bob McHenry string bass (whose idea it was to getStadler on piano
Now on October 5, 2013, there was Frank leader/piano and Jimmy banjo/vocals, Scott Philbrick cornet, Dave Whitney trumpet, Craig Ball clarinet, Lee Prager trombone, Albie Bernard sousaphone, and Bobby Reardon drums at the new Acton Jazz Café, 103 Nagog Park. It doesn’t get any better than this – as demonstrated by the full house. Bob McHenry was sitting front and center, enjoying the band.
They started with their theme song, a blistering At The Jazz Band Ball, then Mama’s Gone, Goodbye – Jimmy vocal, the four-piece front line melding seamlessly.
Front line Scott, Dave, Craig, and Lee
Scott and Dave are always a combustible combination, Trumpet and cornet duet on From Monday On.Baby Won’t You Please Come Home. Combination playing vibrato on There’ll Be Some Changes Made.
They slowed down for Memories of You, Scotty doing cornet intro, Jim on vocal with almost imperceptible tuba and trumpet backup.
Mandy Make Up Your Mind – we never get enough of Jimmy Mazzy’s singing. (For the few who are not aware, he’s like olives – an acquired taste; people all over the world love Jimmy, especially in Europe) New Orleans, Hoagie’s favorite tune, heartfelt vocal by Dave Whitney.
Jimmy Mazzy
Dave Whitney
Bobby concentrated on tom toms for Stealing Apples. He has a different drum set for every genre of music, The Dixieland set has three toms, bass, snare drum, cow bell, top hat and a couple of cymbals. He strives for simplicity, purity in his playing, and the energy and precision he lays down is undeniable.
Bobby Reardon and his Dixieland Drum Set
Keeping Out of Mischief Now, Jim on vocal. Craig Ball is in complete command of the upper register on Ain’t Gonna Give You None of My Jelly Roll.
I’m Coming Virginia.
Bobby plays Saturday nights at the Kowloon in Saugus, so he’s ready, always dressed in white shirt and black bow tie (untied) but not tonight; black shirt – no tie. He said he was in mourning because he couldn’t play his favorite tune. So they deviated from the 2008 set list – and substituted Bobby’s favorite (and mine!) Limehouse Blues.
Jim Mazzy, Al Bernard, Bobby Reardon, Rhythm Section
Al Bernard provides the drive and “punch’ behind the band, and plays solos with the dexterity, control, and articulation of the much smaller instruments. Take Your Tomorrows, and Give Me Today. Joe Darensbourg’s Louisian-I-A, dynamic clarinet backed by rhythm in stop-time. Jimmy had the vocal on a HOT Kansas City. I Would Do Most Anything For You, Whitney vocal, and sneaking in snippets of songs with his trumpet.
Look out for Jimmy’s specials – back in 2008, he substituted his own lyrics for the Banking Crisis with The Whiffenpoof’s Song (The Lambs Song). This time he did a parody of the Tea Party, that we won’t go into here because we’ve already lost too much $upport.
Craig Ball on soprano sax
Craig moved to a sweet soprano sax, authentic Bechet sound, for Singing The Blues.
Verne often gets to pick the last tune, a fine choice to end this evening of remembering 2008, with a barnstorming Swing That Music. Seacoast Stompers will return with the same personnel playing amazing Dixieland Jazz at the Acton Jazz Café, 103 Nagog Park, Acton MA, on November 2nd, the first Saturday of the month as usual. See you there!
* * *
Tunes on 2013-10-05 at AJC by Seacoast Stompers set 1
At The Jazz Band Ball
Mama’s Gone Goodbye
From Monday On
Baby Won’t You Please Come Home
There’ll Be Some Changes Made
Memories Of You
Mandy Make Up Your Mind
New Orleans
Stealin Apples set 2
Keepin Out Of Mischief Now
Jelly Roll (Ain’t Gonna Give You None)
I’m Coming Virginia (W/Verse)
Limehouse Blues
Take Your Tomorrow
Louisi-An-I-A set 3
Kansas City request
I Would Do Anything For You
The Lamb’s Song (political diatribe) jimmy special
Singin the Blues
Swing that Music
Jazz Tuber Sextet at the Sherborn Inn, October 1, 2013
Ted Casher clarinet, tenor and soprano sax, Jim Mazzy banjo/vocals, Eli Newberger piano/tuba, Rebecca Sullivan vocals, Andrew Schiller string bass, Jeff Guthery drums, Carolyn Newberger washboard
Jimmy Mazzy and Andrew Schiller
The Jazz Tuber Trio returned to the Sherborn Inn with three new members. Rebecca and Jeff have been with us before, but this was bassist Andrew Schiller’s initiation to the Inn.
The Tuber Trio kicked it off with a rousing HOT Dr. Jazz.
Jazz Tuber Trio
Then Eli moved to piano for Bessie Smith’s Put It Right Here, backing Jimmy’s vocal.
Eli loves to play both tuba and piano. His absolute rapture in making music is obvious, and he shares that joy with his audience.
Eli Newberger
Rebecca is a grad student at the New England Conservatory in jazz voice and contemporary improvisation, Andrew is also at NEC, Jeff is at Berklee College of Music. Eli let them loose with a sauntering swing on Perdido, with Rebecca’s refreshing vocal, and Andrew’s relentless pulse on string bass.
Rebecca Sullivan
Somewhere Over The Rainbow – Eli on piano backing Rebecca. She has a unique approach to the music, slowly nurturing, passionately stretching it out, reaching deep into the soul of the song. Summertime – Marvelous!
Ted Casher
Back Home Again in Indiana, Andrew on bass, Eli was back on tuba, trading 4s with Jimmy’s scatting. Ted’s soprano sax backed Rebecca on It Had To Be You. On Satin Doll he moved to tenor sax enlivening Jimmy’s singing and scatting. His moaning tenor backed Rebecca’s sentiment on Our Love is Here To Stay.
Jeff Guthery
The Tuber Trio with Andrew and Jeff went wild on Birth of the Blues. Never gets dull! Tenor sax took a whirling intro into I Got Rythm, with Eli on piano, Andrew bass, Rebecca vocal, featuring Jeff Guthery’s dynamic drumming.
And always in the wings, Carolyn Newberger came up front for her special Coney Island Washboard Roundolay – with the washboard that has been resurrected from the attic after 50 years. Retirement has its rewards! Jeff summed it up with one word: “Smokin!”
Carolyn now has more time to devote to her artwork, recently back from her showing, In The Moment, at the Harriet Tubman Gallery in Boston. http://www.carolynnewberger.com/
The evening closed with Mean To Me, with Eli back on piano, Jimmy banjo, Ted on soprano sax, Andrew string bass, Jeff swirling brushes on snare drum.
The Jazz Tuber Trio will return November 12th with more surprises. See you there?
Friends and relatives gathered together at the Sherborn Inn on September 29, 2013, to celebrate the life of Jack Alessi, of the Swinging Tenors. We lost Jack July 20th. Phil Cocco, Manager of the Sherborn Inn, was gracious enough to allow use of the dining room, and had snacks for everyone.
The basic trio for the event was: Jack Senier (p), Marc Carlsen (b) & Steve Silverstein (d). Sitting in were: Gray Sargent, John Wheatley, John Baboian, Alanna Manning, Carol O’Shaughnesy, Jim Rice, Paul Schmelling, Craig Ball,Tom Ferrante, Dave Polansky, Kristen Alessi, Jim Porcella, Steve Marvin and more.
Steve Silverstein, Marc Carlsen, Jon Wheatley
Jack’s life
Gray Sargent with Jack Senier piano
Steve Marvin, Bill Kane, Marc Carlsen and Gray Sargent
Steve Marvin
Carol O’Shaughnessy with Jim Rice piano
Carol O’Shaughnessy with Tom LaMark piano
Tom Ferrante
Porcella, Ferrante, Senier, Polansky
Dave Polansky
Jon Wheatley
Continued on Part 2: “Celebrating the life of Jack Alessi”
Jeff Hughes cornet, John Clark alto sax/clarinet, Craig Ball tenor sax/clarinet, Ross Petot piano, Jimmy Mazzy banjo/vocals, Al Bernard tuba, Steve Taddeo drums
We know it’s going to be an extraordinary evening anytime Jeff Hughes brings one of his many bands to the Sherborn Inn. The Jazz Jesters like to play the music of the 20’s and 30’s, when it was Bix Beiderbecke time in Davenport.
They began with Ross’s piano intro into Lucky Day, written in 1926 by DeSylva, Brown and Henderson. (They wrote many ‘feel good’ songs like The Best Things In Life Are Free, Life is Just a Bowl of Cherries.) The Jesters have made Lucky Day their theme song.
Getting into Bix mode – Sorry, was recorded by Bix and His Gang. House of David Blues – 1920, done by Fletcher Henderson with tenor sax played by Coleman Hawkins. The first time Jeff heard this one, in beautiful fidelity it was a life changing experience. Craig Ball was our Hawk on tenor sax. He also played gut-wrenching tenor on That’s My Desire.
Ross Petot plays Who’s Sorry Now?
Pianist Ross Petot has many tunes at his fingertips. His stride and intricate multi-layered playing was featured on Who’s Sorry Now. Jimmy says “It’s always a hit at Weddings.” (Who gave him a mike?)
Jimmy Mazzy
Jimmy introduced the 1920’s Song of the Wanderer with a vocal. Our favorite was Jimmy’s Cabin in the Cotton, 1932. Just beautiful! Close second was a smoldering ballad, Without a Song – not just one solo – he sang the whole song, in soulful, quintessential Jimmy.
This was an unusual evening where instead of all taking a solo, more than one musician had the whole song to himself. They are all accomplished artists, Jeff just lets them go.
Steve Taddeo
Bunny Berigan’s The Prisoner’s Song was introduced by Taddeo on drums, and Jeff just let him go for the whole 32 bars. Jimmy abruptly let loose with his infamous Mazzy holler.
Crisp Hughes cornet; he dedicated it to Bobby Hackett.
John Clark and Craig Ball
Oh Baby, done by Benny Goodman in the 1920’s, was a scorcher, Craig Ball on clarinet, Clark on soprano sax, pushed by Albie’s straight four on tuba.
Jeff Hughes on 1905 Henri Lefevre cornet
Jeff played a tender solo, all his own, Dear Ol’ Southland, honest, straightforward, absolutely enchanting. His instrument of choice was a treasurable 1905 Henri Lefevre cornet, (precursor to the Selma Instrument Company). (Henri not only built each instrument by hand, he also built each part.) Remarkable tone.
Remarkable evening. There were hundreds of tunes, they only scratched the surface. More hot stuff of the 20’s and 30’s brought the evening to a close – Cabin in The Pines. Fats Waller’s special, the blistering Zonkie, released Taddeo’s inner Gene Krupa.
Couple passing by couldn’t resist dancing. Yes, they were waltzing!
They sent us home with a beautiful waltz, Let Me Call You Sweetheart, surprising a young couple who had just left the main dining room. They stopped and began waltzing on the dance floor. Maybe they’ll be back. We need more like them!
We are so lucky to enjoy all the talent here in New England. People love Jeff Hughes’ topnotch bands and musicians, when they can hear them; his bands are usually here on the last Tuesday of the month. Bring friends and introduce them to the fine Jazz and Swing at the Sherborn Inn!
