Blue Horizon Jazz Band at the Sherborn Inn, April 17, 2012

Posted on April 17, 2012 by admin

by Marce

Stan McDonald leader/soprano sax and clarinet, Jeff Stout trumpet, John Kafalas trombone, Ross Petot piano, Peter Gerler guitar, Al Ehrenfried string bass, Dave Bragdon drums. Stan dedicated this evening to a former drummer who died recently, Jimmy Kay.

Stan has always been a rambunctious rebel at heart. Less than a month after hip surgery, he was back with his Blue Horizon Jazz Band at the Sherborn Inn for their regular monthly performance. Nothing could keep him away!

The band felt the energy, and played their hearts out. They started appropriately with I Got Rhythm, Four or Five Times, and an old Trad standard, Ain’t Gonna Give Nobody None of my Jelly Roll, with Jeff Stout’s powerful trumpet taking the melodic lead, and Stan McDonald prodding him on soprano sax, then moving to clarinet.

Jeff Stout, Professor at the Berklee College of Music, follows several great trumpet players who have played with this band, such as Walter Miller.

Jeff, relaxed and meticulous, adds power to every melody. Armand Piron’s Mama’s Gone, Goodbye was fantastic.

Stepping in from the audience, Jeff Hughes gave Jeff Stout a break and relieved him for a couple of tunes. His cornet is as long as a trumpet and can be just as powerful, or soft, as he chooses.

I Would Do Anything For You. Nice soft cornet by Hughes, backing McDonald’s vocal.

In the 1970’s, Stan played with its composer, pianist Claude Hopkins.

Ross Petot took the intro to Blue Turning Grey over You, with a stirring guitar solo by Peter Gerler, followed by cornet and trombone awe-inspiring trading 4’s. Fantastic!

Peter switched to banjo for Margie, playing full chord melody style, with Stout back on trumpet, Stan on rich low-register clarinet, culminating in a thrilling coda!

Jelly Roll Morton wrote this tune in what is termed “His Mexican period.” However it was named after a bar in Kansas City. Tijuana. Ross Petot was featured on piano, because Stan was welcoming some visitors from Ashgabat, Turkmenistan to the Sherborn Inn.

Rejep Sultanov, Director of Soltan Dag, Educational Center of Ashgabat, Turkmenistan, and Murdan Orazmuradov, Business Manager of the Central Council of Youth Organization of Turkmenistan, were accompanied by a lady from their Embassy who acted as translator. They were guests of Royce Anderson and The International Center at Worcester Tech, and like all of us, enjoying this spirited, timeless Jazz. It was quite an honor to have them all here. (Royce is a guitarist who played with the Blue Horizon at the Foundry in Walpole back in the 1980’s.)

McDonald was pleased, doing what he loves best, playing Traditional Jazz, especially Sidney Bechet.

His soprano sax on Lotus Blossom was intense and powerful, ending in a high D.

The “Rhythm Boys” are the foundation of the band; Dave Bragdon on drums and Al Ehrenfried on string bass, provide a splendid pulse that propels the others.

Jeff Hughes joined the band for the finale, a gripping tune that became popular among soldiers in the First World War, It’s a Long, Way To Tipperary.

Stan McDonald insists on the best; he has always had excellent musicians. It was a relief to see him back so soon, playing again with this top-notch Blue Horizon Jazz Band. For those who have known him for a long time, it wasn’t surprising.

The Blue Horizon Jazz Band continues at the Sherborn Inn on the 3rd Tuesday of every month (except December). Management picks up the $10 admission fee for anyone under 40 years of age, so bring your family, friends, in-laws. They will enjoy it. This kind of Jazz embodies a carefree, happy spirit, it’s infectious.

New Black Eagle Jazz Band at the Sherborn Inn, April 12, 2012

Posted on April 12, 2012 by admin

by Marce

In its 41st year, the New Black Eagle Jazz Band continues its schedule of New Orleans Traditional Jazz all over the East Coast.

Tony Pringle cornet, Stan Vincent trombone, Billy Novick reeds, Bob Pilsbury piano, Peter Bullis banjo, Bill Reynolds on drums , who’s been sharing that position with Pam Pameijer for at least 20 years. The Eagles play every 2nd Thursday of the month at what has become their home base, the Sherborn Inn in Sherborn Massachusetts. The band has taken on new verve and energy since the addition of Jesse Williams on amplified string bass.

Signature of the New Black Eagle Jazz Band: Tony Pringle on cornet, with his derby mute.

Tony led with his strong and unique New Orleans-based style.

.They pulled out some of the war horses that they haven’t played in a long time for some delectable hot jazz, Shimmy She Wobble, Rent Party Blues, Papa Dip, (one of Louis Armstrong’s nicknames). Each instrument taking turns on the break.

Bob Pilsbury had a breathtaking solo on Django’s Nuages,backed by the rhythm boys.

With the 1930’s Louis Russell ballad Roamin’ Bob’s mellifluous solo sounded almost classical. Billy played low-register clarinet, with Bob’s gentle piano backup. Nice. “Gentle” isn’t generally the right word for most of Pillsbury’s piano playing.
He played Dancing with Tears in my Eyes with great passion.

Love Nest, theme from the George Burns and Gracie Allen TV show, had fine performances by Vincent on muted trombone and Billy on alto sax.

They took some time looking over the songs and sorting them out, they must have close to a thousand by now, and Jesse hasn’t been around that long.

They came up with Saturday Night Function, and gave Jesse a chance to show his stuff on a 24-bar solo. Superb!!

Sometimes in the past, the Black Eagle’s powerful sound drowned out the string bass – but we have no problem hearing Jesse!

They finished the first set with Climax Rag, which is not a rag at all – over time it has become hot Traditional Jazz. Stan Vincent was in especially rare form all evening, and took a solo on this one that raised goose bumps!

Shine was another hot one, with Tony scatting the lyrics, Billy going wild on alto sax. Jesse’s bass was driving the band, and frenetically trading 4’s on slap bass with the trombone.

Billy was featured with the rhythm section with a gripping, mesmerizing In a Sentimental Mood.

Tony was still pulling out some oldies, White Ghost Shivers, and an old blues,Steal Away.

Not enough said about the indispensable rhythm boys, Dave Bragdon, keeping the Traditional Jazz Beat in sync with the bass. And for over forty years, Pete Bullis’s unremitting plink, plink, plink on the banjo. And his red socks.

They closed with a wild Red Wing, reminiscent of many nights at the Sticky Wicket, a real Barn Burner; and sent us home with a theme song that also brought back fond memories – and foretold the future – ‘Till We Meet Again.

We’re happy to have them on the East Coast. Folks on the West Coast are anticipating their return to the Sacramento Music Festival on May 26-28.

They’re ready.
Brace yourself,
Sacramento!

Dixie Diehards Dixieland Jazz Band at the Sherborn Inn, April 10, 2012

Posted on April 10, 2012 by admin

by Marce

</H4<>

The Dixie Diehards Jazz Band promised and delivered “a heady dose of New Orleans traditional jazz, second line street parade music, gospel and early jazz classics” at the Sherborn Inn.

Alan Shapiro trumpet/Music Director, Rick Foster trumpet/vocals, Dolly Fruzzetti vocals, Bill Dube clarinet, Paul Peterson saxophone, Ron L’Herault trombone, Chris Wadsworth banjo, Steve Shaw tuba, Dr. Dale Ellenberg drums.

Alan Shapiro, 1st trumpet (left) leads the Dixie Diehards.
Rick Foster 2nd trumpet on many tunes.

Rick Foster has many rolls as ebullient interlocutor, vocalist, trumpeter, and Historian – with extensive knowledge of the early jazz repertoire.

His vocals are relaxed and natural; he understands the lyrics, and takes us places with the songs.

We took the first trip down to New Orleans, with the band in classic jazz polyphony onWay Down Yonder in New Orleans. Nice clarinet solo by Bill Dube, Ron on muted trombone, Peterson on tenor sax, trumpets in fine freewheeling ensemble!

They continued that era with the 1902 Scott Joplin’s Entertainer, and the 1919 Rag.Bourbon St. Parade began nice and easy, but quickly turned into a barn burner!

Rick explained that much of the early jazz started out as spiritual, but the next one had some ‘country’ in it – Lonesome Road.

Ron L’Herault was filling in on trombone, reedman Bill Dube has amazing command of the tenor sax as well as clarinet.

Classic jazz started in New Orleans, and spread all over the world. Another early number, Yellow Dog Blues, is actually about a railroad. West Coast Jazzers jump up and shout during the breaks, but stoic New Englanders sit and just listen! Maybe some West Coast, or Potomac River Jazz, Tri-State Jazz, Pennsylvania Jazz, New Jersey Jazz Society members could come here and teach us?

Rick introduced charming and charismatic Dolly Fruzzetti, for W. C. Handy’s St. Louis Blues.

Dolly sang All of Me for an avid fan, Lynn Sickle, whose birthday was the next day. The Sherborn Inn staff had a ‘cake’ of ice cream ready for her to make a wish. (We didn’t ask her what she wished for, but I’ll bet it was for much more Dixieland Jazz.)

Many of the New Orleans tunes were morose; those were tough times. St. James Infirmary Blues refers to someone’s deceased lover. Funeral marches always began with a slow, somber beat. After the internment, the tone changed, and the marchers celebrated the deceased’s great life, with the “second line” following the band back to town. Dixie Diehards demonstrated with a lively, upbeat Didn’t He Ramble. Feet were stomping – it was difficult to sit still – we should have brought our parasols!

Influenced by Gene Krupa and Buddy Rich, Dr. Dale Ellenberg maintains a heady tempo.

Steve Shaw brings a wealth of experience to the band with a powerfuloompah tuba beat.

Rick jumped ahead a few years with a vocal on Jambalaya (and a crawfish pie and file’ gumbo.) Soprano sax and clarinet soared with the melody, bouncing off each other.

Banjo player Chris Wadsworth let loose with a rapid right hand on a lively I’m Alabamy Bound. Fantastic!

(You might remember him playing with Jean Kelly at the Colonial Inn.)

We moved back to 1927 with Bix Beiderbecke’s Singing The Blues (‘til My Baby Comes Home)

Jazz has had all kind of connotations and changes over the years. Duke Ellington transitioned to Swing in the late 1920’s. The drums kicked off Ellington’s The Mooche,Ron L’Herault on muted trombone, Peterson driving on soprano sax, Dube on terrific trilling clarinet.

Today Wynton Marsalis is promoting the old classic jazz, encouraging the next generation with the Essentially Ellington High School Jazz Band Competitions. (Medfield High School is one of the 15 finalists who will participate May 4-6 at Jazz at Lincoln Center.

The Diehards played a tune Wynton Marsalis wrote, Happy Feet Blues, drum intro with a second line beat, Chris banjo solo; sounding just like New Orleans street music!

We were delighted to have the gracious Dolly back for a number of tunes, Louisiana, Blue Skies, Second Hand Rose, Stranger on the Shore. She is a joy! Dolly has a long and impressive list of credits as a piano player, singer and entertainer.

Rick has always maintained a strong devotion to Louis Armstrong. He returned with a wistful Do You Know What It Means To Miss New Orleans? and I’m Gonna Sit Right Down And Write Myself a Letter. Great ensemble by the Diehards, with Ron hitting lowest register on the trombone that caught everybody by surprise.

They wrapped it up with the ubiquitous Closer Walk, with a whistled segue to the Saints, concluding another fine Tuesday afternoon of Dixieland Jazz at the Sherborn Inn. There’s lots more coming – check the Schedule.

Thank you Dixie Diehards Dixieland Jazz Band, and Dolly Fruzzetti, for taking us on a marvelous trip back in time to New Orleans!

Seacoast Stompers at the Acton Jazz Cafe, April 7, 2012

Posted on April 7, 2012 by admin

by Marce
videos by Harold McAleer

The Seacoast Stompers began this Saturday with a fantastic, driving swing beat with At The Jazz Band Ball – and set the tone for an afternoon of great Jazz and Swing.

Craig Ball, Scott Philbrick, and Frank Stadler took turns picking out the tunes, so nobody knew for sure what they were going to play next. The musicians were having fun with it, playing as much for themselves as the fans out front, and the fans were feeding off the energy radiating from the band. You could feel it in the air!

Pianist/leader Frank Stadler has a knack for bringing together the right musicians:

Scott Philbrick on cornet, Lee Prager trombone, Craig Ball clarinet and soprano sax, Jimmy Mazzy banjo, Frank Stadler piano, Bob McHenry acoustic string bass and Bobby Reardon drums.

They even threw in some soul-wrenching blues with Apex Blues, Jimmy adding his unique banjo and scatting, clarinet drawing out the notes, the trumpet and trombone chorus in vibrato – fabulous!

This band radiates energy, ask 93-year-old Frank, who officially collects admissions at the door.

The Amoskeag Strummers from New Hampshire were well represented, everyone in high spirits.

Carrie Mazzy’s rendition of I Don’t Know Enough About You, tender lyrics presented with heartfelt feeling.

We never get enough of Jimmy’s vocals, there isn’t another one like him in the whole world!

Jimmy scatting on It Don’t Mean a Thing if it Ain’t Got That Thing, with Craig on soprano sax.

Special treat this afternoon was vocalist Maureen Benson, who normally sings with the band, Jazzport, in Danvers.

Effervescent delivery on this Fats Waller classic Ain’t Misbehaving

Craig’s soprano sax was perfect forEaster Parade, the holiday was the next day.

I Can’t Give You Anything But Love was WILD – with Scotty quoting many other tunes.

Talk about resonating energy, Maureen Swing Dancing with Charlie to Sweet Georgia Brown.

Craig picked another Blues – Blues in B Flat, Lee started it with a low, growling trombone.

Marvelous harmonic ensemble by the virtuoso musicians on the front line. Dancers loved it!

Drummer Bobby Reardon keeps a constant beat, working with the band, never speeding up; had an especially great duet with clarinetist Craig Ball on You Can Depend On Me.

His forceful Gene Krupa solo, using the splash cymbal on It Don’t Mean a Thing if it Ain’t Got That Swing, demonstrated his admiration for the drummer.

Check out his auto registration.

They closed with a special request for Limehouse Blues, beginning with the whole band in tight ensemble, fine intonation by soprano sax, cornet, and trombone.

* * * *

Gwenn Vivian should get a special Jazz Award – for presenting JAZZ at the Acton Jazz Cafe six days a week, sometimes three bands in one day (like today.) That’s a lot of work! She is truly dedicated. Thank you, Gwenn, and the members of your crew who take such good care of us.

Gwenn Vivian

Greg – waiter

Lee – bartender

The Seacoast Stompers will return to the Acton Jazz Cafe on May 5th – see you there.

Swing Times Five with Debby Larkin at the Sherborn Inn, April 24, 2012

Posted on April 5, 2012 by admin

by Marce

Jeff Hughes cornet, Ron Petot piano, Dan Weiner guitar, Peter Tillotson string bass, Dave Didriksen drums, Debby Larkin vocals

This evening featured many of our favorite composers. Jeff began nice and easy on flugelhorn with Benny Carter’s best-known tune, When Lights Are Low, and then did an abrupt turn-around with Duke Ellington’s It Don’t Mean a Thing If It Ain’t Got That Swing, with muted cornet, Ross Petot’s fingers running the keyboard. They ran a broad spectrum of Early Jazz and Swing.

With his cornet, flugelhorn, many mutes, and attitude, Jeff is a complete front line. This gentle man is so filled with music, it just pours out of him, it refuses to be contained. Louis, Bix, Joe “King” Oliver, Bunny, Al Hirt, Harry James – take your pick.

Joined by vivacious Debby Larkin on vocals – talented and versatile, she can swing as well as sing. The evening just flew by!

From Jerome Kern’s Showboat in the 20’s, the sweet ballad Can’t Help Loving That Man of Mine was a swinger!

Cole Porter’s You’d Be So Nice to Come Home To. Jerome Kern’s A Fine Romance.

Cole Porter’s Let’s Do It – powerful vocal, with all it’s politically incorrect lyrics.

In the 20’s and 30’s, all the songs had double entendres. Have you watched TV lately? Who are we kidding?

Jeff was in New Orleans for the first time last month, on St Patrick’s Day. He found out that New Orleans is insane – all year – not just for Mardi Gras. He brought back a souvenir, Basin St. Blues, that drove couples to the shiny wood dance floor.

Cottontail, written for Ben Webster, featured cornet, piano, and guitar taking turns skillfully trading 4’s with Dave Didriksen on drums – before he let loose with a wild drum solo!

Ross was featured with the Rhythm Boys. He always plays something unique and special, this time Billy Strayhorn’s Midriff, quoting bits of Stumbling.

He played a dramatic intro to Harold Arlen’s Get Happy, Jeff back on cornet, as hot and powerful as any trumpet. He continued with passionate flugelhorn solo on Victor Young’s Love Letters, .

A little bit of Blues – I Sent For You Yesterday, (but here you are today!) Jeff and Debby working well together, Debby singing the verse, Jeff playing riffs with muted plunger cornet.

Especially for an ardent fan of the band, Lynn Sickle, they dedicated All Of Me.

The piano started with the verse on a tune that Hoagie wrote for Bix Beiderbecke that they had never played before. It doesn’t get played often, even though it’s a peppy, party tune, Jubilee. Hoagie Carmichael was a good friend of Bix’s during his short life – he died at 28. What an impact he had on the music scene!

Break time.

Jeff called upon a wonderful friend and supporter to fill in the break, “Brother” Myron Idelson. Memories of Myron Cohen. He has a million of ’em.

Myron proceeded to roast Jeff royally, even had Ross breaking up! He never repeats a joke, and they can be told in mixed company. “I’m going to get rich – invented a dog biscuit that tastes just like a mailman’s leg.”

With down-home openheartedness, he concluded with a request “…to have more love and thankfulness in this world.”

* * *

Deb came back swinging with a Benny Goodman favorite, Don’t Be That Way. Nice touch, Jeff Hughes cornet trading 4’s with guitarist Dan Weiner.

Dan was featured on My One And Only Love. In his late teens in Vermont, Dan started playing solo blues guitar in the styles of Mississippi John Hurt and Reverend Gary Davis. An innovative guitarist, his playing speaks to your soul.

Deb returned with a song made famous by Count Basie, appropriate for this month, April in Paris.

The band continued with Jonathan D. Kramer’s About Face. Jonathan was a self-conscious art-music composer, but soon “embraced the music that most Americans know and love.” That’s our jazz!

Late Late Show was WILD, Jeff playing both melody and riffs on muted cornet. This tune literally had everyone jumping up and down! Slower tempo – Deb returned with Skylark, Jeff sounding like Bix would on flugelhorn.

The Finale was a beautiful ballad, A Sailboat in the Moonlight and You, with Debby on vocal, nice string bass and cornet duet with the band in stop time. Pete Tillotson has as full and rich a tone as you can find on any string bass.

Jeff ended this wonderful evening with his closing theme song and the same smooth flugelhorn with which he started, We’ll Be Together Again. We’re counting on it!

Mood Elevators at the Sherborn Inn, April 3, 2012

Posted on April 3, 2012 by admin

by Marce

The Mood Elevators, Ginny Briggs, Karen Richards Tyo, and Chris Towle, exhibited their marvelous 3-part harmonies reminiscent of the Andrew Sisters’ 30’s and 40’s at the Sherborn Inn, with backing by John Clark clarinet/tenor sax, Ross Petot piano, Ken Steiner string bass, and John McLellan drums.

They had the The Andrew Sisters nailed with Don’t Sit Under The Apple Tree, I Love Coffee. Exploring new things, they spiced the evening with a 1954 mambo, Sway, and the silliest song in their repertoire, Mairsie Doats.

The Boswell Sisters, from New Orleans, were represented with Charley Two-Step (hottest man in town.) This House is Haunted (by the echo of your last goodbye) a comedic 90’s tune was borrowed from the Chenille Sisters.

They caught Lynn Sickle by surprise with her favorite All of Me, adding some special verses written by Tomi Hayashi, with lyrics by Karen.

This was Karen’s night, she was featured with Dream a Little Dream of Me, popular both in the 30’s and 60’s, (nice low register tenor sax by Clark) Orange Colored Sky, and a swinging Pennies From Heaven.

Easygoing and personable, Karen really connects with the audience.

Another swinger – Glenn Miller’s In The Mood, Jean and Jack from Sherborn were swinging all over the dance floor!

John Clark actually joined the Mood Elevators on vocal with Some of These Days. He doesn’t do that often, has a very nice voice.

Chris, always sprightly and full of zip, was featured with I’ve Heard That Song Before.

Ginny, gregarious and sociable, touched on the upcoming holiday with Easter Parade and Low Gravy, a song that had everybody’s mouth watering, about gravy, and pork chops and biscuits. (Jelly Roll Morton’s Red Hot Peppers 1930)

The band had the floor for a tune written in 1937 by Allie Wrubel and lyricist Herb Magidson, Gone With The Wind, with Clark on clarinet. The tempo picked up again with Everything is Hotsy Totsy Now, Goody Goody. And again In a Mellow Tone smooth tenor sax.

Ross Petot played haunting and elegant piano on Billy Strayhorn’s Johnny Come Lately, a tune that became a standard for the Duke Ellington Orchestra.

Ross is also a fine stride pianist, arranger, composer and teacher.

It was great to have Dr. Dave and Helene back dancing again, to Apple Blossom Time, done in a nice waltz!

The Mood Elevators have several summer concerts coming up. Check their website at www.moodelevators.com. You’ll find them May 12^th at the First Parish Church Universalist Unitarian Coffee house in Sudbury.

Dave Whitney Quartet with Christine Fawson at Amazing Things Arts Center, April 1, 2012

Posted on April 1, 2012 by admin

by Marce

videos by Harold McAleer

Dave Whitney promised us Louis Armstrong-style old tunes that go way back – and he delivered, with the help of Marc Carlson bass, Jon Wheatley guitar, Reid Jorgensen drums, and special guest trumpeter/vocalist Christine Fawson. But Whitney called upon many of the great trumpeters of that (our) time.

Guitar intro to the first tune, Ted Fio Rito’s I Never Knew (that roses grew, until I met you). 1935 Thanks a Million, Dave’s vocal and trumpet reminiscent of Bobby Hackett – this was one Bobby’s favorites.

Dave introduced a talented entertainer who was often his guest at Angelica’s, where The Dave Whitney Band played for many years, Christine Fawson, on trumpet and vocals.

Christine teaches at the Berklee College of Music and also sings with the vocal jazz group, Syncopation. Christine started with a vocal on All of Me.

Christine led on trumpet, Dave responding on Don’t Fence Me In.

She called this “my theme song”, but her priorities might change. This was her first appearance since having a baby girl ten weeks ago.

She was glowing!!

Louis’s Hot Five with No One Else But You, was followed by examples of more famous trumpeters: a tune synonymous with Clyde McCoy, Sugar Blues. Herb Alpert’s Tijuana Brass What Now My Love. Dick Cathcart’s Singing The Blues, from Pete Kelly’s Blues (in the 50’s.)

Dave had the vocals on his theme song, recorded by Fats Waller in 1935, When Somebody Thinks You’re Wonderful

What’s better than one great trumpeter? Two – Christine and Dave together, playing What Now My Love, and an instrumental theme used in the soundtrack for the 1936 Charlie Chaplin movie Modern Times, Smile. Written by Charlie Chaplin, it didn’t become famous until the 1950’s when John Turner and Geoffrey Parsons added the lyrics and title, and Nat King Cole amongst others popularized it. Christine sings Smile with intense emotion.

Playing it very slowly, Dave on muted trumpet, Christine on open bell, their interpretation of Smile made this whole evening at the Amazing Things Arts Center worth while! Magnificent!

But there was more. Dave and Christine duet on You’re Just In Love, and Avalon – Christine playing trumpet and scatting the vocals. The Preacher, great trumpet duet, backed by the lively rhythm boys.

There was a request for Earl “Fatha” Hines’ Rosetta, from a lady named Rosetta in the audience, Jon sneaking in many other tunes on guitar. He was featured with the rhythm section on It Might As Well Be Spring, Mark Carlsen’s string bass solo clearly heard by the attentive audience. This crowd doesn’t talk while the music is playing!

String bass introduced I’m Putting All My Eggs in One Basket for the quartet- Easter was just around the corner.

Dave brought in the 1934 standardSavoy, straight out of the Louis Armstrong repertoire.

Reid’s routine was suggestive of band drummers Cozy Cole and Sid Catlet.

An inventive drummer, he backed Chris’s trumpet solo on I Love You by putting down the sticks and playing finger drums.

They closed with both trumpets on a barn-burning Swing that Music and What a Wonderful World sung by Christine.

An inveterate entertainer, we can always count on Dave’s small groups to deliver fine Classic Jazz, as they did tonight, and on his Big Band for some great Swing! Watch for them on the Calendar.

Marce

Christine with another Dave Whitney Quartet at the Sherborn Inn, 2010

http://www.youtube.com/watch?v=nWa-Bp4q1kI

http://www.youtube.com/watch?v=X5WZHUfNLPw&lr=1

Tijuana Brass – I’ve got a lot of Living To Do.

Bria Skonberg’s Hot Five at Boston Swing Central March 30, 2012

Posted on March 30, 2012 by admin

by Marce

Bria Skonberg’s Hot Five had the floors vibrating at Boston Swing Central in Charlestown on Friday night. From New York: Bria Skonberg trumpet, Ted Gottsegen guitar (Queens), and Kevin Dorn drums. Local: John Clark reeds, Justin Meyer string bass. This joint was jumpin’!

The dance floor was filled with swingers, and wanna-be swingers, all having a fun evening on the smooth wood floor, perfect for dancing – even in sneakers.

From 8-9pm, introductory dance class for beginners, led by Kate Feldman and Carl Herrmann of New School Swing. “Introductory” in that everyone finds a partner and forms a circle, basic steps are taught for a couple of songs. Then everyone moves down one person and starts with a new partner for a few more songs. By the time the band starts, everyone has been introduced to seven or eight new friends, and even the shy persons are comfortable with dancing with other people.

This was Trumpeter-vocalist extraordinaire Bria Skonberg’s second appearance at Boston Swing Central, and she was sincerely welcomed by the crowd of swing dancers.

If you haven’t heard of Bria, you soon will. Originally from Chilliwack, British Columbia, she moved to New York to pursue her life’s work, playing trumpet and singing. See Toast of New York.

She recently appeared at Jeff & Joel’s House Party in Connecticut, the only woman with 15 musicians.

28 years old, and she likes our kind of music!

Kevin Dorn and John Clark also have Traditional/Dixieland Bands, Kevin’s was formerly The Traditional Jazz Collective, now The Great 72. John Clark’s is the Wolverine Jazz Band.

Kevin Dorn

John Clark, clarinet/ten. sax

Justin Meyer

Ted Gottsegen

They played many of our favorites – in rapid swing time –

One o’clock Jump Pennies From Heaven, Deed I Do, Out of Nowhere, Whispering featured Ted’s electric guitar. Bria sang My Blue Heaven, Paper Moon, (nice bowing by Meyer), Them There Eyes, Shimmy Like My Sister Kate. John was featured on clarinet with Rose Room (with a bit of In a Mellow Tone slipped in.)

What Is This Thing Called Love featured Clark on tenor sax. And there were many more; from the 60’s, Janice Joplin’s Mercedes Benz, check out those swing moves!

Kate Feldman and Carl Herrmann
of New School Swing

“New School Swing exists to help foster Lindy Hop / Swing Dancing in the Boston area. We provide Beginner, Intermediate, and Advanced Lindy Hop and authentic partnered and solo dance instruction.”

“We’re excited to be partnering with bostonswingcentral.org, an organization which runs a Friday and Tuesday dance.”

“Our beginner and advanced beginner lessons are on Tuesdays in the same space as the Tuesday night dance so you can go out dancing after your very first lesson.”

Kate and Carl, and Brian Towne

(It was difficult keeping track of everything while swing-dancing with my grandson.)

When Bria left us, she was heading for NY, Iowa, New Jersey, Chicago and Switzerland – she’s in demand all over the world. http://www.briaskonberg.com/live/

She will celebrate the release of her new Random Act Records So Is The Day, with nine originals and three well-known pieces, at The Iridium in New York City on April 24. http://www.randomactrecords.com/

We’re looking forward to her return to New England – June 9th when she’ll bring another swing band to Boston Swing Dance, The St. James Armenian Church, 465 Mt. Auburn Street, Watertown, MA.

Blue Horizon Jazz Band’s Riff’s of Spring with Michael Peipman, trumpet at the Sherborn Inn, March 20, 2012

Posted on March 20, 2012 by admin

by Marce

Traditional Jazz has been around since the 1920’s but it never gets boring to us. Tonight was no exception, with the Stan McDonald’s resourceful Blue Horizon Jazz Band and authentic, hot classic jazz and swing…. and a surprise guest.

Stan McDonald, leader/soprano sax/clarinet, Gerry Gagnon trombone, Ross Petot piano, Al Ehrenfried string bass, Peter Gerler guitar, Dave Bragdon drums and this week, Mike Peipman on trumpet.

They began with Meet Me Tonight in Dreamland, Baby Ain’t I Good to You, Stan on clarinet and vocal, backed by the rhythm section

Al Ehrenfried on acoustic string bass and Dave Bragdon on drums drive the band with a proper Traditional beat, without being overbearing.

Peter capably rounds out the rhythm section on guitar, and moved to banjo for Margie.

Ross is an educated listener, complementing, rescuing, proffering ideas with a just a few pertinent notes on the Baby Grand.

Willie The Weeper was a barn-burner. Renowned for for his fine stride piano, Ross rendered a blistering solo on this one.

McDonald’s soprano sax took the intro to Once In a While (not the one you’re thinking of, but an upbeat, hot tune.) Stan takes the first solo. Mike’s smokin’ solo strayed from the melody; Ross intuitively picked it up on piano, the band carried on with enthusiastic, interweaving New Orleans polyphony. (There always has to be some suggestion of the melody in there somewhere!)

Mike generally plays modern, contemporary jazz, but displayed his aptitude for Trad with an impeccable rendition of Louis Armstrong’s West End Blues. Spectacular!

Baby, Won’t You Please Come Home, fine vocal by Stan. Mike’s inspiring trumpet solo reached for the stratosphere!

Gerry had the vocal on When I Leave The World Behind. Gerry Gagnon gives 150% whether on trombone or vocal. He normally plays with the Boilermaker Jazz Band, all over the U.S. Canada and Europe, so we’re happy to have him here with us.

Trumpet and Trombone stepped down, while Stan played Petite Fleur with a passion!

Stan McDonald was recently interviewed by Dave Radlauer on Jazz Rhythm, where the Bechet-style soprano saxophone master recalled his half-century musical career. This evening, Stan again honored Bechet with Georgia Cabin, Dardanella, Spreading Joy.

Chanteuse Mollie Malone was in the audience and stepped up for a fine vocal on Django’s Nuage, in French, backed by Al, steadfast on string bass and Stan’s strong soprano sax.

Too soon, time for the final tune. Lover, Come Back To Me, ending another superb Tuesday evening of Jazz at the Sherborn Inn with the Blue Horizon Jazz Band, and special guest, Mike Peipman.

Mike will be at the Regatta Bar March 31st with with Stanley Sagov and The Remembering The Future Jazz Band.

The Blue Horizon Jazz Band is here at the Sherborn Inn on the 3rd Tuesday of every month. Catch them on April 17th and see if Stan comes up with any more surprises!

New Black Eagle Jazz Band, with C. H. Pameijer drums at the Sherborn Inn, March 8, 2011

Posted on March 18, 2012 by admin

by Marce

You could tell as soon as you walked into the room – Pam was back! He inspires the band; it was as if it they had just stepped out of 1920’s New Orleans.

Tony Pringle cornet, Stan Vincent trombone, Billy Novick clarinet and alto sax, Bob Pilsbury piano, Peter Bullis banjo, Jesse Williams string bass, and C. H. (Pam) Pamejier drums.

The New Black Eagle Jazz Band is going to Sacramento in May, so they wanted to practice/resurrect some of their old tunes. They’ve been practicing on us for 40 years.

Between the Devil and the Deep Blue Sea, Pilsbury was featured on piano and vocal backed by Pam’s drumming, and Jesse flamboyantly slapping that bass. Sweet Peter was dedicated to Jelly Roll Morton from New Orleans, who had many great recordings. Banjo and string bass emphasizing the Trad beat together. Peter’s calm, steady beat on banjo never swerves.

Stevedore Stomp – Duke Ellington, eliciting memories of classic Traditional Jazz at the Sticky Wicket. That’s what Pam does, with Tony and his derby mute, Stan Vincent’s tailgate trombone, Bob prodding the piano. There were five of the original seven members. (Billy doesn’t count – he’s only been with them about 27 years.)

Four from original band. Pam, Tony, Peter and Bob.

Texas Moaning – a Blues that Sidney Bechet did with Louis Armstrong. Second Line, a New Orleans number written by drummer Paul Barbarin, who played with Louis in the 30’s. Billy’s alto sax added some swing to it.

My Mother’s Eyes – 1890, Tony on vocal for this sentimental tune. Marvelous ensemble, Jesse’s bass in sync with Pam’s drums.

In A Sentimental Mood – Billy Novick clarinet featured with only Jesse to back him. Billy started slow and sweet, Jesse backing on chords. As they picked up tempo, Jesse seemed clairvoyant, connecting with Billy, playing that monstrous string bass like a front line instrument. Freed from the constricts of Trad Jazz, they soared with abandon, and even surprised themselves!

Going Home, Tony on vocal, backed by an excellent young acoustic bass player, Johnny Gilmore, 16 years old; our next generation of Jazz Musicians. Johnny is a music fanatic, and student of Jesse’s. He played a magnificent solo, and proper bass lines, as if he’d been there for years! Bravo, Johnny! Thank you Jesse, for passing your dedication and love of this jazz on to another generation!

Time for the Finale, one of our old favorites from the Sticky Wicket, Panama. (Peter finally had his banjo solo.) Pam on snare drum, and Jesse’s relentless pulse on string bass drove the front line into a climactic high finish.

The closing song was not their theme song, but an ominous tune, If We Never Meet Again. But we will, next month, right here at the Sherborn Inn. And at the luncheon on March 28th. And they’re ready for Sacramento.

Check http://www.blackeagles.com for the growing list of their performances.

New England Traditional Jazz Plus

Swing, Traditional Jazz, Dixieland Jazz, Big Bands

Category Archives: Uncategorized

Blue Horizon Jazz Band at the Sherborn Inn, April 17, 2012

New Black Eagle Jazz Band at the Sherborn Inn, April 12, 2012

Dixie Diehards Dixieland Jazz Band at the Sherborn Inn, April 10, 2012

Seacoast Stompers at the Acton Jazz Cafe, April 7, 2012

Swing Times Five with Debby Larkin at the Sherborn Inn, April 24, 2012

Mood Elevators at the Sherborn Inn, April 3, 2012

Dave Whitney Quartet with Christine Fawson at Amazing Things Arts Center, April 1, 2012

by Marce

videos by Harold McAleer

Bria Skonberg’s Hot Five at Boston Swing Central March 30, 2012

Blue Horizon Jazz Band’s Riff’s of Spring with Michael Peipman, trumpet at the Sherborn Inn, March 20, 2012

New Black Eagle Jazz Band, with C. H. Pameijer drums at the Sherborn Inn, March 8, 2011