Bob MacInnis, Bill Reynolds (in back), Craig Ball, Al Bernard, Robin Verdier, John Clark

We were transported back to the the early 20s with the Monte Carlo Jazz Ensemble playing the captivating dances of that Golden Age of Music.  Leader Robin Verdier creates masterpieces by picking tunes from the early 1900’s and writing his own special arrangements. He blends together new ideas, constantly refreshing the material, providing charts for the musicians.  Emphasis is on ensemble. He has his favorite composers, Irving Berlin, Isham Jones, Clarence Williams, Walter Donaldson, Tiny Parham. 

His whole Ensemble was back, a powerhouse of accomplished musicians. On the front line were John Clark of the Wolverine Jazz Band on alto sax, Craig Ball, leader of the White Heat Swing Orchestra on clarinet, and Bob MacInnis, of the New Liberty Jazz Band, on cornet.  Bob had just returned from Florida for the season, where he plays almost every night.  He makes a big difference in the Monte Carlo sound. Bill Reynolds, drummer for the New Black Eagle Jazz Band, knows all the old tunes – he was raised with them by his Jazz Historian Father, Ed Reynolds.  Last but not least, Al Bernard on various brass bass, tuba or sousaphone, is known all over New England.   Generally they don’t have time to complete Robin’s full schedule, but they did very well this evening.

Bill Reynolds, Bob MacInnis, Al Bernard

They began with one of the earliest tunes 1927, marvelous ensemble on Miss Anabelle Lee.  Irving Berlin wrote one even earlier, 1920, I’ll See You In C-U-B-A, MacInnis doing the intro in a Latin beat, Albie on oom-pah brass bass.
Leader of the White Heat Swing Orchestra, Craig Ball had several clarinet solos – he’s a true artist in all that he does.  1927 Alabamy Bound was a brand new one for the band, by Henderson, DeSylva, and Green who were well known back then.  King Oliver had one of the best early Trad Jazz bands, even before Louis.   The ensemble played his Mule Face Blues, with Robin in stride and solid right hand.

Albie got away from the oom-pah and played  a masterful tuba solo on Isham Jones’ Down When The sun Goes Down, followed by a fast Morrocco Blues.  They did well – Robin was all smiles.

Around 1938 Lu Watters was tired of playing the same sound over and over, so he recreated King Oliver’s 20’s tunes and started what we now call West Coast Jazz.  Some said it was insane to build a bridge over San Francisco Bay – Watters used that as a theme for his Emperor Norton’s Hunch.

Robin Verdier

Fats Waller’s Crazy ‘Bout My Baby started Set 2. Robin always wanted to do Clarence Williams; he picked Candy Lips, slipping in a little bit of Alice Blue Gown.

A tune he’s played at weddings for over 50 years, Lena Queen of Palesteena. Lena played concertina with all her might – never got it right. They do.  Robin opens it tapping on a tambourine.
Another composer who isn’t featured much, except by Monte Carlo, Tiny Parham.  My Dreams.

Bob MacInnis, back from Floriday!!

Shake It And Break It, fine alto solo by MacInnis.

Sweet Man, Bill Reynolds rim tapping, occasionally tapping cymbal.

The melody, harmony and rhythm played by the Ensemble was exhilarating!

Who Wouldn’t Love You had Dave and Helene up dancing.

Happy Feet was featured in Paul Whitman’s movie, King of Jazz.  And at the other emotional extreme, Fate, cornet, clarinet and sax all had solos.

Blame It On The Blues, How Am I To Know, Walter Donaldson’s Okay, Toots.  He wrote many great tunes.  Most of these you’ll never hear anywhere else.  I think Variety Stomp was the only tune that didn’t make it.  Con Conrad’s Moonlight ended an evening of fine, danceable tunes from the early 20’s.   Tune list is at the bottom.

Marce

We caught some of the folks afterwards:

Roland Paquette between Dan and Bob MacInnis	Albie talking with fans
Robin and Toni Verdier