The Wolverine Jazz Band has finally become recognized as one of the top Traditional and Dixieland Jazz Bands. It’s been a long time coming, since John Clark stepped in to fill in the reed section of the Paramount Jazz Band in 1994.
In his own words:
“I started at the Holiday Inn when Ray invited me to his 1994 Christmas party there – I thought it was an actual party and not a performance, so it was a good thing I thought to throw my bari in the car – it turned out to be an audition (I had played in a casual group with Ray the summer before). Apparently I passed, because I was put on the regular rotation after that (I believe the Christmas gig was the last local gig for both Gary Rodberg and Steve Wright – I think they both moved away within a week or so). That led to my subbing for Steve with the Paramount J.B. on the England tour in June, 1995.”
John continued his studies at Connecticut College, and soon formed the Wolverine Jazz Band, with its own ‘Bix’, Jeff Hughes on cornet and trumpet,Tom Boates trombone, Ross Petot piano, Jimmy Mazzy banjo/vocals, Rick MacWilliams tuba, Dave Didriksen drums.
They have since been invited to the Bar Harbor Jazz Festival, America’s Dixieland Festival, Olympia; Arizona Classic Jazz Festival, Summit Jazz Festival, Hot Steamed Jazz Festival.
They kicked off this session with a tune Santo Pecora, trombone, played with the New Orleans Rhythm Kings. Check out our own Santo Pecora! She’s Crying For Me,.
Jimmy starts a swinging 1920’s Dardanella,
Jimmy sings Yellow Dog Blues
The one and only Jimmy Mazzy singing in the 1919 W. C. Handy’s Yellow Dog Blues.
(People in New England don’t jump up out of their seats and holler like the West Coast Trad Jazz Fans on Yellow Dog Blues.)
Sweet Jenny Lee is on one of the Woverines’ many CDs. Clark dug out the bari sax.
The Rhythm Boys keep the band jumping.
Dave Dickriksen
Rick MacWilliams
They stole a tune from Clarence Williams – “You can never get enough from him.” Cushion Foot Stomp, with Jimmy vocal, Dave wrapped it up with a loud crash cymbal.
The Halfway House Orchestra did this old chestnut in the 1920’. Wolverines updated it to 1925 style. Let Me Call You Sweetheart, Ross marvelous on stride piano.
Tom Boates
They moved to ‘western swing’ with a tune played by Bob Wills and his Texas Playboys, with Tom Boates’ captivating vocal. Cherokee Maiden, backed by Dave’s Native American drum beat.
Ross was back in stride with a hard driving tempo on Duke’s Street Beat CD, Birmingham Breakdown. Fabulous muted trombone and baritone sax.
Trumpet and banjo kicked off Irving Berlin’s 1929 Waiting at the End of the Road, featuring Jimmy;nice tight ensemble on Jimmy Blythe’s 1920’s Oriental Man.
The Wolverine Jazz Band plays at least once a month at the Sherborn Inn’s Tuesday Night Jazz, and always to a full-house. For their schedule, best get on John’s email list at jazzbnd@aol.com
BROADWAY’S ANGIE SCHWORER, SARA GETTELFINGER AND RICK PESSAGNO KICK OFF REAGLE MUSIC THEATRE’S 45TH ANNIVERSARY SEASON WITH “CHICAGO” JUNE 13-23
CHICAGO Veteran Gerry McIntyre Directs and Choreographs a Brand New Production That Will Razzle-Dazzle Audiences with New Staging and Bold Dancing Done in the Fosse Style
WALTHAM, MA – A dazzling new production of the long-running Broadway revival CHICAGO directed and choreographed by Broadway veteran Gerry McIntyre opens Reagle Music Theatre of Greater Boston’s 45th anniversary season June 13-23. Starring Broadway’s Angie Schworer as Roxie Hart, Sara Gettelfinger as Velma Kelly, and Rick Pessagno as Billy Flynn, CHICAGO gets Reagle’s spectacular summer season off to a bang with all-new staging and exciting choreography in the style of Bob Fosse.
“We couldn’t be more excited about opening our 45th anniversary season with CHICAGO,” says Robert Eagle, founder and producing artistic director of Reagle Music Theatre. “Our audiences have been clamoring for us to do this show for years, and we’ve finally been able to get the rights and assemble the team to make it a reality. Gerry McIntyre is a fabulous director and choreographer with a wonderful sense of style and fun. And Angie, Sara and Rick are going to sizzle together on stage. They are all tremendous triple threats.”
CHICAGO, with a book by Fred Ebb and Bob Fosse, music by John Kander and lyrics by Fred Ebb, is the longest-running American musical in Broadway history. The winner of six Tony Awards including Best Revival, it is a smart, sassy, sharp-edge satire in which “merry murderesses” Roxie Hart and Velma Kelly vie for headlines and the services of the slickest defense attorney in Chicago, Billy Flynn, during the madcap Roaring Twenties. Knockout musical numbers include “All That Jazz,” “Cell Block Tango,” “When You’re Good to Mama,” “Razzle Dazzle,” “Nowadays,” and “Class.” A blockbuster movie adaptation directed and choreographed by Rob Marshall won six Academy Awards including Best Picture.
ANGIE SCHWORER (Roxie Hart) recently performed in the world premiere of the new Andrew Lippa musical BIG FISH, directed by Tony Award winner Susan Stroman, at the Oriental Theatre in Chicago. She will reprise her role on Broadway at the Neil Simon Theatre this fall. A longtime Ulla in THE PRODUCERS on Broadway, Schworer has also appeared on Broadway in CATCH ME IF YOU CAN, YOUNG FRANKENSTEIN, ANNIE GET YOUR GUN, SUNSET BOULEVARD, CRAZY FOR YOU, THE WILL ROGERS FOLLIES, and TENDERLOIN at City Center Encores! She also starred as Kitty and was the understudy for Roxie in the current revival of CHICAGO. Regionally, Schworer starred as Roxie in the critically acclaimed
REAGLE MUSIC THEATRE of GREATER BOSTON
Robinson Theatre
617 Lexington Street Waltham, MA 02452
Phone: 781-891-5600 Fax: 781-647-5584 reaglemusictheatre.org
Ogunquit Playhouse production of CHICAGO directed and choreographed by Gerry McIntyre. That production won the BroadwayWorld.com Audience Choice Award for best choreography.
SARA GETTELFINGER (Velma Kelly) most recently starred as Morticia Addams in the First National Tour of THE ADDAMS FAMILY: THE MUSICAL, which came through Boston last season. She also starred on Broadway in NINE as Carla opposite Antonio Banderas and created the role of the riotous Jolene Oakes in the Tony Award nominated musical DIRTY ROTTEN SCOUNDRELS. Gettelfinger stepped into the menacing stilts of Cruela de Vil on the national tour of THE 101 DALMATIANS MUSICAL and was a featured dancer on the national tour of FOSSE. Off-Broadway she created the role of “Little” Edie Beale in GREY GARDENS, and regionally she has starred in PIPPIN, HALF A SIXPENCE, and A CHORUS LINE, among many others.
RICK PESSAGNO (Billy Flynn) has performed on Broadway in WHOOPEE, 42ND STREET (dance captain), and SOPHISTICATED LADIES and in the first national tours of CHICAGO, FIDDLER ON THE ROOF, and, most recently, 9 TO 5. He has appeared in the Los Angeles company of CATS and in the Las Vegas companies of MAMMA MIA! and CHICAGO. Pessagno has also directed and choreographed more than 35 musicals in Las Vegas.
GERRY McINTYRE (director and choreographer) has won the Drama Logue and Robby Awards, and was nominated for an Ovation Award, for his direction and choreography of ONCE ON THIS ISLAND at LaMirada Theatre in California. He served as associate director and choreographer for the national tour of DREAMGIRLS, and he won a BroadwayWorld.com Audience Choice Award for Best Choreography for his production of CHICAGO at Maine’s Ogunquit Playhouse. As a performer, McIntyre has starred “with everyone” in the Broadway revival of CHICAGO, including a stint as Billy Flynn on the national tour. His numerous other Broadway appearances and national tours include the original casts of ONCE ON THIS ISLAND, ANYTHING GOES with Patti LuPone, JOSEPH AND THE AMAZING TECHNICOLOR DREAMCOAT (also the film with Donny Osmond), and ANNIE 2 at the Kennedy Center.
Additional featured cast members for CHICAGO are Maryann Zschau as Matron “Mama” Morton; Rick Sherburne as Amos Hart; and Peter Mill as Mary Sunshine. The ensemble includes Lizzie Porcari, Rachel Bertone, Maria LaRossa, Katie Clark, Linda Neel, Jaclyn Miller, Jamal Rashann Callender, Major Nesby, Joey Cullinane, and Alex Nordin. Music director is Dan Rodriguez. Additional cast and creative team members will be announced soon.
Also this summer Reagle Music Theatre presents traditional favorite FIDDLER ON THE ROOF July 11-21 and a revolutionary new staging of what many have called the most popular musical of all time, LES MISÉRABLES, August 8-18.
Single tickets to CHICAGO are $57 (premium), $49, $42 and $35 for adults. Seniors 60 or older receive $3 off adult prices. Tickets for youths 5-18 are $25, any section. Patrons may see all three shows for under $100 by purchasing a full-season subscription at 25 percent off. Packages start as low as $78.
REAGLE MUSIC THEATRE of GREATER BOSTON
Robinson Theatre
617 Lexington Street Waltham, MA 02452
Phone: 781-891-5600 Fax: 781-647-5584 reaglemusictheatre.org
Tickets are available by phone at 781-891-5600, in person at the Box Office during regular business hours, or online anytime at www.reaglemusictheatre.org. Discounted tickets for groups of 10 or more may be purchased by calling 781-894-2330 or 781-891-5600.
A new dynamic ticketing system is now available on the Reagle Music Theatre website. Patrons who purchase their tickets online may now choose their own seats using an interactive seating chart.
Reagle Music Theatre is located at 617 Lexington Street, Waltham, Mass. Box Office hours are Monday through Friday, 9 a.m. to 4:30 p.m.; Saturdays, 10 a.m. to 2 p.m.; and performance days, 9 a.m. to curtain. For more information, visit Reagle Music Theatre on the web at www.reaglemusictheatre.org.
Reagle Music Theatre of Greater Boston is a unique award-winning professional regional theater company that features Broadway stars performing alongside local talent. Founded in 1969, Reagle Music Theatre is a non-profit arts organization based in Waltham, Mass. Operating year-round, Reagle produces major musicals each summer, spectacular seasonal revues, and celebrity concerts featuring legendary entertainers. The company also offers a variety of school-based educational programs and musical theater camps designed to give children in the West Suburban region the opportunity to expand their horizons through the performing arts. Stars who have appeared at Reagle include Brent Barrett, Patrick Cassidy, John Davidson, Mitzi Gaynor, Anita Gillette, Robert Goulet, Shirley Jones, Vicki Lawrence, Patti LuPone, Ann Margaret, Andrea McArdle, Lee Meriwether, The Mills Brothers, Sarah Pfisterer, Debbie Reynolds, Sally Struthers, Tommy Tune, Leslie Uggams, Joanne Worley, and Rachel York.
45th Season Performances at a Glance CHICAGO Thursday, June 13, 3 pm
Friday, June 14, 7:30 pm (press performance)
Saturday, June 15, 2 pm
Sunday, June 16, 2 pm
Thursday, June 20, 7:30 pm
Friday, June 21, 7:30 pm
Saturday, June 22, 7:30 pm
Sunday, June 23, 2 pm
FIDDLER ON THE ROOF Thursday, July 11, 2 pm
Friday, July 12, 7:30 pm (press performance)
Saturday, July 13, 2 pm
Sunday, July 14, 2 pm
Thursday, July 18, 7:30 pm
Friday, July 19, 2 pm (SOLD OUT – Special Free Fun Friday performance sponsored by Highland Street Foundation)
Saturday, July 20, 2 and 7:30 pm
Sunday, July 21, 2 pm
LES MISÉRABLES
Thursday, August 8, 2 pm
Friday, August 9, 7:30 pm (press performance)
Saturday, August 10, 2 pm
Sunday, August 11, 2 pm
Thursday, August 15, 7:30 pm
Friday, August 16, 7:30 pm
Saturday, August 17, 7:30 pm
Sunday, August 18, 2 pm
Jordan Brent, bass, is leader of this fine young band, with Skyler Hagner alto sax, Alex Cross piano, and Josh Goslin drums.
At first the audience was apprehensive when they saw teenagers up on the stage, until the band broke into Girl from Ipanema, and everyone sat back and listened, stunned. The quality of their musicianship was superb.
Jordan Brent is from Wallingford, Connecticut. 18 years old, an acoustic bass player, whose solos full of variety and propulsion.
She’s a talented musician, and very smart. She even designs her own clothes.
Jordan will be attending Brown University, taking Psychology in September.
Skyler Hagner is one of Art Hovey’s protégés from the Sugarfoot Jazz Band.
Now an accomplished professional, he plays in many genres of bands in the area and he’s sat in with the Galvanized Jazz Band.
This is Sky three years ago, when he played reeds with the Sugarfoot Jazz Band at the Hot Steamed Jazz Festival.
This is only part of his vast collection of instruments.
Feelings, Nothing More Than Feelings! Alex Cross is passionate about the piano, his intense facial expressions show it.
Young drummers haven’t had much exposure to jazz, especially the “laid-back, just keep time” of the older styles of jazz. A Train, alto sax playing the melody, enthusiastically conversing with drums.
Josh Goslin style is fluid, but focused on the snare drum.
Duke Ellington’s In a Sentimental Mood, fantastic sax. Josh using brushes on snare, soft and sentimental. He’s perfectly capable of slam-banging Gene Krupa-style, but maintains his composure for this particular audience. Segue into a blistering Saints, still with the brushes.
We learned later that this group generally plays modern jazz, but were advised to play some Dixieland for this crowd by Ross, Ken, and a tuba player (who will remain anonymous). They pulled if off! Let’s hope they keep playing our music for younger folks out there.
Skyler Hagner alto sax, with the Galvanized Jazz Band
The Galvanized Jazz Band was one of the first Jazz Bands to bring New Orleans Traditional and Dixieland Jazz into the New England area.
Fred Vigorito cornet, Russ Whitman clarinet alto sax, Bill Sinclair piano, Bob Bequillard drums, Art Hovey tuba/string bass, Craig Grant trombone, Cynthia Fabian vocals.
They immediately set sparks flying with a feisty Oh Baby. Louis’s Hot 5 – 1920’s set the stage for all that came after, Louis’s Sunset Café Stomp.
Fred Vigorito drives the band with his hot, dynamic cornet. His major influences were Louis Armstrong, Kid Thomas, Kid Howard, Wild Bill Davison, Bobby Hackett, Muggsy Spanier, Ruby Braff. No wonder.
With a variety of instruments, versatile Russ Whitman is one of the most sought after reed men in the business. He’s played with Jimmy Dapogny’s fabulous Chicago Jazz Band.
Louis Prima wrote their next tune in1946, Sunday Kind of Love
Craig Grant began playing Dixieland while attending Harvard University, first at Boston’s Red Garter with banjoist Joel Schiavone, then at several of Joel’s ‘Your Father’s Mustache’ clubs in Mass, NJ and NY.
Bill Sinclair has an incredible feel for New Orleans jazz and plays from the heart. He drives the rhythm section.
The rhythm boys drive the band…
Bob Bequillard
Art Hovey
This was Bob Bequillard’s 80th birthday!! Bob still pushes the band with a sturdy, dependable beat.
Art Hovey also has a solid beat, whether on tuba or string bass. Art has been playing tuba since he was a teenager. He became a high school physics teacher, but his love has always been Traditional Jazz. He spends a great deal of time impressing young musicians with his enthusiasm for the music. Some of his protégées are already playing professionally – see young Skyler Hagner playing saxophone with the band above, and with Jordan & Friends.
Cynthia Fabian sang her own version of a traditional African American spiritual, most famously recorded by Sister Rosetta Tharpe in late 1944, Strange Things Are Happening Every Day. It was really something romantic to dance to.
Cynthia is an amazing vocalist from the Blue Lights Jug Band, and has been singing off and on with the Galvanized J.B. for many years, giving new life to old melodies.
You Gotta See Your Mama Every Night or You Can’t See Your Mama At All, A Good Man is Hard to Find
She put heart and soul into Crazy, a tune Willie Nelson wrote in 1961, and made famous by Patsy Cline.
Driven by Freddy’s vigorous cornet, the band continued with a barn-burning Wrought Iron Rag, and closed with a sizzling Fidgety Feet.
The Galvanized Jazz Band plays stimulating, revitalizing jazz. They played at the Millpond Taverne in Northford Connecticut for 25 years. Now well into their 41st year, the band plays at various venues around Connecticut, and on the 3rd Sunday of the month at Aunt Chilada’s in Hampden, CT.
Jeff Hughes trumpet/leader, John Clark reeds, Craig Ball reeds, Jimmy Mazzy banjo/vocals, Ross Petot piano, Albie Bernard tuba, guest drummer Steve Taddeo.
When people want to be entertained, they generally go out for dinner, drinks, music, fun conversation, but Traditional Jazz followers are very picky; they aren’t looking for ‘background music’. They want to hear their music first – everything else is just superfluous. No talking while the music is playing, please!
Jeff Hughes is one of their favorite band leaders for that reason – Jeff has a band for all seasons, and tonight was ours. We knew it was going to be a fun night when Craig Ball walked in at the last minute (Craig always comes in at the last minute) and spotted another reed player, John Clark, asking him “What are we doing?” John replied, “I don’t know.”
Jeff distributed charts and they found out. They started with a 1927 tune that symbolized the feeling we all had today, This is My Lucky Day.
Jeff dug down deep for some very old material, the best and hottest of the 20’s and 30’s, some we have never heard before – and probably the musicians too. They had fun with it, inspiring and provoking each other, adding their own interpretations to these old tunes. It was an enlightening and entertaining evening! They really enjoy playing together. Their camaraderie is infectious – we all were having a good time. Couldn’t help it.
Not Much we’ve heard before, but not Dream Kisses. Another tune Bix recorded in a 1930 session with Jack Teagarden, Deep Down South.
Guest drummer Steve Taddeo, usually loud and flamboyant like Gene Krupa, played fine restrained trad, with the use of brushes on the snare drum and his special 1939 cymbal (the original cymbal that Buddy Schutz played on Benny Goodman’s Angels Sing). Good job, Steve!
Ross was featured in pulsating, effervescent stride on Cole Porter’s Riding High. Albie Bernard, driving the band on tuba, took a high spirited solo on Breakaway.
Jimmy had the vocal on Oh Miss Hannah, and Changes with Jeff backing him on his 1946 Olds trumpet.
Jeff let Taddeo cut loose with this one, with drum sticks beating energetic Gene Krupa style!
There aren’t many Mouldy Figs left here – Bea Page is our finest. The band walked up to her table, playing a swinging Happy Birthday, and continued with her favorite tune Moon Glow.
Manager Phil Cocco caught Bea by surprise for her “29th birthday” with a delicious birthday cake prepared by the chef – that she shared with all of us.
Back to the ‘stage’ – John Clark on clarinet and Craig Ball on tenor sax with a poignant duet on Irving Berlin’s Russian Lullaby. Memories of the Depression in the1930’s – I’m In The Market. A 1911 tune that is still being played in colleges today, Sweetheart of Sigma Chi. The band played Who, dedicated to another fan, Joan Murray. (Her birthday is in August.)
Jeff took out the flugelhorn for a sweet When Day is Done. 1910? Jolson’s Golden Gate(California Here I Come.) Weary Man Blues. There Ain’t No Land Like Dixieland,Cottage for Sale, Old Folks.
They sent us home with Farewell Blues.
This is a new band for Jeff Hughes, separate from the Jazz Jesters Novelty Orchestra, that sounded much more like the Paramount Jazz Band. Nevertheless, he delved deep into the Jazz Decades for tonight’s performance – and we hope there will be many more like it. Wish we had a video!!
Seacoast Stompers held their regular 1st Saturday of the month at the Acton Jazz Cafe with Scott Philbrick guitar/cornet, filling in for Jimmy Mazzy, Lee Prager trombone, Bob McHenry string bass, Bobby Reardon drums, Frank Stadler piano, and substitutes Dave Whitney on trumpet, John Clark reeds, and special guest Maureen Benson on vocals.
Maureen Benson with a sweet vocal to this Ellington classic.
The Hot Steamed Jazz Festival will continue next year – some bands have already been booked. It will take that long to finish this site, adding new embedded videos as they get processed. Come back once in a while to see and hear these great bands – and see you next year!
2012
The Hot Steamed Jazz Festival celebrated a successful 20th Anniversary thanks to a dedicated group of people who love Traditional Jazz and work to keep its Jazz presence in Essex, Connecticut.
Congratulations to President and Chairman Karen E. Senn, Shirley Bombaci Vice President, for their hard work, and also Nina Sulinski treasurer, Beth Fitzsimmons secretary, and a large crew of volunteers including Isobel Allen, Bob & Sue Brummet, David and Marge Olmsted, Judy Postemsky and more, who presented 12 bands, plus a Saturday night Jam and Sunday Gospel Service.
Twenty one years ago, near the close of The Great Connecticut Traditional Jazz Festival in Essex, CT I had a casual late evening conversation with Joe and Shirley Bombaci and Bpombaci and (if my memory is correct) Darcie Deaville the jazz fiddler with Igor Glenn’s Jazz Cowboys, who was staying at Joe and Shirley’s house for the weekend festival.
The Great Connecticut Traditional Jazz Festival was being transferred from Essex to a camp ground in Moodus, Connecticut and pushed out to July. Jim Almond, a conductor at the Essex Railroad Museum, suggested to Joe and Shirley that they maintain a festival here in Essex. Although at that time the jazz followers attending numbered in the thousands, I for one was not sure if The Hot Steamed Jazz Festival would be profitable. Would fans return to the area within 45 days of the large 3-day TGCTJF in July for another festival much smaller in size?
In the first couple of years, it was a struggle and ran in the red, and the Bombacis had to cover the losses. Eventually they were able to find sponsors and get the festival to where it is today. For twenty years fans have returned to the Hot Steamed Jazz Festival, and still do with great enthusiasm. Originally, it was two venues, the engine house and one large tent, but for about the past nine years it has been in two large tents. The general atmosphere has been enthusiasm and excitement for performers and followers alike. Although crowds have never reached the level experienced at that TGCTJF, attendance has been in the low hundreds. (A good measure being in general, the present age of the followers of the music.) But it is still a 3-day festival of excellent quality… maybe one of the best small festivals in the country. The weather is not a problem – no matter what mother nature throws at this festival, the excitement and quality persists from the first note played early Friday evening to the last note played late Sunday afternoon. Why? Partly because it’s an intimate informal outdoor experience where friendships and camaraderie between followers/supporters and musicians intermingle continually and effortlessly everywhere on the grounds between sets all weekend long. The quality of musicianship? My word! The best of the best from those that have been the top dogs for years to the new upcoming talent that are deservedly making names for themselves nationally and internationally in the jazz world we all love. I’m not a great one to remark on one tune over another. My interest and memory locks into the overall total performance of any individual or group – what happened musically and how the audience reacts. More of Lauren’s comments on the Bands’ pages.
Proceeds from this festival go to the late Paul Newman’s Hole in the Wall Gang Camp, which is now celebrating its 25th year. There were several representatives from the Camp at the Festival.
Maria has been part of the camp for 20 years. She said it serves 20,000 kids and families in New England at no charge every year. The Community comes together, and the kids get to connect with others like themselves. It makes a fantastic summer for them!
Natali is a cancer survivor, now 20 years in remission. Paul Newman taught her how to play pool when she was 9 years old!
My special thanks to Lauren Humpage for providing some history and short, succinct, comments on the bands.
Bob Seeley – 4 sets – soloist – The world renowned Boogie-Woogie pianist of industrial strength from Michigan was back for (I believe) his 5th straight year. Simply Wow! He and Jeff did a four-hands-on duet in his second set that had the audience on their feet for a standing ovation when finished. There are very few that can do what Bob Seeley does! Lauren Humpage
* * *
An 83-year-old scamp, who jumps up and down from the stage like a teenager. Bob Seeley takes boogie woogie tunes of the masters he learned from, like Mead Lux Lewis, Pete Johnson, and Albert Ammons, as well as contemporaries, just to see what he can do with them. History lessons are part of his package.
He said during WWII, most of the music was Pop. Boogie Woogie was a fast, happy Blues. Sippy Wallace’s Suitcase Blues.
In 1948 Freddy Martin and Josh Pinochle took Rimsky Korsakov’s Flight of the Bumble Bee and turned it into a boogie.
Lewis, Johnson and Ammons hung out of Mead. Jimmy Yangtze was older, they listened and learned from him. Many songs at the time referred to railroads and trains. Yangtze Special was named after a steam train, you can actually hear the engine start, the wheels slipping.
He said he’d try a classic Bish boogie woogie that was done on two pianos back when he was about 16 years old. He managed it one one piano, with flying fingers!
Boogie Woogie doesn’t have to be fast. He slowed down for a boogie Freddie Slack played in the 40’s. Strange Cargo was Freddie’s theme song.
When the war ended, boogie-woogie faded. Freddie played piano for a little while, drinking heavily, he died at 52. People who hit the top did not live a full life. Seeley says “The music business is not easy.”
There was a request for WC Handy, his most famous tune, St. Louis Blues – he played the Earl Hynes version. Fast bouncy, boogie, with some stride. Then moved to something not boogie, Malagueña, written by Ernesto Lecuona. He played it in stride, quoting a big of “She don’t wear no pants in the southern part of France”.
Meade ‘Lux’ Lewis was about 5 feet tall and weighed about 300 pounds. His boogie – Tell Your Story Blues tells a story. The right hand holds the conversation, while the left hand keeps the eight-beat.
Cow Cow Davenport was a boogie woogie player in the 20’s and 30’s. He composed Cow Cow Boogie. Sold it outright. Trad bands play it too.
Mama Don’t ‘low – that song is usually used to identify the players in a band. He used it to enumerate all the different kinds of music, citing examples. Mama Don’t ‘low no Scott Joplin, Irving Berlin. Ragtime (Maple Leaf Rag) James P. Johnson (Charleston) Fats Waller (Honeysuckle Rose) Duke Ellington (A Train – left hand traveling all over the low end of the piano). George Gershwin (I Got Rhythm) left hand in a hopping stride. He ended with an Irving Berlin (God Bless America.)
* * *
Amazing pianist. His second set was totally different. and just as fascinating.
Mead Lux Lewis’s Six Wheel Chaser, Juan Tisol’s Caravan, going from boogie into rapid stride. He slowed for Jelly Roll Morton’s Dead Man Blues (“a favorite in the nursing homes. Another one is After You’ve Gone“.)
Boogie Woogie Man, his Bumble Boogie cannot be described – you must see it! Eric Devine videotaped it. All in good time.
Mr. Freddie Blues. He moved quickly from one to another pianist, remembering all the best pianists of the past.
He said Errol Garner was “one of the greatest ever”.
Jerome Kern’s Yesterdays started with as a ballad, morphing into an lively boogie, fingers dancing across the keyboard.
Pete Johnson – stride pianist – wrote Death Ray Boogie – named after that look, that stare, that Benny Goodman gave his players. He played more leisurely for Fats Waller’s Cuttin’ The Boogie.
He said Jelly Roll Morton hated the boogie, but it was ‘in’ at the time so they all had to play it. So Fat’s contribution in a cutting contest was Handful Of Keys. That should show them!
* * *
Bob had the last set on Sunday afternoon in the Hole in the Wall Tent, Galvanized was playing in the Louis Armstrong Tent. Fred Vigorito led the Galvanized Jazz Band marching into the tent and there was a free-for-all.
If you look carefully, you’ll find Joel Schiavone on banjo, hiding in the background.
That concluded a fine weekend of great jazz. Bands have already been booked for next year. Volunteers – get ready for another one!!
Dan Levinson – Reeds, Andy Schumm – Cornet, Matt Musselman – Trombone, Gordon Webster – Piano, Molly Ryan – Guitar and Vocals, Rob Adkins – Bass, Kevin Dorn – Drums
Early Jazz from the 20’s and 30’s appears to be fading away with us, the generation that was raised on it. Trad and Dixieland Festivals that have been thriving for 25-30 years are either closing completely, or incorporating other genres to fill the seats. Fortunately for us, Dan Levinson has devoted his life into finding and teaching our kind of music to some of the younger, upcoming musicians, so that it doesn’t just disappear.
He’s brought hundreds of them to the Hot Steamed Jazz Festival, for all but one year of its existence. This year, he really picked some All Stars who have built names of their own, some even have their own bands – playing Our Kind Of Music. Hence The New Millennium All Stars.
It’s obvious that they enjoy it!
Clarinet Marmalade, Baby Won’t You Please Come Home, Fidgety Feet.
Check out Rob Adkins on the string bass:
New Millenium ensembles are superb, and Dan gives each a chance to STAR! Milenberg Joys
Molly now also plays guitar. Darkness on the Delta
Smoldering interchange between the front liners, especially Dan on tenor and Matt Musselman on trombone.
With Dan on tenor sax, she continued with I Can’t Give You Anything But Love
She recently kickstarted a fund for a new Swing CD which has already reached it’s goal. We’re looking forward to it!
Dan took off on clarinet for There’ll Be Some Changes Madeand the New Millenium pursued him, even letting drummer Kevin Dorn take some licks.
Kevin has been one of the busiest drummers of this genre all over the country. Settling in New York, he started his own band, The Traditional Jazz Collective – now known as The Big 72.
We look forward to hearing him every year!
Andy Schumm prefers to work as a ’20s musician than a modern player – that started after he heard a Victor recording of Bix Beiderbecke.
Andy plays with many bands, including Jon Erik Kelso’s EarRegulars, Vince Giordano’s Nighthawks, and The West End Band.
He, like Dan, is an advocate for teaching young students good music.
Matt “Grandpa” Musselman assimilated a group of of Manhattan School of Music graduates and started a band in 2006 called Grandpa Musselman and His Syncopaters, playing classic New Orleans Music.
Rob Adkins is new to us. He has a relentless pulse on the string bass. (See his solo on The Original Dixieland One Step again.)
He plays with many classic NY bands, including Gordon Webster, and regularly with Gordon Au’s Grand St. Stompers.
Every year, Dan Levinson brings in another group of young musicians. Thank you, Dan. We’re grateful to you for preserving our kind of music, and looking forward to who and what you will feature next year!
The Hot Steamed Jazz Festival will continue next year – some bands have already been booked. It will take that long to finish this site, adding new embedded videos as they get processed. Come back once in a while to see and hear these great bands – and see you next year! 
