Myron was an incredible figure…Myron the Memorious, I will remember him. Fantastic memory, and endless stories, all recalled with precision and detail, and that Great Humor!
He once told me he was a close friend of Henny Youngman (although maybe not of Milton Berle!), and his great humor, told in endless stories and one-liners, reflected a similar Yiddish irony and sensibility. Always recalled with unbelievable emphasis, and spot-on clarity, enthusiasm, and brilliance.
He never forgot a name. He never forgot a face. He never forgot a story. He never forgot a person whom he’d met. He never failed in supporting the causes he was passionate about. He loved classic jazz and swing. He was the greatest patron of the music that we, collectively as current players, have ever been thankful for. He discovered and promoted new venues for the music, and funded many of these himself and through the generosity of his many friends. He was always kind, gentle, generous, and supporting. Myron was never one to denigrate or belittle, criticize or condemn, ignore or discard any person, despite their worst attributes.
I’m not a Mason, but I think of Myron, as a Brother in that circle, as perfectly embodied by Masonry’s codes: To follow principles to achieve higher standards in life; to show tolerance and respect for the opinion of others and behave with kindness and understanding; to practice charity and care for their own, as well as the community as a whole, both by charitable giving, and by voluntary work as an individual; and, to strive for truth, requiring high moral standards and ethical conduct at all times.
The great Argentinian writer Jorge Luis Borges once wrote a fantasy titled “Funes the Memorious”, in which a young Ireneo Funes, who, after falling off his horse and receiving a bad head injury, acquired the amazing talent — or curse — of remembering absolutely everything.
We have never been cursed by Myron’s crossing our paths. We have been blessed beyond all measure, and we will miss him, terribly.
Millis, MA, 2/25/16. This lovely town is a schlep from where I live in Newton. On a cold February night, it took a solid hour to get to Primavera restaurant, where the young gypsy jazz guitarist Jack Soref brought his trio to play for an appreciative audience of perhaps 18 people. But let it be said: Jack’s not in it for recognition. He’s in it for the tradition.
“Gypsy jazz” appeared in the world largely through the genius of the French guitarist Jean “Django” Reinhardt, whose iconic sound parallels that of Louis Armstrong in American jazz. (Django wept when he first heard Armstrong. “He was like a large animal, mute and dazed in the blaze of the sun,” a colleague recalled.)
Interestingly, the word “tradition” usually evokes older, simpler styles—folk and roots music, country melodies, even the old brass band marches. In the case of gypsy jazz, the prognosis is denser. To play it right, you have to practically begin as a virtuoso.
The best players are of European manouche extraction. They grew up with it, around the caravans. There was dancing, which fueled the rhythm. Whereas American folk-music guitarists might first learn a simple G chord, youthful gypsy players sought to articulate Django’’s lightning-fast, intricate melodies with full, complete tone. Sort of like being born as Jascha Heifetz. Or as Sisyphus.
Jack Soref on custom made Grande Bouche guitar
Jack, a Wisconsinite, dove right in. Graduated from Berklee, started hanging with European itinerants, moved to France in order to live and play with them. (He still wears their weird pointed shoes.)
It’s a reversal: when American jazz came around with its je-ne-sais-quoi swing, the world turned toward New Orleans and Chicago. Django and his cohort even pulled inspiration from the seminal American guitarist Eddie Lang. Today, American “gypsy” players model themselves after the Parisians.
Jameson Stuart on custom made Petite Bouche guitar
Greg Toro on double bass
Soref’s trio is well on their way up the mountain. Their set swelled with standards from both sides of the pond—Dream of You, Sweet Georgia Brown, Menilmontant, Coquette--played with musicality and adventure.
On Valse Jacek, listeners were practically delivered to European soil. On All Of Me, (“Take my lips, I want to lose them”), Jack’s guitar whined, “Take me already!” The rhythm guitarist Jameson Stewart and the bassist Greg Toro held down a strong foundation.
All of Me
On Nuages, the veteran swing vocalist Mollie Malone sat in, singing in rippling French with ache, regret, and hope.
The last decade has seen a flowering of Django’s legacy, with bands and festivals popping up internationally. (It comes alongside the current resurgence of swing dance among Millennials.) In any case, the music has its addicts, young and old, whose life goal is to reincarnate as Django. They talk incessantly of altered chords and alternate fingers, and of their guitars, many of which they custom-order hand-made. But it’s not so much the technique: they have heard the downstage, ringing pompe of Django Reinhardt.
Swing Times Five – Dave Didriksen, Dan Weiner, Bob Sinicrope, Jeff Hughes, Ross Petot
Jeff Hughes cornet/flugelhorn, Dan Weiner guitar, Ross Petot piano, Bob Sinicrope string bass, Dave Didriksen drums, Debby Larkin vocals.
This is an unusual combination of instruments for playing Swing, but SWING they did, just as well as any big band!! They captivated the crowd by rekindling fond memories, starting with their theme song, When Lights Are Low, with Jeff on cornet. His rhythmic concept on cornet and flugelhorn lifted the whole band. He moved to flugelhorn for a Johnny Mercer tune, Dream.
Debby Larkin
Vocalist Debby Larkin sings with authority, good voice and knows just the right style, whether singing a rousing number or a ballad. She sang many Frank Loesser tunes, If I Were a Bell, Everything But You. Slow Boat to China was a rouser! Billie Holiday’s Moanin’ Low; an all-time favorite All Of Me, upbeat and swinging; even Tommy Dorsey’s Opus One. She shook things up with the satirical Everything I’ve Got Belongs To You, looking at hubby Jeff Stout, sitting at a front table.
Singing I Fall In Love Too Easily, she was backed by Jeff Hughes on dark, smokey flugelhorn. They charmed the audience, many of whom were seniors nostalgically reconnecting the music to memories of their youth.
Jeff Hughes on silky smooth flugelhorn
Jeff left the audience spellbound with incredible intonation on Jerome Kern’s I’m Old Fashioned, ending with a virtuosic coda. Perfect! People will remember this one for a long time!
Ross Petot
Ross Petot is a great performer of Gerschwins, he was featured on Of Thee I Sing, and referring to the current political season, Who Cares? He performs unceasing rhythmic motion on the fine Yamaha piano. He picked an odd one, All God’s Chillun Got Rhythm, backed by Dan Weiner’s fingers floating across the guitar.
Dan Weiner on swinging guitar
Dan was featured on Lullaby of The Leaves, dazzling guitar, fingers flying; his spontaneity is very much representative of the swing era.
They picked many tunes from the American Song Book:
Dorothy Fields/Jimmy McHugh Doing The New Lowdown
Julie Stein’s It’s You Or No One.
Sammy Cahn’s I’m Falling in Love.
Sinatra’s All The Way
Irving Berlin’s A Pretty Girl Is Like a Melody
Cole Porter’s I’ve Got You Under My Skin
John and Gisela love to dance, and this is their kind of music! They had a family reunion with their three daughters. John persuaded one of them to dance.
John and Gisela Bruneccini
John and one of his daughters
John and Gisela Bruneccini Family
Bob Sinicrope
George Gershwin’s They Can’t Take That Away From Me gave Bob a solo, playing melody on upper register.
Bob Sinicrope’s string bass gave support and richness that moved the music along. Bob is head of the Jazz Program at Milton Academy, and an old friend of Jeff’s.
Dave Didriksen
Dave Didriksen is a fine drummer, softly brushing across cymbals and snare drum behind solos; he lets the soloists shine. He finally let loose on Frank Loesser’s The Lady’s In Love With You, showing he can romp with the best of them. (He also manages the band and it’s website www.swingtimesfive.com and books all the dates at Ken’s Steak House.)
They closed with the band and Jeff’s flugelhorn softly backing Debby on Sky Lark. Magnificent! Taking an “Exit Poll” – everyone said this was one of the best music they’ve heard!
The Swing Spirit continues to thrive with the unique Swing Times Five and vocalist Debby Larkin. We hope to hear more from them! Check out their great Swing CD, Raincheck; email Dave Didriksen at info@swingX5.com.
Neil Flewelling cornet, Steve Straus clarinet, Frank Batchelor trombone, Phil Hower keyboard, Eric Baldwin banjo/guitar, Pierre Lemieux tuba, Rich Malcolm drums
Steve Straus
Steve Straus leads this rambunctious band on clarinet and soprano sax with amiable, good natured humor.
Members of this band come from towns all over Eastern New England. They mix old New Orleans music from the 20’s with tunes from the ‘recent’ 60’s. They obviously love this music – they’ve dedicated their lives to it.
Steve asked the band to sound like a Basie Band, then they played Irving Berlin’s 1911 Alexander’s Ragtime Band, Steve giving it a surprise ending with a soprano sax coda. His sax is sweet on Paper Moon, but dynamic on Floating Down To Cotton Town. He moved to clarinet with a vocal on a tune we’ve never heard before, You Meet The Nicest People In Your Dreams.
Valentine’s Day was approaching – the evening was interspersed with love songs. But Valentine’s Day isn’t always about loving relationships, as portrayed in his vocal, Floating Down That Old Great River. This comic song was recorded in 1915, and is typical of the kind of entertainment popular during Vaudeville.
Eric Baldwin
At the start of Fats Waller’s Ain’t Misbehavin’, we realized Eric Baldwin was playing rhythm banjo, adding strength to the middle of the rhythm section.
He’s been featured on guitar for years with some of his own bands. He moved to guitar for Hoagie Carmichael’s Nearness of You, nice dance tune. He is currently teaching at Indian Hill Music Community in Littleton, MA and works as a sideman in many local bands.
Pierre LeMieux
Pierre LeMieux’s plays bass lines on tuba and extends that by turning the monstrous horn into a viable solo instrument.
Pierre leads the Mill City Jazz Band that plays in the Merrimack Valley in Memorial Concerts-in-the-Park, Strolling sidewalk music during town activities, Feaster-Five activities, Fund raisers, Senior Centers, and private parties.
He plays in parades with the Jambalaya Jazz Band, in the Shriners Swing Band, Mario Carrabba’s Big Band, and some Octoberfest German bands.
They played two early popular tunes, It’s a Sin To Tell a Lie, a 1936 song by Billy Mayhew and Write Myself a Letter, a 1935 tune by Fred E. Ahlert. Pierre gave it a nice tuba solo. He was trading 4’s with Frank’s trombone on Making Whoopee.
Frank Batchelor
Frank’s trombone sound is deep and lush, and melodic and mellow when using several mutes. He adds stimulating accompaniment to the front line.
You feel the rhythm rather than hear the drum beats by Rich Malcom. He plays in good taste. His unique moves highlight the structure of the music by changing color, density, and dynamics.
On the snare drum, he softens reverberation by holding one stick to the drum and tapping with the other, or else tapping sticks together; or he plays softly with his fingers. Even his solo was reserved on It Don’t Mean a Thing If It Ain’t Got That Swing.
Phil Hower
Phil Hower introduced Irving Berlin’s Putting On The Ritz with a piano vamp. He was featured on a warm My Funny Valentine, with guitar backup, Steve playing low register clarinet solo, Frank muted trombone, and Neil’s bold cornet.
Phil’s playing offers just the right chords behind all the soloists. . Phil Hower’s heroes are the great stride pianists of the 1920’s and ’30’s, and he does his utmost to emulate their technique and style, like Jelly Roll Morton’s Why.
Once in a While was a barn burner, with Steve leading the band. Tommy Dorsey’s version was #1 in 1937.
Neil Fluelling
Neil Lewelling was featured on Sleeping Time Down South. He plays a 60’s Getsen cornet, beautiful rich tone, playing spontaneous improvisations. He’s played trumpet for 50 years, until he recently discovered this cornet, handed down from a couple of friends. He plans on playing cornet for the next 50 years!
The final tune came as a surprise, we didn’t realize time had run out. They sent us home with sweet New Orleans Traditional Jazz: Up a Lazy River.
They are wonderful and dynamic musicians, fun to watch and great to listen to. You can hear them March 6th at Ken’s Steak House and March 24th back at Primavera Ristorante. Hope to see you there!
Fred Vigorito cornet, Bill Sinclair piano, Bob Bequillard drums , Art Hovey tuba/bass, Russ Whitman reeds, Skip Hughes trombone/vocals, Jim Fryer trombone and Mark Vigorito cornet.
The Galvanized Jazz Band once again entertained the residents of Elim Park, an Assisted Living facility nestled on a beautiful piece of New England property between Hamden and Wallingford Connecticut. Nelson Hall is Elim Park’s beautifully architecturally and acoustically designed performing arts center which can hold an audience of 300.
As people entered Nelson Hall, they were greeted by a large and friendly staff of resident volunteers. For many years, Elim Park volunteers have been doing a wonderful job. Thank you!
Elim Park Volunteers
Once the crowd settled down and the lights were lowered, the band, which had assembled at the rear of the hall, started their parade down the aisle to the stage. Following in the Second Line were the “Parasol Ladies” led by Jean Hadley…strutting to Bourbon Street Parade. With beads flying, parasols swinging, this put the audience in the mood for a Mardi Gras celebration.
The audience was pleased to be joined by three very talented guests; Jim Fryer, Skip Hughes and Fred Vigorito’s son Mark (cornet like his dad) and all the way from New Hampshire.
Galvanized Jazz Band with Mark Vigorito cornet, Jim Fryer trombone, and Skip Hughes vocalist
Songs like BASIN STREET, TIN ROOF BLUES (remember when Kay Starr made it a hit in 1953?) Added to the list was WHEN I LEAVE THIS WORLD BEHIND and, an audience participation number led by Jim Fryer…WHY DON’T YOU GO DOWN TO NEW ORLEANS? Skip Hughes beautifully delivered two spiritual numbers….JUST A CLOSER WALK and AMAZING GRACE. And, of course, many more familiar numbers.
Jim Fryer
Skip Hughes
Bill Sinclair on piano
Fred and Mark Vigorito
Although the audience wanted the music to continue, it was the bewitching hour, time to bring a delightful evening to a close with the “Saints” and a parasol parade.
Thanks to Fred, Bill, Bob, Art, Russ, Skip, Jim and Mark for an evening of fabulous Traditional Jazz. They entertained and inspired the residents and friends of Elim Park!
Galvanized Jazz Band Fred Vigorito – Leader, Cornet, Russ Whitman – Reeds, Herb Gardner – Trombone, Bill Sinclair – Piano, Art Hovey – Bass, Tuba, Bob Bequillard – Drums, Cynthia Fabian – Vocals.
Special Guests Gim Burton banjo, Pat Keogh guitar/vocals, Andy Rubenoff piano/vocals, Herb Gardner trombone
With an almost packed house, Joel’s fans waited anxiously (not knowing what to expect) for his “divorce” list of songs. Joel, being the showman he is, one never knows what will happen.
Joel selected musicians, from here in Connecticut and Massachusetts, who delivered their artistry in elegant tuxedos. Nice job!
The evening began with Joel front and center with….”I’ll be glad when you’ve gone.” Followed by Cynthia Fabian singing…..”You gotta see mama every night.”
The following songs were also perfect for the “Divorce CD” that CineDevine was recording. Very apropos was Berlin’s …” All Alone”…. “Please don’t talk about me when I’m gone”.
“These foolish things”…. “I had someone else” … and the list went on…. These songs can be either painful or amusing depending on who is listening. However, the intention was to entertain and so it did!
Cynthia is always wonderful with her fine voice and deliverance. She and Joel performed several duets which they did very nicely and to the delight of the audience.
Pat Keogh
Pat Keogh (guitar) graced the stage with a rendition of “Bay Blues” and “Bye, Bye Love”. Pat is nothing short of a guitar virtuoso. Pat hails from Wallingford, CT.
Andy Rubenoff and Bill Sinclair took turns at the piano. This made for an interesting evening as each has his own unique style.
Andy Rubenoff and Bill Sinclair
Gim Burton and Joel (dueling banjos) did a fine job of “Bye, Bye Blues.” Gim is one of Joel’s “Your Father’s Mustache” entourage. Abe Rubenoff was on piano.
Gim Burton and Joel Schiavone, Andy Rubenoff on piano
Anyone, who knows Joel Shiavone, knows they are in for a great evening of entertainment. This evening was one of those. Unfortunately, all things must end and so it did.
Many thanks to Maureen Cunningham for all her many years of helping Joel and supporting OKOM.
Jeff Hughes cornet, Tom Boates trombone, John Clark leader/clarinet/bari sax, Ross Petot piano, Jimmy Mazzy banjo, Rick MacWilliams tuba, Dave Didriksen drums
by Marce
It doesn’t get any better than this!! Each musician has an infinite flow of music in him; together their relentless drive make them titantic! They played songs from various CDs including their latest, #14, and tested out songs for the next one in the works. They also inserted some rarely heard Dixie like Cushion Foot Stomp and some standards There were many surprises!
Jimmy Mazzy kicked it off with The Curse Of An Aching Heart; and the rarely heard Sugarfoot Stomp – out came John’s baritone sax.
Tom Boates and Jeff Hughes raised the 1915 Weary Blues to new heights, with Jeff playing a short melodic phrase, Tom repeating it, sometimes slightly varied or in a different pitch. Amazing!
Tom Boates
Jeff Hughes
Tom was featured on Ory’s Creole Trombone. John joined him on bari sax for Sidney Bechet’s Passport to Paradise, buoyed by the splendid rhythm section. He sang W. C. Handy’s Beale St. Blues, adding some scatting. Connecticut is fortunate to have this stellar musician in their neighborhood!
Dynamic Duo – the Wolverine’s rhythmic engine.
Dave Didriksen
Rick MacWilliams
Jeff Hughes had many requests, starting with Elmer Shobel’s Prince of Wails, the front line playing tight New Orleans polyphony.
Phenominal Front Line
The 1929 Rhythm Aces’ Michigander Blues is on their Baker’s Dozen CD, #13 with a tuba solo by Rick MacWilliams, dramatic and straightforward.
Come Back Sweet Papa was composed in the 50’s by drummer Paul Barbarin.
Ross Petot
Ross was featured on his own version of Caravan, one of our favorites, with the band joining him; glorious piano ending. He likes playing this fine Yamaha piano.
Jimmy Mazzy
Another surprise – Jimmy Mazzy actually crooned Frank Sinatra’s All The Way, with Sinatra’s unfaltering enunciation. We understood every word! Jimmy’s ballads are extraordinary, but this one was astounding.
John Clark on baritone saxophone
He introduced a nice jazzy number, done by the Blue Steele Orchestra in WWI, Sugar Babe I’m Leaving. The Wolves went wild with John again on bari sax.
John and Gisela Bruneccini are fine dancers
Ken’s had a full house, with many loyal fans returning from the Sherborn Inn. There were dancers in the crowd. John and Gisela were happy to dance to a sweet ballad, Stairway to the Stars. Gisela is a war bride. They met during WWII in England when John was playing trumpet in the U.S. Army Band. They set a fine example for us; people congratulated them on their fine dancing.
Dr. David and Mrs. Bailen brought their whole family.
Dr. David and Helene Bailen and Family
Sue Lewis
Sue Lewis loves dancing too. It’s a joy to watch her!
John Clark surprised us with a vocal on Irving Berlin’s At The Devil’s Ball. He’s a fine singer, but generally leaves the singing to Jimmy. (Thank you, Betty Weaver, who has been pushing him to sing for years.)
Rick MacWilliams requested Moonlights, playing a fine tuba with clarinet playing softly in background.
Their next CD will bring memories of Ray Smith’s Paramount Jazz Band, with a takeoff on Robin Verdier’s arrangement of Who Wouldn’t Love You. That one moved the dancers.
Jimmy was featured on a new vocal, Strangers, with interesting interaction between bari sax and tuba. They did justice to Satanic Blues, originally played by the ODJB, Original Dixieland Jazz Band, in London in 1919.
Then came the biggest surprise of all – Sarah Spencer was here from Connecticut; she joined the band on tenor sax and singing. We haven’t seen Sarah in years! She plays in Traditional Jazz Style, and has dedicated her life to this music. Originally from England, she has her own band, Sarah Spencer’s Transatlantic Band.
Sarah Spencer on tenor sax
She began with her own matchless vocal on Love Song of The Nile, then played tenor sax in New Orleans revival style, with interplay by John Clark on bari sax. Words can’t describe the explosion of wondrous sounds!
Swing That Music was the final tune of the evening, John and Sarah inspiring each other trading fours for sixteen bars, then Jeff leading and Tom stealing his riffs for the next sixteen bars, as they did in the beginning. Jimmy went wild on banjo and song; Ross made the Yamaha sing. The rhythm section adding to the drive and momentum, reveling in pure sound and enjoyment! The audience gave them rousing applause. Whew!
Wolverine Jazz Band with Sarah Spencer
The Wolverine Jazz Band will be back February 18th at Primavera Ristorante, and March 20th at Ken’s Steak House.
Swing Times Five will be at Ken’s Steak House February 21st, the only band in February at Ken’s.
Sarah Spencer will have a new CD out in the Spring, maybe called Sarah Spencer’s Transatlantic All-Stars, featuring Jimmy Mazzy and Mike Owen trombone (from England). Stay tuned.
Jeff’s Jazztetwith vocalistMara Bonde at Thursday Jazz, January 28, 2016 at Primavera Ristorante
This is one smokin’ band! Performing before a packed house, Jeff Hughes led the group through three great sets. His solos throughout the night on trumpet and flugelhorn were outstanding, as was his leadership of an extremely talented, upbeat band. Craig Ball excelled on clarinet and alto sax – producing many terrific solos. Jeff and Craig played off each other perfectly. Herb Gardner on keyboard is always steady working with the rhythm section –using his vast experience to great advantage whether backing up the front line or soloing. Steve Taddeo on drums set a great beat, plus he brought the house down with a Krupa solo on “Jabberwocky.” Ken Steiner makes the upright bass sing. He did a marvelous job helping the group rock, plus he threw in some fine solos. Eric Baldwin on guitar complimented the great rhythm section, and showed he can really swing.
The band was swinging all night, plus they featured Mara Bonde on vocals. It was unusual to have a soprano combine with a swinging group like this one, but it worked very well once they adjusted to each other after one or two numbers. I don’t recall ever seeing this attempted, but the crowd loved it. In fact, those in attendance enjoyed everything they saw and heard all night.
Mara opened with an upbeat version of “The Song is Ended”, then did several ballads beautifully. She added a wonderful touch to a great evening.
All in all, the performance was memorable to me. It possessed all the right ingredients – great band, excellent singer and a happy tone. I’m sure everyone there loved it. If you get a chance, go to see and hear these performers.
Bill Falk
Mara Bonde
Jeff backs Mara on I Thought About You
Steve Taddeo plays Krupa on Jabberwocky
Mara sings My Funny Valentine
Ken Steiner – one of a kind!
Craig is featured on I Would Do Anything For You
Rhythm Boys, Eric Baldwin, Ken Steiner, Herb Gardner
Tunes:
1st set
The Song is Ended – Mara uptempo
I Thought About You – Mara
S’Wonderful
Someone to Watch Over Me
Ciribiribin – instrumental
They Can’t Take That Away From Me – Mara
720 In The Books – instrumental
2nd set
Jabberwocky
It’s Been So Long
You’d Be So Nice to Come Home To – Mara
Funny Valentine – Mara
I Get a Kick Out Of You – Mara
It Might As Well Be Spring – Mara
Blue Lu – Craig Ball feature
3rd set
Nearness of You – Mara
‘Till There Was You – Mara
I Would Do Anything For You – Craig Ball feature
Speak Low – Mara
Thou Swell – Mara (closure)
Bill’s Seafood Allstars Fridays 7pm to 9pm
at Bill’s Seafood Restaurant, 548 Boston Post Rd, Westbrook, CT 06498
(860) 399-7224 www.billsseafood.com
January 22, 2016
Bill Sinclair piano, leader
Tom Boates trombone, vocals
Noel Kaletsky reeds
Lou Bocciarelli bass
Tom Palinko drums
Every Friday evening Bill’s Seafood presents their Allstars, a band made up of very talented local musicians. They play mostly Dixieland along with some swing and other types of jazz with occasional surprises from various other genres thrown in. There is always a full house at Bill’s with many regular fans.
Tom Boates
Every performance is exciting and tonight’s was no exception. It started with a rousing rendition of Canal Street Blues, followed by Little Girl, then Tom Boates vocal on St. James Infirmary Blues. Tom also sang Dr. Jazz later in the program. He’s the frontman for the band and plays a mean trombone.
Noel Kaletsky, Tom Palinko
The Allstars have several Wilbur de Paris numbers in their repertoire and usually play at least one. Tonight it was the fast and furious Tres Moutarde.
Noel was featured on I Got Rhythm and, on the soprano sax, in a beautiful rendition of When Day is Done. He also played back and forth with Tom Palinko’s drums on the final number of the evening, one of the group’s standards which always gets wild applause from the audience, Duke Ellington’s Caravan.
Noel Kaletsky, Lou Bocciarelli, Tom Palinko
The audience also participated – clapping, waving napkins, etc – on a rousing version of Bourbon Street Parade. All the musicians get plenty of solo spots during most of the numbers, Bill’s piano and Lou’s bass are always great and everybody loves Tom’s drum solos.
Noel’s sax, Lou Bocciarelli, Tom Palinko, Tom Boates trombone, and leader Bill Sinclair behind piano.
As always, we all enjoyed the evening. The band is wonderful and the food is excellent.
The Allstars will be making a special appearance on Tuesday, Feb 9th for a Mardi GrasCelebration. It will start early, from 6:30 to 9:30, with the band playing from 7pm – 9pm. Bill’s is NOT taking reservations for the Mardi Gras party. Just come as if it were a Friday. There will be a variety of food items associated with New Orleans cooking which will be incorporated into Bill’s regular menu.
Bonnie and Hot Stuff made their debut at Primavera Ristorante on January 21st with a mixed audience of ‘Regulars’ and some of their fans who followed them here.
Bonnie Jeanne
Bonnie Jeanne has been performing classical, Jazz, Blues, and Country music for many years. She also studied vocal performance at the New England Conservatory of Music and is an avid member and frequent guest performer at many New England to Nashville showcases at Loretta’s Last Call in Boston. http://www.bonnieandhotstuff.com/
Hot Stuff is comprised of Bonnie Jeanne on vocals, ‘Ragtime’ Jack on keys, and Don Barry on upright bass; but Don Barry was unavailable, so this evening was just Bonnie and Jack. They worked together on love songs, Patsy Cline and Willie Nelson country favorites. Some 20’s Jazz and Ragtime.
Bonnie brought her own sassy, upbeat and modern sounds to their repertoire, with a wide variety of eras: All of Me, Squeeze Me, It Had To Be You; a tune Elvis recorded in 1957, Don’t. Louis and The Hot Five – Big Butter and Egg Man. Both sang in harmony, like the Everly Brothers with Love Hurts. Bonnie evoked Nine Simone’s Since I Fell For You.
They moved to a spiritual, Ramsey Lewis’s Wade In The Water. I’ve Got a Weakness, Jack’s fingers flying across the keyboard. An upbeat Bessy Smith’s Ain’t Nobody’s Business changed the mood. Jack warned us that the next tune was bawdy with Bonnie singing a lively Wild About That Thing.
Jack played solo with Jelly Roll Morton’s Don’t You Leave Me Here, and Keeping Out of Mischief Now. He is immersed in Jazz history, recounting when Andy Razaf came to Tin Pan Alley and got a job as an elevator operator. One day a very large gentleman stepped in the elevator, very upset because he had a tune to present, but it needed lyrics. Andy said “How about Every honey bee, fills with jealousy, when they see you out with me”? That’s how Fats Waller finished Honeysuckle Rose, and Andy Razaf embarked on a career as a lyricist.
Jack embarked on a wild Honeysuckle Rose, followed by his own composition, Newport Getaway, stride piano; he thanked James P. Bonnie returned with lovely songs, When I Fall in Love, and singing soft and slow, You Don’t Know Me.
That’s The Story of Love and Making Whoopee was a fun upbeat medley, with Bonnie and Jack singing the two songs simultaneously. Amazing!
Jack joined Bonnie on Willie Nelson’s Remember Me, beating time with snapping fingers. She continued with Bessie Smith’s 1927 Blackwater Blues, about the first New Orleans’ flood.
Crazy – the tune Willie Nelson wrote at age 19; the words paid off all his fines! Walking After Midnight. They went from Patsy Cline to Nina Simone’s You Know How I Feel.
“Ragtime” Jack
Jack embraces a wide variety of emotions and textures in his work. Ragtime’ Jack Radcliffe has been performing for more than 45 years. He is a master ragtime and stride piano, of traditional country blues, and is a powerful singer/songwriter, as well. www.wepecket.com/radcliffe.htm
He is going to N. O. from February 11 to March 2nd, right after Mardi Gras, making his home at Check Point Charlie’s, a popular night spot in New Orleans. He played and sang a heartfelt Do You Know What It Means to Miss New Orleans? and continued with Scott Joplin, “who wrote much timeless classical music.” In 1904 Joplin wrote Easy Winners, a ragtime two-step. Jack absorbed it, added a little ‘Papa Joe’.
Time was running out. Bonnie returned with As Time Goes By, and then Duke Ellington’s, Don’t Get Around Much Anymore.
They closed with Utah Phillips’ “Starlight On The Rails.
“Looking back, down along the road I’ve traveled
Every mile could tell a million tales.
Each year is like some rolling freight train
And cold as Starlight On The Rails.”
Bonnie and Hot Stuff with Don Barry are at Blackthorne Publick House, 402 Turnpike St., So. Easton, MA. February 12, 8pm, folloiwing The Boston Boatmen. Jack will be in New Orleans.
