Jazz Tuber Trio Eli, Jimmy and Ted, Plus Bob Winter piano, Rebecca Sullivan vocals, Jeff Guthery drums, Herb Gardner trombone, Carolyn Newberger washboard
It certainly was an exciting evening at the Sherborn In on November 12, with Boston Pops’ pianist Bob Winter joining The Jazz Tuber Trio. Bob Winter has been the pianist for the Boston Pops for over 30 years, but also has extensive experience in clubs, television, radio, and theaters, including performances with Henry Mancini, Teddy Wilson, Buddy DeFranco, Mel Torme, Luciano Pavarotti, Eddie Daniels, Stan Getz, Cleo Laine/John Dankworth, and Airto Moreira.
Bob Winter
Bob set the mood with piano intro to an upbeat Found a New Baby, just as New York’s Herb Gardner walked in carrying his trombone case. Surprise!
Herb Gardner moved to NY in 1963 and began touring with Wild Bill Davison, Kenny Davern and Dick Wellstood, was a regular at the Metropole, Jimmy Ryan’s and Eddie Condon’s nightclubs. He’s appeared with virtually all of the classic jazz musicians in the New York City. He just walked in, took out the trombone, sat down and started playing.
Ted Casher and Herb Gardner
We love this marvelous hot jazz. You never know what’s going to happen next! Instrumental titans playing delectable hot jazz!
No holds barred – combustible combinations of piano, tenor sax, trombone, Eli’s tuba maintaining a deep underpinning bassline, Jeff Guthery laying down the beat with brushes.
Jeff Guthery mostly uses brushes
Eli introduced vocalist Rebecca Sullivan, an accomplished vocalist and teacher, with a three-octave range. She’s learning something new at the New England Conservatory of Music, with Eli Newberger assigned as her mentor. She’s an emotionally powerful performer, singing very slowly, which takes considerable skill.
Silky-smooth Satin Doll, Rebecca sings it in her own style, stretching out words and syllables, adding unexpected emphasis, going from low to high when least expected.
In a more romantic tune, a lovely Someone To Watch Over Me. We were mesmerized and only caught a partial video.
I can’t Give You Anything But Love, Rebecca almost talking the vocal, backed by Winter on piano. Eli said “He plays in unconventional keys to support her exceptional range, with an amazing lower register.”
The unpredictable reed-man, Ted Casher began the Ukrainian Ochi Chyornye with tenor sax in Klezmer style, the band slipping in with Dark Eyes. Eli’s turbo charged bass riffs gave it energy and drive.
Rebecca, with Jimmy and Eli
Mean to Me, Rebecca feeling the song.
Jimmy took off in his own unique single-string banjo with Fidgety Feet, Jeff backing him with brushes on snare drum. Fans had fidgety feet! Winter finished the last chorus with multi-layered intense piano.
Carolyn Newberger had spent most of the evening listening to the music while drawing portraits of members of the band. Carolyn’s Portraits.
(Her works “In The Moment” had a Showing last month at The Harriet Tubman Gallery Boston.)
She sat in on washboard for Louis Armstrong’s 1936 Don’t Forget To Mess Around When You’re Dancing the Charleston, Jimmy on vocal. The washboard began to come apart, but Carolyn maintained her cool, set it on the floor, holding the instrument vertical and in one piece, never missed a note playing spoons through the whole tune. Bravo!
Eli plays tuba like a solo instrument with energy and drive on Perdido, supported by Jeff’s brushes, the ensemble connecting in breathtaking tempo, led by clarinet and tenor sax. Listeners were dancing in their seats!
They closed with romping polyphonic ensemble on Royal Garden Blues, Jimmy scatting, each instrument taking a final solo.
Great fun! And we’ll be doing it all again on December 3rd, with the addition of another titan, Boston’s famous Bo Winiker on trumpet! See you there?
Saxophonist Dan Moretti has released 17 CD’s during his 25 years of performing and touring throughout the states Europe, the Middle East and the Pacific Rim. While covering many genres of jazz from straight to Latin-Jazz and funk he has always been influenced by the Organ groups of the 60’s. Now Dan is doing his 18th recording live at Chan’s in Woonsocket on November 23rd. Dan and another Rhode Island Music legend Duke Robillard have had very divergent careers in music but they overlap in the world of blues and jazz. Duke will join Dan in this exciting night. The music will be a tribute to the Hammond B-3 groove-jazz generation including Stanley Turrentine, Gene Ammonds, King Curtis, Kenny Burrell, and Jimmy Smith. Moretti and Robillard will be joined by Hammond B-3 master Dave Limina, drummer Lorne Entres and bassist Jesse Williams for an exciting groove adventure into the jazz-blues world.
Dan Moretti
Dan Moretti
The passion for performing, writing and producing music has fueled Saxophonist Dan Moretti’s eclectic musical career. His personal sound and original writing have gained him international recognition as a performer, educator, composer and producer. His inspiration and broad pallet of styles has allowed him to collaborate with musicians across the cultures of Europe, Africa, South America and Asia through performances and educational seminars. With 17 original solo recordings behind him the muse seems to continues to flow in exciting new ways that leaves you wanting more.
History:
Dan started playing tenor sax and clarinet at the age of 12 and the following year he was fortunate to be invited to perform in the Rhode Island Youth All-State Jazz Band where he played at the world renown Newport Jazz Festival . This was the beginning of a long love and life with music. After high school Dan attended the University of Rhode Island for 2 years followed by the Rhode Island School of Music for 2 years under the direction of re-nown trombonist Hal Crook. After returning from a two year long tour with an original funk band Back Bay Brew based in Albany New York, Dan retuned to school and received a BS with a double major in Arranging-Composition and Music Education in 1975 from The Union Institute in Cincinnati. Throughout the mid 70’s and the early 80’s he continued to perform in the North East United States in various groups while also doing performances with some of the Soul and R&B stars of Atlantic Records. He maintained a connection with education by teaching privately and in the local school systems and music schools in the Southern New England area. In 1981 he became a recording studio co-owner at Celebration Soundsin Rhode Island where he honed his engineering and producer and composing skills for the following 12 years.
In 1985 Dan’s recording career was launched with the international release of “Sometime Inside”, an all original self-produced fusion-jazz recording that wasreleased on the Black Hawk Records label of San Francisco . Along with straight-ahead players Stan Getz and Phil Woods Dan became Black Hawk’s “Fusion” star. This first recording truly gave Dan his international profile, which was evident when he was asked to autograph this 1st recording in 1989 after a concert in Yaroslavl, Russia. Throughout his career Dan has toured in the United States, Europe, Africa, Asia and Russia performing and presenting clinics and seminars. His musical influences range from jazz and classical to funk and Latin-jazz and New Orleans grooves. Since the late 70’s, he has performed or recorded with a variety of artists across the musical spectrum. A short list includes: Aretha Franklin, Ray Charles, Robert Plant, Kid Rock, Cornell Dupree, Jerry Jemmott, The Temptations, Mike Stern, Omar Hakim, Jimmy Cobb, Dave Samuels, Dave Liebman, Marvin Stamm, and The Crusaders. Dan’s love of all styles of jazz has enhanced his performances in straight-ahead jazz as-well-as Latin, funk and soul and is evident throughout his current collection of 17 released solo recordings.
Dan has been on the faculty at Berklee College of Music in Boston since 1996 and currently is holding a full timeposition inthe CWP (Contemporary Writing and Production) department. He was given the school’s “Curriculum Development Award” in 2006 for his popular on-campus course “Groove Writing”. He has also been at the forefront of distance learning at Berklee where in 2003 he created the Berklee Online (Berklee’s distance-learning school) version of this course called “Arranging Contemporary Styles” and has been teaching this course to students all over the world. In 2012 he converted this same course back to Berklee with one of the first on-line on-campus courses for Berklee. In 2008, his book “Producing and Mixing Contemporary Jazz” was released on Hal Leonard-Berklee Press. In 2010 Dan collaborated with Matthew Nichol and Oscar Stagnaro on the book “Essential Grooves”for Sher Music, which is required for all Groove Writing sections at Berklee. In 2009, Dan was awarded the prestigious MacColl-Johnson fellowshipfor jazz composers, which enabled him to write and produce a project in 2011 with an Italian traditional orchestra called ThePiccola Orchestra La Viola (POLV), bringing together his musical and Italian roots. In 2012 Dan worked with Tutti Dynamics and helped develop the first fully interactive multi-camera and multi-track video versions of the styles in the Essential Grooves book. www.tuttidynamics.com. These Tutti grooves are now being used on campus at Berklee.
From 2002 until the present, Dan has also been active in Europe and the states performing his music and presenting seminars in Italy, Turkey, England, Belgium, Holland, France, Switzerland, Ireland, Africa, Ecuador and Gibraltar as-well-as being a sideman with artists like Nile Rodgers and Chic. In the summer of 2006 he had the opportunity to perform in the house band at the 40th anniversary of The Montreux Jazz Festival tribute to Atlantic records with Nile Rodgers. This was also a full circle experience being that that’s where it all began for Dan. The performers he played with which included Dan writing charts and backing up were: Robert Plant, Stevie Nicks, Chaka Khan, Kid Rock, George Duke, Solomon Burke, and Steve Winwood.
Guitarist. Bandleader. Songwriter. Singer. Producer. Session musician. And a one-man cheering section for the blues, in all its forms and permutations. And every one of those names has shared recording studio space or stage time with a man who is a legend in the blues community.
The Blues Music Awards (formerly W.C.Handy Awards) have named Duke Robillard “Best Blues Guitarist” four years out of five (2000,2001,2003,2004) making him the second most honored guitarist for that award! He was also nominated in that category in 2005, 2007 and again this year of 2008.
In 2007 Duke received a Grammy nomination for his “Guitar Groove-a-rama” CD and was also honored with the prestigious Rhode Island Pell Award for “excellence in the arts” along with actress Olympia Dukakis, actor Bob Colonna, and R.I. Choreographer/Festival Ballet director Mihailo “Misha” Djuric.The Pell award is named for Senator Claiborne Pell who help establish the the National Endowment for the Arts and Humanities in 1965.
Other awards over the last decade include three Canadian Maple Blues Awards in 2001, 2002, and 2003 for “Best International Blues Artist,” The Blues Foundation’s “Producer of the Year” award in 2004, The French Blues Association “Album of the Year” award in 2002 (Living with the Blues) and “Guitarist of the Year” awards in 1999 and 2002.
BB King himself has called Duke “One of the great players,” The Houston Post called him “one of God’s guitarists. And the New York Times says “Robillard is a soloist of stunning force and originality.
None of that goes to Robillard’s head. He’s still on the road, still playing as many as 250 dates a year. And still proving, night after night, that his true talent is bringing people out to hear the music, appreciate the show, and dance to the blues.
Duke had his first band in high school — he was born in Woonsocket, Rhode Island — and he was fascinated from the beginning by the ways in which jazz, swing, and the blues were linked. In 1967, he formed Roomful of Blues, and the band was tight enough and tough enough to accompany two of its heroes, Big Joe Turner and Eddie “Cleanhead” Vinson on record and in live appearances.
Always ahead of his time, Duke’s first band pre-dated the renewed interest in jump blues by more than a decade — and almost 20 years later, in 1986, when he recorded with jazz sax master Scott Hamilton, he recorded a collection of classic big band tunes from the ’30s and ’40s, thus skillfully pre-dating the neo-Swing craze of the mid ’90s.
Roomful of Blues — which still continues, forty years later — gave Duke his first exposure to a wide public, and when he left after a dozen years, he played briefly with rockabilly king Robert Gordon, then cut two albums with the Legendary Blues Band (a sterling collection of former members of Muddy Waters’ band). He led his own band until 1990, and then replaced Jimmy Vaughan in the Fabulous Thunderbirds.
In 1993, as he was about to sign a world-wide recording deal with Virgin/Pointblank, he met Holger Petersen, head of the Canadian independent label Stony Plain, at a folk festival in Winnipeg. In conversation, he mentioned he wanted to record a complete album of blues, without the r & b and jazz influences of his work to date.
Petersen was interested; Virgin gave the go-ahead, and the resulting album, Duke’s Blues, earned rave reviews. It was so successful, in fact, that Virgin soon licensed the record from Stony Plain and released it around the world (except in Canada, where it continues in the Canadian company’s catalogue.
In the years since his relationship with the Canadian label has been astonishingly fruitful. As a soloist , he has released eleven CDs, plus one with label mate Ronnie Earl and one with The New Guitar Summit. Duke’s next release will be in May/June of 2008
Just as remarkable have been the projects he has produced (and played on) for Stony Plain, including two albums with the late Jimmy Witherspoon, two with Kansas City piano king Jay McShann, comeback CDs for Billy Boy Arnold and Rosco Gordon, a swinging confection with the Canadian band The Rockin’ Highliners, and a superb album of guitar duets with the jazz legend Herb Ellis.
As if this growing catalogue was not enough, he has found time to share studio gigs with Bob Dylan (the Daniel Lanois-produced Time Out of Mind sessions), Ruth Brown, the late Johnny Adams, John Hammond, Pinetop Perkins, and Ronnie Earl, among many others. He now has his own 24-track studio in his home, and he has become deeply involved in graphic design and photography as well as record production.
Duke Robillard is a man in command of a full range of creative talents — unique in the blues, and rare in the music industry as a whole. He is, in fact, a complete artist at the height of his power.
Jesse Williams
Jesse Williams
Jesse Williams has been teaching music since 1991. He teaches at Milton Academy, Phillips Academy, Berklee College of Music’s Summer Performance Program, Beaver Country Day. He developed and directed the Jazz Program at Shady Hill School for 12 years.
He has performed throughout the world at major jazz festivals for 20 years, has recorded on two Grammy Nominated recordings, and has performed with the likes of Al Kooper, Duke Robillard, Jay Giels, Bucky Pizzarelli, Karin Alyson, Jay McShann (Charlie Parker), John Hammond, Ruth Brown, Harry Allen, Aardvark Jazz Orchestra, Maria Muldaur, Charles Neville, Johnnie Johnson, and many others.
He has appeared on PBS, Sesame St., Mountain Stage, AMC, National Film Archives, as well as multiple commercial spots. Mr. Williams holds a B.A. from Berklee College of Music. He is currently bassist for the New Black Eagle Jazz Band.
FLYER Chan’s Jazz and Blues Club, 267 Main St. Woonsocket R.I. 8 pm November 23, 2013. Call 401-765-1900 for reservations.
Trumpeter, Mike Mitchell of Novel Jazz, wails away during a sweet ballad. The Novel Jazz Septet will be performing classic jazz at Skidompha Public Library, Damariscotta, ME, on Thursday 21 November, 2013, 7PM to 9:30PM. The performance will also feature Barney Balch (trombone), Mickey Felder (piano), Bryan Jones (alto sax), Dave Clarke (guitar) plus special guests Ezra Rugg (string bass) and Chris Rogers (percussion). This evening continues the 9th year of Novel Jazz concerts at Skidompha, bringing live jazz to mid-coast audiences. Admission is $14 for adults, $12 for seniors, $6 for young adults 12-18, under 12 accompanied by a parent go free. (Photo by Elaine Jones)
NOVEL JAZZ RETURNS TO SKIDOMPHA PUBLIC LIBRARY, NOVEMBER 21st
Novel Jazz will return to Skidompha Public Library, Main Street, Damariscotta on Thursday, 21 November 2013, from 7-9:30 PM for a special evening of jazz in the library’s atrium. This is the band’s 9th year of concerts at Skidompha, which began with the observation that lovers of books often are lovers of jazz. Moreover, the superb acoustics of Skidompha’s atrium, plus the seating “in the round”, make it a superior place to see and hear the performance, all in a relaxed, informal atmosphere. The musicians of this group have been playing straight-ahead jazz for audiences throughout Maine (and beyond) for several decades.
As is their habit, they’ll be playing a wide selection of compositions from the Great American Songbook but they’ll also feature works by jazz greats Duke Ellington and Billy Strayhorn, their musical “cornerstones”. Performing will be Barney Balch (trombone), Mike Mitchell (trumpet), Mickey Felder (piano), Dave Clark (guitar), Bryan Jones (alto saxophone), and two special guests Chris Rogers (percussion) and Ezra Rug (acoustic bass).
Those of you who have heard these guests know you are in for a treat. Chris Rogers has been performing on drums for more than 40 years. He is a highly versatile performer, playing a myriad of different styles; he has toured throughout New England, Canada and overseas. Chris strives for simplicity, purity, and precision in his playing. He has a number of major label recordings to his credit, and is a requested studio player.
Ezra Rugg studied acoustic bass with New York session player Ben Street, electric bass with local legend Glen Dubois, Afro-Cuban percussion with Al Delgado, and drums with Steve Grover. Doubling as a recording engineer, Ezra has produced albums with local groups Tree By Leaf, Shawn Mercer, the Straight Up Jazz Trio, and Shades Of Blue. He also produces jingles for local radio. Ezra has been frequently featured on MPBN radio as part of Rich Tozier’s jazz program.
Admission is $14 for adults, $12 for seniors, $6 for young adults 12-18, under 12 accompanied by a parent go free. We encourage parents to bring their children, the future of this art form. The library is located on Main Street in downtown Damariscotta. Call 207-563-5513 during business hours for more information.
Don’t miss Novel Jazz the week before Thanksgiving at Skidompha Library… jazz to warm your toes on a cool autumn eve!
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
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”
Pierce Campbell guitar and vocals, Noel Kaletsky reeds, Lauren Evarts piano, Al Bernard tuba, John Rispoli drums
Pierce Campbell on guitar
The Funky Butt Jazz Band was started by his father, Pete Campbell and Bud Gettsinger 36 years ago. Pierce took over the band for playing traditional jazz, has various small combinations, and also performs solo..
He borrowed Noel Kaletsky and Albie Bernard from the Festival All Stars, for Summertime, Georgia, Dinah, One Meat Ball, I’m Confessing, Jelly Roll, Ain’t She Sweet, Buddy Bolden Blues. All great Trad tunes.
The Valley Railroad gave him an opener for Buddy Bolden’s Blues. Noel on soprano sax.
Lauren Evarts
Lauren is a regular member of The Funky Butt Jazz Band.
Noel on alto sax – Georgia
John Rispoli
John Rispoli is a monster on drums!
Al Bernard on tuba
Al Bernard put away the sousaphone and took out the tuba to play melodies for this session.
Ain’t Gonna Give Nobody None of My Jelly Roll
Noel Kaletsky
Noel Kaletsky is a complete band unto himself!
Unbelievable, from the Festival’s start to finish.
Price Campbell said it succinctly,
“Faster than a silver bullet!”
They all went WILD on Ice Cream!
Currently Pierce plays a variety of music which showcase his versatility. He performs solo singing and playing original and Celtic folk, American pop and Jazz classics. He performs Irish and original Celtic folk with The Kerry Boys, traditional Jazz with The Funky Butt Jazz Band, vocal Jazz classics and originals with The Pierce Campbell Jazz Duo/Trio and pop rock classics with Pierce Campbell and the Scramble. During the day, he entertains seniors at venues throughout CT.
