Eli & The Hot 6 celebrated Eli’s upcoming 75th Birthday with style at Sculler’s Jazz Club on December 17, 2015. The 8pm show sold out in no time and they had to add another at 10pm. The music at Scullers was up to their best,
The Hot Six feature some of Boston’s finest, legendary musicians: Eli Newberger on tuba, Bob Winter on piano, Herb Gardner on trombone, Bo Winiker on trumpet and flugelhorn, Ted Casher on clarinet, soprano and tenor saxes, Jimmy Mazzy on banjo and vocals, Carolyn Newberger on washboard, Jeff Guthery on drums, Rebecca Sullivan vocals.
Eli and The Hot Six with Rebecca Sullivan
Eli & The Hot Six’s approach honors the New Orleans tradition of ensemble improvising while featuring the solo brilliance of its distinctive, contemporary musical personalities.
Eli wrote:
“The music is stunningly beautiful and swings like mad. Everyone is both at ease and acutely tuned in, projecting emotional pinpoints and delivering delightful surprises.
Rebecca’s treatment of Ira Gershwin’s verses is unbelievably touching. Bob is like an Impressionist painter, deploying the whole piano as his palette, mixing stunning new colors and inventing heavenly harmonic washes in his solos. Herb’s punchy singing of “You Cares” sounds like he’s channeling Henry “Red” Allen, especially in his ironic take on Ira’s immortal line, “Who cares if banks are failing in Yonkers, when it’s your kiss that conquers?”
Ted, Jimmy, and Bo are so focused the ensemble — and vice versa– that even their brilliant solos (and there are too many to count) weave new threads into the gorgeous fabric of improvising:
Ted, for example, quotes Count Basie’s “Lil’ Darling” and Bob tosses it all over 3 choruses later in his pianistic evocation of the whole Basie band, even as Jeff does his best Jo Jones. Bo performs 2 “stop choruses” that ignite lightening storms — with flashes of instrumental accents through the remaining portions of those songs.
Jimmy shouts 3 fantastic final choruses on “St. Louis Blues,” (ending with an exalting Mazzy scream of “I love that gal like a schoolboy loves his pie, like a Kentucky colonel loves his rock and rye!” that Frank Cunningham was obliged to compress — because Jimmy almost lifted the track off the mixing board). This makes Ted into a Texas tenor and transforms Herb into a tailgate tiger. (Programming note: I included this W.C. Handy song both because he so influenced Gershwin, but because the “Summertime” melody uncannily resembles Handy’s second, minor, strain. And in real time at Scullers, I asked Rebecca to sing “Summertime” next (and did she ever!), but I refrained from pointing this out, so as not to shatter the mood.”
Ted Casher, Bo Winiker, Herb Gardner
Rebecca Sullivan
Jazz singer Rebecca Sullivan added an additional instrumental voice to the ensemble, in addition to her own deeply-felt interpretations of iconic vocal masterpieces.
Jimmy Mazzy and Eli Newberger have been together for years
Bob Winter, master improviser
Carolyn Newberger
Washboard Artist Carolyn Newberger Strikes Up The Band on washboard.
Carolyn and Rebecca chortling after Bob Winter’s and Carolyn’s humorous piano-washboard “conversation” on “Strike Up the Band!” It was one of the high points of the first set at Scullers!
Bo Winiker
Ted Casher
Herb Gardner
Jeff Guthery
Eli joined Bob for 4-hand piano on “St. Louis Blues.”
Bob shares piano with Eli
Eli and The Hot Six forthcoming public performances are all at Ristorante Primavera, 20 Pleasant St. Millis, MA 7 to 9:30 as always.
January 14
March 19
April 14
Professional Photographer Eric Antoniou caught beautiful photos despite the low light. Frank Cunningham’s preliminary CD cuts are nearly all top notch, so a Hot Six Gershwin CD is going to happen, soon! Stay tuned.
This was Traditional Jazz at its height, leader Bill Reynolds choosing tunes mostly from the early 20’s that we have never heard before. This was an enchanting revival of Bill’s Dad, Ed Reynolds’ Back Bay Ramblers. The musicians were all dressed in tuxedos, because his father insisted that “The ‘Band had to be dressed as well as the listeners”, and the listeners in Ed’s time wore fancy dresses and tuxes.
This was Ed’s concept and style of music. It was not only popular music of the day, but it also contained a lot of jazz. Ed took pop music and chose tunes that had a lot of section work between horn, trumpet, saxes, and clarinet. What the arrangements did was feature very tight section work by these four professional musicians. It was all written, except for the solos. Ed respected good musicianship, you couldn’t fake it, so you had to be a good reader and good technician to play this music.
Bill’s Back Bay Ramblers were definitely up to the task. He has two amazing sax players in Billy Novick and Mark Earley, Mike Pipeman taking the lead on trumpet, the ubiquitous Dan Gabel, leader of the Abletones Big Band, on trombone, Ross Petot magnetic on piano, with Jim Guttman’s string bass and Bill’s drum working in sync to maintain the proper Trad beat; music to our ears!
Some of the first tunes were requested by Dan Gable, Hello Lola, that was played by a star studded band in 1929, The Mound City Blue Blowers with Coleman Hawkins (ts) Charles “Pee Wee” Russel (cl); Glenn Miller (tb) William “Red” McKenzie (kazoo); Jack Bland (g); Eddie Condon (bj); Pops Foster (b); Gene Krupa (d); Bill said he hoped this band would make them proud.
Nancy McGhee has a great feeling for this music.
Bill introduced Nancy McGhee with Dreaming ‘Bout My Man 1931, done by Hunters’ Serenaders, a Territory Band. Nancy is a beautiful and talented vocalist, a graduate of both Berklee and The New England Conservatory. She teaches music at Lawrence High School…. and is also Bill’s cousin.
She sang Concentrating on You that was done by Connie Boswell in 1931. She was featured on Honeybunch, made popular by Jane Green in 1926. Down Among The Sugar Canes, sung by Lilian Roth in the 1930’s.
The Ramblers played Duke Ellington’s Riding But Walking that Duke’s Cotton Club Orchestra played in 1926. Fine trumpet by Mike Peipman who took the lead on every tune. It’s on their Red Hot Band CD, and for sale.
Both saxes were marvelous together on the 1929 That’s Where You’re Wrong 1929. Dan Gabel was blowing his trombone into a megaphone. More about that later.
Mark has a collection of saxes.
Top and Bottom was recorded by the Joe Steele Orchestra in 1929. Trumpet lead, with the band backup. Nice bass by Jim Guttmann. Mark Early on baritone sax.
Raising The Roof was done by Henderson’s Roseland Orchestra in 1929, starting here with two clarinets, then Mark moving to tenor sax. Very abrupt ending – this was repeated on many tunes, always catching the audience by surprise.
Ross Petot looks great in a tux!
Ross Petot is marvelous on piano, anchoring the band with rhythmic motion.
Here comes Marjorie is a peppy tune that was played by Benny Moten’s Kansas City Orchestra in 1930.
We’re fortunate to have Australia’s Mike Peipman here in New England!
Really modern for this band, Stomp Miss Hannah was done by Australian Lazy Ade Monsborough in 1951. He was an important force and a popular figure for decades in his native country. We have our own Australian, Mike Pipeman, who plays trumpet in many New England Bands.
The Back Bay Ramblers’ version was arranged by Billy “The Kid” Novick. Fantastic saxophones!
Bill Reynolds on choke cymbal
Good Feeling Blues was done in 1929 by Zack White and His Chocolate Beau Brummels, The whole band played an abrupt quarter beat on the first measure, and then there was a brief silence before the band continued with the melody, playing in stop time, with Bill on choke cymbal. Great trumpet with two saxes, and Ross on piano solo. They have never played this before. Amazing!
The Musical Stevedores’ Happy Rhythm from 1929 was taken slower than written, but still fast; Dan on magnetic muted trombone.
Nancy returned with Without You Sweetheart, done by the Vincent Lopez Orchestra in 1927. Nancy’s vocal brought it fresh nuance, backed by Ross’s piano.
Absolutely amazing saxophones by Billy Novick and Mark Earley
Lotta Sax Appeal was done in 1929 by Andy Kirk and His Twelve Clouds of Joy. Mary Lou Williams was arranger, composer and piano player for Andy Kirk.
Ross took a piano intro, with Billy leading on alto sax. The range and diversity of our two saxophones was captivating!
It’s on the Back Bay Ramblers’ CD, Red Hot Band. Billy asked if anyone knew what year this was. Jeannine James won a CD for picking the year of this tune. It wasn’t very difficult – 1929 of course.
I’m Gonna Meet My Sweety Now was sung by 19-year-old Kate Smith in 1927. The Ramblers played it as an instrumental, featuring Dan on trombone, playing through a megaphone.
That idea came from a famous trombone player, Spiegel Wilcox, who went to see Paul Whitman, with trombone player Sammy Lewis. Spiegel saw the megaphone jerry-rigged up to a bird cage holder, with Sammy playing trombone through the megaphone. Spiegel thought it sounded amazing and made one himself and used it frequently.
Dan Gabel was creative, supporting the megaphone with his feet!
That To Do was recorded by Benny Moten’s Kansas City Orchestra. This needed audience participation, with all of us obliging with “Yeah” and “Right”. It’s on the Ramblers CD Cuttin’ Up. Dan added flair with his ‘laughing trombone’. Billy played clarinet, Mark tenor sax, with fascinating interplay between drum and sax.
The River and Me. Recorded by Duke. Dan playing on megaphone traded 4’s with Billy’s clarinet. It’s a good swinging tune that was specially arranged for the band.
Vipers Drag – was recorded by Cab Calloway in 1930. Finally a song we knew, but we’ve never heard it played this way. Dan making guttural, talking, trombone sounds; Mike’s muted trumpet playing riffs. The whole band made the melody come alive.
There was time for one more tune; brought Nancy back for 1929 I Have to Have You. It was an enchanting evening, with Bill’s Back Bay Ramblers playing the beautiful music rooted in the 1920’s, just as Ed Reynolds had. Thank you, Bill!
Also:
The Ramblers played the previous night to a full house of GBVS (Greater Boston Vintage Society) dancers dressed in vintage attire at the Crane Estate in Ipswich, MA. Dance floor was loaded, and they were actually screaming when Nancy sang, she had an instant fan club!
GBVS in vintage attire dancing to the Back Bay Rambles.
So what is the future for this style of music? The 20’s will return – it will soon be 2020. See you there!
To hire the band, or get a CD: email drumkits@verizon.net
New Black Eagle Jazz Band at Ken’s Steak House, November 22, 2015
Tony Pringle cornet/vocals, Billy Novick reeds, Stan Vincent trombone, Peter Bullis banjo, Moishe Feldman piano, Jim Gutmann string bass, Bill Reynolds drums.
by Peter Gerler and Marce
November 22, 2015, Framingham, MA. The New Black Eagle Jazz Band brought their romping classic New Orleans Jazz to Ken’s Steak House and were greeted by a colony of loyal fans. They came from all over—New York, Connecticut, even London—including many from the former Sticky Wicket. Marilyn Charkins, present in the house, was in her 20’s when she first heard the NBEJB at the Wicket. Elizabeth Mazza sold CDs at the breaks.
Ruth Schwab was there, driven by Joe Grassia. Ruth’s husband Walter created the first Black Eagle CD in their cellar. The Bob Chicoine family was here celebrating Bob’s birthday–his fervent wish. Artist Joe Mathieu accompanied them; he created our logo and has illustrated many Jazz CD covers. This band has faithful, steadfast friends.
Jim Guttmann excellent bowing string bass
They started the set with a prescient When I Grow Too Old To Dream, then Special Delivery Blues, Jim bowing bass for the first time of many.
Tony Pringle
Of Jelly Roll Morton’s Froggie More Blues, Tony Pringle said the title was supposedly taken from a contortionist who did frog imitations. (On the other hand, there is a corner of Joe “King” Oliver’s hometown, Donaldsonville, LA, known as “Froggie Mo’”) Pringle played lovely muted cornet (as did Oliver), underscored by rollicking piano and rhythm from Feldman, Pameijer, Guttman, and Reynolds.
On Roaming, Billy Novick rendered some great alto sax. The tune was recorded by Luis Russell’s Band in 1930, with Henry “Red” Allen on vocal.
Stan Vincent
Stan’s trombone was featured on Ain’t Misbehaving, along with a Pringle/Feldman muted cornet/piano duet. Guttman and Reynolds followed, laying down fine bowing against soft brushes.
Following Cole Porter’s It’s All Right With Me, the band rolled out Paul Barbarin’s New Orleans chestnut Bourbon St. Parade. Second liners with parasols were nowhere in sight. We’ll have to fix that!
On Sam Morgan’s Bogalusa Strut, Novick played dance-step angulations, his solo echoing the original from Morgan’s 1927 New Orleans recording. Moishe’s piano threw gossamer over the heat. Morgan’s band was first in New Orleans to record spirituals in jazz time—a marker, since the black church was a crucible for swing.
This band is one of the few that still plays authentic traditional jazz as it was played in 20s and 30s New Orleans. Leader Tony Pringle is adamant that this beat be maintained, which is what these people come to hear – tight ensemble and challenging New Orleans polyphony.
Peter Bullis, original member since 1971
The band has just begun its 45th year. The original members, still with the band since 1971, are Tony Pringle, cornet and leader; Peter Bullis (still wearing red socks), banjo and manager; and Stan Vincent, trombone.
Bill Reynolds started subbing on drums when Pameijer moved to Connecticut, but Pam pops back in for special occasions. Billy Novick arrived in 1986 and has had a big influence on the band.
Moishe (Michael) Feldman
Sitting in were Jim Guttman on string bass – he plays regularly with Novick at Gloucester’s Franklin Cafe –and pianist Moishe Feldman. Moishe revels in being part of it, his hands evoking soft riffs and touches, giving distance to the soloists. It’s a perfect, conversational alliance.
The last set was a short one. On Ellington’s Rent Party Blues from 1929, Billy’s alto sax echoed Johnny Hodges’ lyricism, while Stan’s trombone evoked a New York City nightscape. Swaying at the keyboard, Moishe answered the band’s every move.
Bill Reynolds
They closed with a fine solo by Bill Reynolds—one of New England’s best trad drummers–on the barn-burning Weary Blues. The Black Eagles have always burned that prairie fire—no different here. The tune symbolizes the New Orleans polyphony. A 1978 recording has the Louis Nelson Band with Butch Thompson, Sammy Rimmington, and Danny Barker, all of whom have played with the Black Eagles at one time or another.
Danny Barker, along with Tommy Sancton, were the last guests to play at the Sticky Wicket – it closed the next day, November 1990. But the New Black Eagle Jazz Band continues with concerts all over the country, and the support of faithful fans.
Jeff Hughes (dubbed “Mr. Melody” by Ray Smith) has made a name for himself as a Bix-styled cornet player and disciple of Bunny Berigan in the Boston area with the Wolverine Jazz Band, Dave Whitney Orchestra, Dan Gabel and the Abletones, and numerous other groups. By day, he is a mild-mannered marine biologist, but by night he is the leader of many bands:
The Trail Blazers, Harold Koch, Craig Ball, Jimmy Mazzy
By Nick Ribush and Marce
Videos by Harold McAleer
Jimmy Mazzy debuted at a new venue that hopefully will become a permanent home for The Trail Blazers (new name). Trail’s End is a fine restaurant at 97 Lowell Road in Concord Massachusetts not far from the monument. It is the perfect setting for the new Trio of Jimmy Mazzy banjo and vocals, Craig Ball reeds, and Harold Koch keyboard.
We all know Jimmy and Craig (leader of the White Heat Swing Orchestra). Harold Koch is an old friend of Jimmy’s who played piano with him (and Lee Childs) at The Groton Inn in 1971. He has a swinging stride left hand, a vehicle for rapid improvisation, and he knows exactly how to support Jimmy and Craig.
“The Trail Blazers are in the Lounge, a bright and cheery room, with fun seating options, in comfy overstuffed, ‘get lost in’ chairs and flexible table set ups. The large bar has many welcoming stools for extra seating in an overflow crowd situation,” said Midge Symmes.
Marce and Nick were fortunate to occupy the overstuffed chairs with direct view of the band – comfy indeed!
97 Lowell Rd. Concord MA 11 a.m. – 2 p.m.
Jeanette and Fred Wilkes
This first venture at the Trail’s End was sold out with all of Jimmy’s loyal fans. Fred and Jeanette Wilkie drove all the way from Hudson, New Hampshire to be here.
Jim White sat at the keyboard playing Avalon, as the crowd was settling in.
Owner Jim White at keyboard with Jimmy Mazzy
Craig Ball arrived, and played beautiful low register clarinet, while Harold Koch’s marvelous stride was featured in Nobody’s Sweetheart Now. Jimmy’s unique scatting delighted us in I Can’t Believe That You’re In Love With Me.
Blue Skies was lovely, and appropriate for this day. DAYLIGHT HOURS 11am – 2pm!
Harold is Jimmy’s secret weapon, playing a lively Broadway Melody.
Harold Koch
Craig Ball
Craig went wild on clarinet with My Heart Stood Still. He took out the soprano sax and had Bob Cronin and Sandrine dancing up a storm on Deed I Do. Craig is a monster on tenor sax, too!
Carrie Mazzy
Carrie joined the Trio sanging Billie Holiday’s When a Woman Loves a Man, And I still Do, and Goody Goody.
The inimitable Jimmy Mazzy
Jimmy took the vocal on Marie, with Harold playing wicked stride piano, left hand bouncing across the keyboard. It’s a joy to just watch him play.
Partial view of Lounge, 14-seat Full Bar is at left
The band continued with Jimmy’s Blues (a 12 bar blues) with Craig on soprano for half, then moving to clarinet. The Trio is marvelous!
They also played: Dinah Darktown Strutters’ Ball I’m Just Breezin’ Along With the Breeze Linda After You’ve Gone Hard Hearted Hannah Life Is Like a Bowl of Cherries Somebody Stole My Gal
At the first break, Jimmy played a lovely ballad (not meant for banjo) that was Jimmy Enright’s favorite song, Sleepy Lagoon. We lost him 28 years ago November 19th. Thank You Jimmy Mazzy!
Knowing owner Jim White enjoyed the afternoon gives one hopeful thoughts of a future for the Trail Blazers at the Trail’s End Café! Stay tuned.
Harold Koch was born in Manchester NH and has always lived in that area.
He started playing piano when he was 5. There was a piano at home (his mother and elder brother played) and he found that he could pick out with one finger any tune he heard. People were quite impressed with his ability and sometimes suggested he should take lessons but at that point he didn’t see the need. He found he was reasonably advanced playing out of the John W. Schaum piano book that he didn’t really need lessons.
Then one of his friends who had taken lessons played “Mary Had A Little Lamb” for Harold with a stride left hand, so he grabbed onto that to go with his one finger right hand melody picking. Several years later, however, he took some lessons from a teacher who taught him the more advanced chords, from adding sixths, sevenths and ninths to diminished and augmented chords, which really helped his playing.
His brother used to listen to jazz on the radio, in particular the Chamber Music Society of Lower Basin Street on the Blue Network with Henry Levine and his Dixieland Octet and other musicians. So his brother got to like jazz and bought Harold a couple of records, one by Bunk Johnson and the other by the Lower Basin Street band. He grew to love Dixieland, but the thing he really loved was his grandmother’s phonograph. His uncles were in their twenties in the 1920s and had bought a whole bunch of Victor scrolls 78s, and Harold thought that was the living end of music. He copied the arrangements on piano as best he could. He never had any favorite pianists or looked to any pianist in particular, but would simply try to imitate the arrangements on those records.
When Harold was in 8th grade in high school a drummer friend gathered together all the kids who could play music and created a big band. The friend loved Glenn Miller charts and stuff like that, so that was the first band that Harold really played with. He couldn’t read music and didn’t have a chord book; he was just able to hear chord changes by ear for most simple tunes. For songs with more weird changes he’d have to figure the chords out but could still get there by ear.
After school he played with small bands around Manchester. In the 60s he went to work at Sanders Associates, a defense contractor in Nashua, where he became a senior electronics tech. There was a band there and Harold played with them at the Nashua Club in Nashua for ten years.
Lee Childs on Hi-Line Jazz Boat, Cape Cod
In 1971, a friend at Sanders who played trombone told Harold about a job that he had at the Groton Inn with a wonderful banjo player called Jimmy Mazzy and a wonderful clarinet player called Elliot “Lee” Childs. So he joined the band and played there the whole winter of 1971, which for Harold was the best music job he ever had. And that’s how he met Jimmy. He recorded some of these gigs on reel-to-reel, the tapes of which he still has.
Some time after that he lost interest in playing with the bands around Manchester and found greater satisfaction in simply playing piano at home every day.
Occasionally over the years Harold would go the Colonial Inn to hear Jimmy and sometimes sat in, but mostly he didn’t play with bands, so this gig at Trail’s End on November 22, 2015 is a bit of a departure for him and a welcome one for us who got to hear him. We’re certainly hoping for more.
This was the last Jazz Concert of 2015 at Primavera, and a very worthwhile one. The Hot Six reached deep down playing their hearts out creating beautiful music. They just love playing Jazz!
This was Herb Gardner’s evening, bringing old school musicality to vocals and on trombone with Ain’t She Sweet, and The Sheik of Araby – with the band members responding: ‘Without No Pants On’.
He started another vocal on Basin St. Blues, then turned it over to Jimmy with a trombone intro, the band playing in stop time behind him. Herb ended with a rambunctious trombone flourish.
Eli Newberger, celebrated tuba virtuoso and keyboardist, leads the band, pointing at whoever gets to play next. This is Jazz, no charts.
He plays tuba with a deep, sonorous tone, maintaining that contemporary classic beat and managing difficult straight four/four notes by circular breathing.
They paid tribute to the French with Ted’s sweet arrangement of Petite Fleur on clarinet. Lovely! This was also the hundredth anniversary of Sidney Bechet.
Jimmy sings with sensitivity, Someone To Watch Over Me, changing the words from: “Although he may not be the man some girls think of as handsome, to my heart he carries the key.” to “Although she may not be the Squaw some boys think of as awesome, to my heart she carries the key.”
We’re thrilled to have Jimmy back with the Hot Six; he’s been travelling. He changed moods with Our Love is Here to Stay. He is also in The Tuber Trio with Eli and Ted Casher. We hope he’s here to stay.
Bob Winter finesses amazing sounds out of that keyboard, starting with soft melodic single-note piano lines on Some Of These Days, gradually rising to an astounding variety of piano styles.
He is the pianist for the Boston Pops, but also loves this music and plays skillful, soft commentary behind the soloists and vocals.
In Memoriam: We lost Jimmy Enright 28 years ago today. The Hot Six played Everybody Loves My Baby, with Jimmy Mazzy’s passionate voice rising to the infamous Jimmy “Holler’.
Bo Winiker on flugelhorn
Jimmy continued with C’Est Si Bon, backed by Ted’s clarinet, with Bo on flugelhorn. Bo’s rhythmic annotations on trumpet and flugelhorn lift the whole band.
Carolyn Newberger arrived and dug out the washboard. The band played a tune that her Mother used to play for her growing up, fairly soft and subtle, Tico Tico.
Bob and Carolyn always connect and inspire each other; their duets are sparkling and exciting!
Ted plays gut-wrenching saxophone on Blue and Sentimental. There were no lights on the band so my videos were really dark. Ray Drueke came to the rescue and lightened them somewhat. Just close your eyes and listen to Ted play a dreamy Coleman Hawkins tenor sax.
Eli had everyone clapping in time to a fiery Limehouse Blues.Jeff Guthery let loose on drums. He is the youngest member of the band, and recently had his recital at Berklee College of Music.
This was one of those never ending tunes, with Eli giving each musician a turn on the final verse.
Herb Gardner’s daughter, Sarah Nova was in the audience – a fine songstress in her own right. Sarah teaches jazz to young children with her CD, Jazz For Lil’ Jumpers. She gave us a lively version of Them There Eyes.
Eli and The Hot Six closed this evening of great jazz with Bo on flugel horn and Jimmy singing Louis’s Sleepy Time Down South. This was the Primavera Finale for the year 2015. Jazz will return to Primavera Ristorante on January 7th, 2016.
Eli and The Hot Six with Rebecca Sullivan will be at Sculler’s Jazz Club on December 17th – celebrating Eli’s 75th birthday!
Ray Drueke, Austin Lane Studios
Photos Copyrighted by Ray Drueke, Austin Lane Studios (401) 635-0163.
Craig Ball, Steve Taddeo, Jeff Hughes, Al Bernard, Hunter Burtamy, John Clark, Herb Gardner
by Bill Falk
photos: Marce
Jeff Hughes’ Jazz Jesters keep getting better every time I hear them. Their recent gig
at the Primavera on 11/12/15 was superb. The band ripped through a wide variety of tunes, some well remembered from the 20’s and 30’s and some relatively unknown. Their execution was terrific – very melodic and enjoyable.
Unfortunately, the crowd was sparse, but all in attendance loved the music. Two reed
players on the front line worked extremely well. Craig Ball ripped off excellent solos on both clarinet and tenor sax and John Clark did the same on clarinet and alto sax. They
augmented each other soloing and backing up others. Also, John’s arrangements were outstanding.
Craig Ball
John Clark and Herb Gardner
Jeff Hughes, Steve Taddeo (rear)
As usual, Jeff displayed his great ability to lead the group, backing up soloists and still exhibiting his outstanding trumpet prowess. He ‘gets into the tunes so well, plus his sound is marvelous. I can’t get enough of Jeff.
Hunter Burtamy banjo, Al Bernard tuba
Hunter Burtamy on banjo added even more guts to the rhythm section. He didn’t solo much, but he brought out the band’s depth. Herb Gardner is a joy on keyboard. He drips with experience and innovation. Al Bernard is a wonder on tuba. He controls the
instrument completely. Steve Taddeo sets a steady beat on drums. He doesn’t overpower the rest of the players, but he sets the pace very well.
Sarah (Gardner) Nova
Sarah Nova, who is Herb Gardner’s daughter, was delightful on vocals. She shows her pedigree well on both jump tunes and slower music. Sarah was a terrific addition to the group as she delivered style and sound on “Keeping Out of Mischief”, “Where Are You”,
“Russian Lullaby”, “Keep Your Hands Off It”, to name some of her numbers.
The band featured “Lucky Day” (theme song), “Diane”, “Not Much,” “Bouncing Around,”
and lots of other songs. Their last number was the theme from “Our Gang”. I liked
“Empty Saddles in The Old Corral” – a perfect ending to a marvelous performance.
Swing Senders and Midiri Brothers full house at Bemiis Hall, Lincoln MA
by Myron Idelson
photos: Marce
videos by CineDevine
On November 7 2015 at 2pm there was no ambiguity in store musically for an overflow crowd. Steve Taddeo Swing Senders with special guest Midiri Brothers Paul and Joe, returned by unanimous demand, presented jazz lovers and enthusiasts with a fevered performance.
Against the drop back of historic Bemis Hall the Swing Senders thankfully populated by Joe Midiri clarinet, alto and soprano sax, Paul Midiri vibes, trombone and drums, Bill Cable cornet, Gerry Gagnon trombone, Robin Verdier piano, Bill Doyle guitar, Justin Meyer string bass, Craig Ball clarinet, Steve Taddeo drums, Caroline Griep vocals, unabashedly raised traditional jazz to new heights.
Steve Taddeo is a rare talent, a brilliant and dynamic drummer with native talents who fires up the Swing Senders and any band he plays for because of his consistently inspiring drums. His unique style displaying superb musicianship is bright, inventive, quite intense, soft with sticks or brushes and with no difficulty in communicating with the musicians and vocalist Caroline Griep on their lofty level. His playing has unanimity of purpose, of thought, musical and otherwise, inspiring the band to a sense of freedom and play; all combined with an air of maturity that is unique unusual superlative uncommon – in other words RARE.
Stomping at The Savoy
The program consisted of Stomping at the Savoy, Ida, Avalon, All of Me, Jeepers Creepers, Pennies From Heaven, Crazy Rhythm, I’ll Do Anything For You, and Dinah. Each one played with an exuberance and excitement producing a feeling of exultation which consistently caused volcanic eruptions of applause during and after every number.
Joe Midiri clarinet, Paul Midiri vibes
What a Dream
What a joy! This group, the Swing Senders, combined with Joe and Paul made it absolutely amazing. It must be remembered by all of us who were there as an evening that consistently and joyously incited and inspired not only the audience but the fellow musicians. Steve’s Swing Senders and The Midiris invariably project a wonderful uninhibited aura of spontaneity that brightens every place they perform. Ditto for November 7th.
Caroline Griep is appreciated by band and fans alike.
Caroline’s value to the Swing Senders is tremendous; the guys love her and she loves them. The whole spirit of the room, the band and audience perks up perceptibly when she sings. Caroline is dedicated to her music and modestly never fully recognizing her talent. She is devoted and anxious to please not only her listeners but her musical conscience as well.
In addition to Craig Ball’s scintillating wizardry on clarinet, Craig was the music director and was wonderfully imaginative and wisely selecting solos at the proper times, from himself, Bill Cable’s souring and sweet trumpet, Robin Verdier’s stride piano, Justin Meyer’s chordal bass, Gerry Gagnon sonorous trombone, Bill Doyle’s syncopated guitar. All of their solos were driving, probing soaring and sweet.
Joe’s soprano sax rendition of Si Tu Vois Ma Mere displayed a pure tone and beauty so remarkable and emotional, steeped in greatness and perhaps musical immortality. Many of us wept.
Pennies From Heaven sung by Joe produced a return to life of Louis himself.
Finally, the dueling drums with Steve and Paul were sheer drumming skill and beauty, gorgeous and heralded clean and clear strokes, for imagination and wit, for originality, consistency, extraordinary drumming skills, making obsolete single, double, and triple ratamacues and paradiddles.
No other audience has heard a drum duel to match Steve and Paul. The evening can be summarized thusly: a story of inspiration and imagination, a story of energy, a story of love and a lesson for all of us in giving. And we the listeners were the gracious receivers.
Myron Idelson
Many thanks to Harold and Shirley McAleer and Eve Welts for all their work at Bemis Hall, Vern Welch for moral support, and to SteveTaddeo for bringing us the Midiri Brothers. Marce
