Jeff Hughes trumpet/flugelhorn, John Clark leader, clarinet/alto sax, Herb Gardner piano, Jimmy Mazzy banjo/vocals, Rick MacWilliams tuba, Dave Didriksen drums
By Bill Falk
Listening to this group reminded me of traditional jazz of yesteryear – those days of King Oliver and ballrooms full of followers.
Despite missing their trombonist, band members meshed together beautifully – mixing brilliant solos with great backup.
John Clark
John Clark led the band plus did an excellent job on clarinet and alto sax. He also vocalized on The Preacher, Stairway to Paradise and Egyptian Ella.
Jimmy Mazzy
Jimmy Mazzy was brilliant on banjo – when isn’t he terrific? His vocal on Take Your Tomorrow was very impressive, and his solos on Chasing the Blues Away, Monday Date and How Deep is the Ocean were outstanding.
Jeff Hughes
Jeff Hughes trumpet and flugelhorn never disappoints. I was particularly excited by the full sound he produced on the flugelhorn on I Surrender Dear. He delivered great solos on a variety of tunes throughout the program.
Herb Gardner
Herb Gardner on keyboard contributed vocals on Staten Island and The Preacher. He is a vital ingredient to the group’s sound because of his ability to backup others and hold things together.
Rick MacWilliams
Rick MacWilliams on tuba soloed occasionally while helping the rhythm section keep a steady pace. He works the instrument like a saxophone.
Dave Didriksen
Dave Didrikson was the drummer – not flashy but terrific at keeping the beat. He did take an occasional brief solo, but he played much like the drummers from way back – unsung but important.
The band also played What’s the Use, A Foggy Day in London Town, Froggy More, There Ain’t No Sweet Band Worth the Salt of My Tears, Lonely Melody, Oh Miss Hannah, Struttin’ With Some Barbecue, I Ain’t Gonna Tell Nobody, Sleepy Lagoon, The Work Song, Do You Know What It Means to Miss New Orleans and ended a wonderful evening with their signature Wolverine Blues.
Make it a priority to see this group in person! They get into the roots of jazz as invented in New Orleans very successfully.
Trombone
Leader Dan Gabel, also vocals & megaphone
Saxes/Clarinet
Austin Yancey tenor sax
John Clark alto
Richard Garcia alto
Trumpets
Adam Mejaour
Kai Sandoval
Keyboard
Herb Gardner
Rhythm:
Bill Doyle guitar/banjo
Rick MacWilliams tuba
Steve Taddeo drums
Dan Gabel brought his upligting Ten-piece High Society Orchestra to Primavera Ristorante for a rehearsal on Thursday, relaxed, without the usual mandatory suits and ties. They were challenged by Dan, though, with the sight-reading of charts and arrangements they have never seen before. They read charts like we read books – they were amazing! It was a wonderful evening of dance music played during the depression of the 20’s and 30’s; way before their time!
In a 1927 tune that Bix did with Whitman, From Monday On, John Clark’s alto sax traded fours with Dan Gabel’s trombone . Marvelous! They sounded just like the Paul Whitman Band!
Rolling Along With The Breeze was breathtaking with the three clarinets
Three clarinets, Austin Yancey, John Clark, Richard Garcia
The orchestra played a lovely Irving Berlin medley, all doing second endings on a nice waltz, Marie and Coquette. Gabel says he’s known as “The Waltz King”. We agree.
Tuba and trombone were in sync for Frank Skinner’s Big City Blues.
Bill Doyle
There was a dance craze in the 1920’s, called The Baltimore, with a tune by the same name.
Rhythm guitarist Bill Doyle was great on banjo.
Clark likes arranger Archie Bleyer. They played both up and down parts on Up a Lazy River, with none of the usual stops – georgeous!
Dan on megaphone.
Dan took out the megaphone for a rousing vocal on an early Bing Crosby tune, Let a Smile Be Your Umbrella.
Upbeat – especially great banjo!
He also sang ‘Leven Thirty Saturday Night.
The saxes were featured on Sax Appeal. Fletcher Henderson’s Sugar – I Call My Baby My Sugar, was crisp and very fast, John Clark featured on alto sax.
Austin Yancey tenor, John Clark alto, Richard Garcia alto
I Surrender Dear (Bing Crosby) featured Adam Mejaour’s open, expressive trumpet, with Dan pushing out high notes on fine trombone.
The trombone and trumpets really got into the Big Band feeling, swaying back and forth, onPlease.
Kai Sandoval and Adam Mejaour on trumpet
There was a request for Take The A Train, piano intro, featuring Richard Garcia on alto sax.
Dan Gabel is President of the American Big Band Preservation Society, which gives him access to about 1500 arrangements. He gave them a medley of really old tunes:
The Bowery, Sidewalks of New York, Little Girls in Blue, Maizie, Daisie Bell, Comrades, Little Annie Rooney, She May Have Seen Better Days, The Band Played On, After The Ball is Over. We couldn’t believe our music coming out of young musicians, some still in Berklee and The Conservatory! Dan says he did this because he loves this music. So do we, Thank You, Dan!!
They closed with a WILD Archie Bleyer arrangement of China Boy.
There were three familiar faces on rhythm, newcomers to this orchestra:
Herb Gardner
Rick MacWilliams
Steve Taddeo
Dan Gabel’s High Society Orchestra was very busy this summer, handsome in their fine crisp uniforms, consistently playing for sell-out crowds, especially for young people and dancers. This kind of music is in good hands with them!
Jeff Hughes cornet, John Clark clarinet/tenor and baritone sax, Tom Boates trombone, Ross Petot piano, Jimmy Mazzy banjo, Rick MacWilliams tuba, Dave Didriksen drums
The Wolves were elated to return to the former Sherborn Inn, now known as The Heritage of Sherborn. They first played here in 1998. They played with lyricism and passion! It was a full house, with their many fans returning and happy to hear them again.
The seating has been changed, with the band set up in the right hand corner of the “T”, now playing directly to the 50+ listeners in what was the dead-end left corner. No problem hearing the band now!! This was taken during the break from what had been the ‘dead end’ left corner of the “T”. Our ‘music family’ was getting re-acquainted.
New Seating arrangement
The viewing tables inside the front door were replaced with a very active bar, and a tall table with tall chairs just inside the door, and a fine dance floor.
inside the front door
The Front Line was HOT right from the beginning, with At Sundown
Front Line: John Clark, Jeff Hughes, Tom Boates
Canal St. Blues is an old war horse, with Tom Boates’ growling trombone. He was just back from a well deserved vacation in Florida. He’s been teaching music for 40 years! He’ll be back at Guilford CT High School.
Jimmy was featured with a tune done by the Blue Steele & His Orchestra, in 1927, Sugar Babe I’m Leaving. John took out the baritone sax. RaeAnn video taped this with the Wolverines on November 7, 2015 at the 26th Annual Arizona Classic Jazz Society in Chandler AZ https://www.youtube.com/watch?v=pWVjyTqKv28
Jimmy has a wealth of tunes and introduced one to the band this week, pianist Joe Robichaux’s 1933 After Me The Sun Goes Down.
Once In a While was a barn-buster! It’s on their new CD. They slowed down for a tune of Jeff’s choice, he picked Django’s Nuage, ending in a flamboyant cornet coda.
John and Gisela Brunaccini took advantage of the dance floor for the 1931 Pop tune, Strangers, and for the first blues ever recorded, Memphis Blues – nice fox trot. They’re in their 90’s and fabulous dancers.
John and Gisela Brunaccinis
Jimmy sang the vocal, Rick’s tuba had a great solo on Sunset Café Stomp. John took out the tenor sax for Robin’s Nest with Jimmy Scatting. John was still in good form from playing Sunday Brunch at the Griswold Inn Sunday with the 90-year-old Bob Card and The Freight Train Five, where they also played On a Clear Day You Can See Forever.
The Wolverines recorded Wolverine Blues on their first CD, without a trombone, because John hadn’t found one good enough. Tom Boates definitely has filled in that gap!
Jimmy Mazzy has been playing almost every night with one band or another. Last Sunday he was with the New Orleans Trio on the Jazz Boat up and down the Cape Cod Canal. There’s only one cruise left this year, folks – September 4th. They board at 1:15pm.
Jimmy Mazzy and Dave Didriksen
Behind Jimmy is drummer Dave Didriksen, who has been with John Clark for years. Dave Didriksen knows his Jazz, and is booking Ken’s Steak House every Sunday afternoon 4pm starting in September. Ken’s Steak House
Rick MacWillliams
He and Rick MacWilliams have lead the rhythm section for John Clark ever since he started here in New England.
Rick leads the Commonwealth Jazz Band that includes John Clark or Noel Kaletsky on reeds and Jimmy Mazzy banjo and vocals.
There was a request for Let Me Call You Sweetheart, The Wolves played it in Dixieland style like the Halfway House orchestra in 1927. (They were named after a dance hall called the Halfway House that was halfway between New Orleans and Lake Pontchartrain.)
Robin’s Nest was in remembrance of Sir Charles Thompson, a jazz pianist of supple power who bridged the swing and bebop eras. He died June 16 at age 98.
John Clark sings too
John sang a rambunctious Happy Feet, from the 1929 King Of Jazz (named for Paul Whitman.)
Tom Boates gives it 150%
Tom sings on the new CD, Now & Then, Hello Central, Give Me Dr. Jazz, with Jeff adding some cornet vibrato.
Jeff uses strange mute
A slow bluesy blues had many names, they stuck with Audrey, banjo intro, tenor sax, trombone, cornet muted with a wine glass.
Ross Petot, widely known and respected pianist
Ross Petot is an essential part of this band, playing his excellent stride piano. He was featured on a WILD Birmingham Breakdown. John on bari sax. CineDevine recorded it at the 2013 Hot Steamed Jazz Festival.
John returned to tenor sax with Jimmy Singing September in The Rain, Tom’s trombone sneaking in a bit of In My Solitude. They inspire each other; when they get together it’s magic!!
They closed with dynamic solos on an exciting, freewheeling, Strutting With Some Barbecue. Fabulous!
The Wolverine Jazz Band and its individual members will be kept busy next year, including many festivals. We try to keep up with them, but it isn’t easy!! Their Gatsby Weekend on Star Island off Portsmouth NH Aug 27-28 is sold out!
Keep an eye out for them on our Calendars at nejazz.com.
Their new CD, Now & Then is out. Number 14? It has some tunes they recorded in the past, including a couple from 1998!
Now & Then
You can get them wherever John or the Wolverines appear, or at theirwebsite.
For their appearances, keep an eye on our Calendars at www.nejazz.com.
Jeff Hughes cornet, Tom Boates trombone, John Clark leader/clarinet/bari sax, Ross Petot piano, Jimmy Mazzy banjo, Rick MacWilliams tuba, Dave Didriksen drums
by Marce
It doesn’t get any better than this!! Each musician has an infinite flow of music in him; together their relentless drive make them titantic! They played songs from various CDs including their latest, #14, and tested out songs for the next one in the works. They also inserted some rarely heard Dixie like Cushion Foot Stomp and some standards There were many surprises!
Jimmy Mazzy kicked it off with The Curse Of An Aching Heart; and the rarely heard Sugarfoot Stomp – out came John’s baritone sax.
Tom Boates and Jeff Hughes raised the 1915 Weary Blues to new heights, with Jeff playing a short melodic phrase, Tom repeating it, sometimes slightly varied or in a different pitch. Amazing!
Tom Boates
Jeff Hughes
Tom was featured on Ory’s Creole Trombone. John joined him on bari sax for Sidney Bechet’s Passport to Paradise, buoyed by the splendid rhythm section. He sang W. C. Handy’s Beale St. Blues, adding some scatting. Connecticut is fortunate to have this stellar musician in their neighborhood!
Dynamic Duo – the Wolverine’s rhythmic engine.
Dave Didriksen
Rick MacWilliams
Jeff Hughes had many requests, starting with Elmer Shobel’s Prince of Wails, the front line playing tight New Orleans polyphony.
Phenominal Front Line
The 1929 Rhythm Aces’ Michigander Blues is on their Baker’s Dozen CD, #13 with a tuba solo by Rick MacWilliams, dramatic and straightforward.
Come Back Sweet Papa was composed in the 50’s by drummer Paul Barbarin.
Ross Petot
Ross was featured on his own version of Caravan, one of our favorites, with the band joining him; glorious piano ending. He likes playing this fine Yamaha piano.
Jimmy Mazzy
Another surprise – Jimmy Mazzy actually crooned Frank Sinatra’s All The Way, with Sinatra’s unfaltering enunciation. We understood every word! Jimmy’s ballads are extraordinary, but this one was astounding.
John Clark on baritone saxophone
He introduced a nice jazzy number, done by the Blue Steele Orchestra in WWI, Sugar Babe I’m Leaving. The Wolves went wild with John again on bari sax.
John and Gisela Bruneccini are fine dancers
Ken’s had a full house, with many loyal fans returning from the Sherborn Inn. There were dancers in the crowd. John and Gisela were happy to dance to a sweet ballad, Stairway to the Stars. Gisela is a war bride. They met during WWII in England when John was playing trumpet in the U.S. Army Band. They set a fine example for us; people congratulated them on their fine dancing.
Dr. David and Mrs. Bailen brought their whole family.
Dr. David and Helene Bailen and Family
Sue Lewis
Sue Lewis loves dancing too. It’s a joy to watch her!
John Clark surprised us with a vocal on Irving Berlin’s At The Devil’s Ball. He’s a fine singer, but generally leaves the singing to Jimmy. (Thank you, Betty Weaver, who has been pushing him to sing for years.)
Rick MacWilliams requested Moonlights, playing a fine tuba with clarinet playing softly in background.
Their next CD will bring memories of Ray Smith’s Paramount Jazz Band, with a takeoff on Robin Verdier’s arrangement of Who Wouldn’t Love You. That one moved the dancers.
Jimmy was featured on a new vocal, Strangers, with interesting interaction between bari sax and tuba. They did justice to Satanic Blues, originally played by the ODJB, Original Dixieland Jazz Band, in London in 1919.
Then came the biggest surprise of all – Sarah Spencer was here from Connecticut; she joined the band on tenor sax and singing. We haven’t seen Sarah in years! She plays in Traditional Jazz Style, and has dedicated her life to this music. Originally from England, she has her own band, Sarah Spencer’s Transatlantic Band.
Sarah Spencer on tenor sax
She began with her own matchless vocal on Love Song of The Nile, then played tenor sax in New Orleans revival style, with interplay by John Clark on bari sax. Words can’t describe the explosion of wondrous sounds!
Swing That Music was the final tune of the evening, John and Sarah inspiring each other trading fours for sixteen bars, then Jeff leading and Tom stealing his riffs for the next sixteen bars, as they did in the beginning. Jimmy went wild on banjo and song; Ross made the Yamaha sing. The rhythm section adding to the drive and momentum, reveling in pure sound and enjoyment! The audience gave them rousing applause. Whew!
Wolverine Jazz Band with Sarah Spencer
The Wolverine Jazz Band will be back February 18th at Primavera Ristorante, and March 20th at Ken’s Steak House.
Swing Times Five will be at Ken’s Steak House February 21st, the only band in February at Ken’s.
Sarah Spencer will have a new CD out in the Spring, maybe called Sarah Spencer’s Transatlantic All-Stars, featuring Jimmy Mazzy and Mike Owen trombone (from England). Stay tuned.
Bob MacInnis cornet/flugelhorn, John Clark alto sax/clarinet, Al Bernard tuba, Frank Stadler piano/leader
by Marce Videos by Harold McAleer
These musicians are so proficient, skilled, that the Quartet sounds like a 7-piece band!
Mood Indigo, Louisiana,, Indiana, Sweet Lorraine, There’ll be Some Changes Made, Ain’t Got a Thing if it Ain’t Got That Swing; playing all our favorites with fantastic Swing and Dixieland.
Limehouse Blues
It’s great to have MacInnis’ sweet cornet back for the summer. He knows how to put a song across. Sweet, smokey flugelhorn on New Orleans, with Albie’s tuba playing low, low, low.
Cornet played rubato and propelled the band into After You’ve Gone. It was WILD! Bob sounded just like Bix on San; John Clark on alto sax, added his own accompaniment He and MacInnis are a band unto themselves.
Seacoast ‘front line’
Undecided
John Clark sings Swing That Music
John Clark’s alto sax sounds much like a tenor when he hits those low notes on I Want a Little Girl trading fours with Albie’s tuba. I loved this tune! He also surprised Frank Stadler with a vocal on Swing That Music. John has been singing more often lately, pushed by his #1 fan, Betty Weaver.
Albie plays melodic tuba on every tune too!
Albie represents a 3-piece rhythm section by himself, as well as playing the front line with a melodic solo chorus on every tune. ‘Deed I Do.
He can push the band with a heavy chord, or softly back all of Franks piano solos.
Frank leads the band, but gives them much leeway. A nimble fingered pianist, he favors a lighter touch, but plays an integral role in the band. His piano intro on Ain’t Gonna Give Nobody None of my Jelly Roll set the band on fire.
Frank Stadler, pianist, leader
Mandy, Make Up Your Mind – nobody called the key, it took a few choruses before they made up their minds and then played fabulous ensemble.
They closed with Runnin’ Wild, clarinet and cornet intertwined, with Albie pushing the band by taking a deep breath and playing 4/4 notes. It was a fabulous afternoon! It would have been nice to have had the whole 7-piece band, but we’ll take this Quartet anytime!!
Trust me – it’s much more exciting seeing them interact and hearing them LIVE! The next Seacoast Stompers Quartet will return to Act3 August 8th, with Dave Whitney trumpet or cornet – he’s playing both now, and the Seacoast Base – Jimmy Mazzy banjo/vocals, Albie tuba, and Frank Stadler piano. Come join us for great Jazz and ACT 3 cuisine!
ACT3 – July 11, 2015 — Seacoast Stompers Quartet set track
Set1
1 At The Jazz Band Ball
2 Everybody Loves My Baby
3 Mama’s Gone Goodbye
4 China Boy
5 Mood Indigo
6 Limehouse Blues
7 Louisiana
8 San
9 Singin the Blues
10 Struttin With Some Barbecue
set2
11 There’ll Be Some Changes Made
12 New Orleans
13 Jelly Roll (Ain’t Gonna Give You None)
14 I Want A Little Girl
15 Mandy Make Up Your Mind
16 Deed I Do
17 Swing That Music
set3
18 After You’ve Gone
19 It Don’t Mean a Thing If it Ain’t Got That Swing
20 Undecided
21 Dinah
22 Sweet Lorraine
23 Indiana
24 Running Wild
Jeff Hughes trumpet, John Clark clarinet/bari sax, Tom Boates trombone, Jimmy Mazzy banjo/vocals, Ross Petot keyboard, Rick MacWilliams tuba, Dave Didriksen drums
The Wolves were on FIRE at Primavera, playing hot freewheeling Traditional Jazz to an erudite, attentive audience. This was Joy of music with a Bang! John Clark selected tunes from their 13 CDs in preparation for their performance at the end of June at America’s Dixieland Festival, Olympia, WA http://www.olyjazz.com/. We were privileged to participate!!
They meant business, bringing heavy equipment, Jeff on flugelhorn and a 1927 limited edition Vintage Bach Stradivarius trumpet, dating back to the first quarter of the 20th century.John Clark with his clarinet, alto and bariitone sax.
Tom Boates
Tom Boates usually drives two hours from Connecticut to get here. But Tom was already in the neighborhood for his son’s wedding, and raring to go, with his whole family here to support him. His zealous tailgate trombone elevated the whole band to another plane!
It was a beautiful June Night, and that tune set off this fantastic evening, followed by a captivating Memphis Blues.
Ross Petot, extraordinary stride pianist
Ross Petot is back now that school is out. He is a teacher, composer and arranger.
He was featured on complex, rhythmic, stride piano on Don’t Be Late.
John Clark’s clarinet on Cushion Foot Stomp from their Street Beat CD was phenomenal. A Good ol’ good one, a swinging Let Me Call You Sweetheart. Jimmy vocal with Dave Didriksen simply tapping on a clutched cymbal.
Jimmy Mazzy picks one of his umpteen tunes
They gave Jimmy a choice, which is always dangerous with his familiarity with millions of tunes from 1919 to the 30s; the members never heard some of them. He chose a relatively late one, If I Didn’t Care, a tune made popular by the Ink Spots in 1939; the band eased in behind him.
They honored the late Banjo Bob Sundstrom with Elmer Schoebel’s Prnce of Wails. Tom took a vocal on the 1920’s Here Comes The Hot Tamale Band,
John Clark on baritone sax
John Clark’s baritone sax was spellbinding on Sidney Bechet’s Passport to Paradise.
This was their maiden voyage for this tune.
Dixieland: they challenged the ODJB with The Original Dixieland One Step that is on their 13th CD – Baker’s Dozen. It’s their latest and available now. (Their first CD was The Wolverine Jazz Band Live, recorded by Ed Williams in 1999 at the Sherborn Inn.
Rick MacWilliams hidden behind monstrous tuba
Rick played the poignant melody on tuba with his drum colleague keeping time tapping on woodblock.
Jelly Roll Morton was well represented with Original Jelly Roll Blues. FrankieTrumbauer’s on There’ll Come a Time, from their Michigander Blues CD, featured Tom’s virtuosic trombone.
John Clark has been singing more tunes (at the insistence of his #1 fan, Betty Weaver). He sang all the verses of Oceana Roll from memory! Dr. Jazz verse sung by Tom, with exciting exchange between trombone and banjo, and Tom scatting to the end.
Jeff Hughes on flugelhorn
Jeff played a full, rich, smoky flugelhorn for Don Redman’s Save It Pretty Mama.
Ross played the chimes on piano on King Oliver’s Creole Jazz Band Chimes Blues, followed by another K.O. with Jimmy scatting on a lively Shake It and Break It.
Drummer Dave Didriksen sparks the band by providing solid support every note of the way.
Dave Didriksen keeps the beat
There was never a dull moment; the crowd was feeding off the energy of the band and the band was feeding off the responsive crowd! (Be prepared, Washington!)
They calmed down with Jimmy singing an Elvis tune, Love Me Tender, with each musician taking a solo between Jimmy’s many smoldering stanzas. They finally closed with On The Mall, from their CD of the same name – trombone and clarinet connected, trombone going wild! Fans left elated!
On the following Saturday,, on a warm and sunny June afternoon, the Greater Boston Vintage Society featured The Wolverine Quintet on the S. S. Samuel Clemens, a reproduction of a 3-deck riverboat at Rowe’s Wharf; on a 3-hour Boston Harbor Cruise. It was their first Dixieland Jazz Boat, and filled with Swing Dancers. We had a ball!!
We’lll have many chances to hear this top Traditional Jazz Band again, when it returns from Washington, as John noted in his email:
“We will be heading out to the West Coast to do America’s Dixieland Festival in Olympia, WA for the last weekend in June, but we have quite a few concerts when we get back:
Sherborn Town Concert Weds 7/1 630-8 (weather permitting)
Willows at Westboro Weds 7/8 7-830
Wayside Inn Tues 7/14 (info and tickets at http://www.wayside.org/node/286)
Bar Harbor Summer Music Sunday 7/198-10pm (info and tickets at http://barharbormusicfestival.org/2010_calendar.html Weston Town Concert Weds 7/22 7-830 (weather permitting)
St, Matthew’s in Acton Sunday 8/2 6pm West Boyleston Town Concert Sunday 8/95-7pm (weather permitting)
Natick Senior Center, Thursday 8/20 Stark Park, Manchester, NH Sunday 8/232-4pm (weather permitting)
Walpole Town Concert Tues 8/256-8pm (weather permitting)”
You can join John’s once-a-month emails at jazzbnd@aol.com
and purchase many of their 13 albums here.
Paul Monat cornet, John Clark tenor sax/clarinet, Craig Ball clarinet, Gerry Gagnon tuba, Bill Doyle guitar, Ross Petot piano, Justin Meyer string bass, Steve Taddeo Drums, Caroline Griep vocals, and special guest Jack Soref, guitar.
Harold McAleer videos,
Marce photos
Steve Taddeo presented his Swing Senders at Bemis Hall on June 10th, with an amalgamation of New England’s finest musicians, and special guest, Jack Soref on guitar. With a great four-piece front line and two guitars, we were guaranteed an evening of outstanding Swing!
They began with Steve’s explosive drum intro into Savoy. Paul Monat said It was like being in a Gene Krupa concert!
Caroline Griep does it all with style.
Caroline Griep puts heart and soul into I Can’t Give You Anything but Love, with the Quintet of John Clark on tenor sax, Craig Ball clarinet, Soref playing Django style guitar, Justin Meyer string bass, Steve drums.
Paul Monat Wishing Upon a Star
Paul Monat was featured on When You Wish Upon a Star, citing his idol, Wild Bill Davison. The high ceiling of this large hall provided a beautiful echo enhancing Paul’s excellent cornet.
Caroline was back for Slow Boat to China. Her voice is rich, with a great range and many layers.
Justin was featured on Just You, Just Me, bowing the base in rich harmony, bolstered by intricate improvised solos.
On one tune, Taddeo joined him with their own version of “Big Noise From Winnetca”
Justin and Steve mimic Ray Bauduc and Bob Haggart
Harold filmed an impressive video of the Swing Sender’s Theme Song, Dinah.
There was an innovative interchange between the two guitars on Everybody Loves My Baby, backed by two clarinets. They all love making music!
Jack Soref, Bill Doyle
Dave Didriksen sits in.
Steve asked Dave Didriksen to sit in on Flat Foot Floogie. Dave is a fine drummer, and manager of the group Swing Times Five with Debby Larkin.
Dave took over the drums. He said it was worth it to give Steve Taddeo a rare chance to sing. Who knew Steve could sing?
Caroline returned with a soaring vocal on Jeeper Creepers.
The band broke into quartets; the first featuring Jack Soref on a tune we had been anticipating, Django’s Minor Swing, with Bill Doyle adding rhythm guitar, Justin on string bass, and Steve drums. Judge for yourself:
John Clark on tenor sax
Can’t We Be Friends was led by John Clark with a brilliant interchange between tenor sax and string bass.
Ross Petot makes sure there are no blank spaces.
Moonlight in Vermont captivated the audience with only Ross Petot backing Caroline Griep – just the two of them, letting the song shine through. Beautiful!
Djangology gave Soref another chance to feature his expertise on Django Rheinhardt. For half of 2011, Jack studied the music of Django Reinhardt at its source by moving to Paris, France. We hope to hear more from him in the future.
Finale, with a drum intro into Stomping at the Savoy. Wonderful solos… concluding with Steve Taddeo’s extended solo on his Antique 1939 Slingerland Drums, in high energetic and buoyant style, crossing cymbals, using press rolls and cymbal techniques. The room exploded!
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This really was a Dream Team! The musicians and audience were high from this fantastic Swing music and didn’t want it to stop. John Clark continued with I Got Rhythm, fine trombone by Gerry Gagnon and classic interchange between Craig Ball clarinet and Jack Soref. They hadn’t discussed how to end this, so Taddeo made it a wrap!
Steve Taddeo always come through with the finest musicians and amazing Swing. Save the date: Wednesday, August 12th. Steve is bringing back the marvelous Midiri Brothers to Bemis Hall. Details to follow.
Mike Peipman trumpet, John Clark clarinet/alto, tenor, and baritone sax, Billy Novick clarinet/alto sax, Dan Gabel Trombone, Scott Philbrick guitar, Herb Gardner keyboard, Stu Gunn tuba/string bass, Nancy McGhee vocals, Bill Reynolds leader/drums.
Back Bay Ramblers are the result of the late Ed Reynolds dream. He created a great Traditional Jazz Band in the 1980’s that would record the rarely heard tunes of the 1920’s. Ed passed in 2014 at age 90. (More about Ed and his band below.)
His son, drummer Bill Reynolds, promised him he would continue the Back Bay Ramblers. Ed would be proud of the band that Bill has meticulously created; it is absolutely outstanding!! (He added tuxedos for class par excellence.) Most of these talented musicians lead bands of their own. This band uses structured arrangements, as did the larger earlier bands.
In New Orleans Traditional Jazz Bands were all improvisation, with emphasis on musicians’ solos. But as the music spread northward in the 20’s and 30’s, the bands grew larger to play in bigger rooms around the country, in restaurants and hotels in Chicago, Detroit. Their music became Hot Tunes, they played to larger dancing crowds. This obviously made written arrangements necessary, with tight sections playing in syncopation. The music was written and arranged so they could play together, sometimes on the same note, sometimes in harmony. It’s a balance of simplicity and complexity.
Tonight’s Back Bay Ramblers began with a tom-tom drum beat intro to Dream Sweetheart, words and music by Bud Green, 1932. Bill Reynolds has made this their theme song.
Nancy McGhee
They continued with Daddy, Won’t You Please Come Home, introducing the lovely and talented Nancy McGhee (who happens to be Bill’s cousin).
She is a classically trained vocalist. She graduated from Berklee and then went to the New England Conservaory. She is currently choral director at Lawrence High School
She continued with a tune written by Walter Donaldson and sung by The Boswell Sisters in 1931, An Evening in Caroline. It starts slowly with two clarinets, backed by guitar, then the brass comes in and it jumps up into two-beat barn burner!
Dan Gabel trombone, Mike Peipman trumpet, Bill Reynolds drums
Structured arrangements mean many rehearsals. Billy Novick and John Clark were familiar with the Back Bay Ramblers Book, but Dan and Mike were not. This was especially difficult for Mike, who was home in Australia at the time they were rehearsing and missed all but the last full band rehearsal. Mike and Dan played spectacular solos, and representing the brass section of a big band, they nailed it!
1929 Little by Little, four piece front line, nice exchange between Billy on clarinet and Scott’s guitar. A great Tiny Parham tune, Congo Love Song, played by two mellow alto saxes, and a vivid Congo drum beat.
Nancy was back with Top of The Town a 1937 Jimmy McHugh tune made for the movie of the same name. McHugh was a Boston native. His songs had an infectiously swinging quality that instantly endeared them to the listener. Perfect for Nancy.
The Ramblers used arrangements from various people. Cho King, a tune by Sonny Clay was arranged by Robin Verdier.
Scott Philbrick
The 1919 Alcoholic Blues was written by Edward Laska with music by Albert Von Tilzer. (Tilzer also wrote Take Me Out To The Ball Game in 1908.)
Some of these tunes the Ramblers played were written for guitar, others for banjo. Scott and Stu stayed in sync. Scott switched between guitar and banjo. When Stu Gunn played string bass, Scott played guitar. When he played tuba, Scott played banjo.
Scott is like vanilla extract in a cake; you can’t taste it when it’s there, but you know when it’s left out.
Marvelous bass man, Stu Gunn
Stalwart Stu Gunn instinctively moves from string bass to tuba, playing chords that maintain that very essential Traditional Jazz beat.
When he isn’t playing in a Jazz Band, you’ll find him playing classical music in several local symphonies.
Nancy returned with I Have to Have You, backed by soft trumpet; and one of Bill’s favorites, a Bob Connors arrangement, That Wonderful Something (is Love).
For those who don’t know Bob Connors, he led a marvelous band in the 1970’s, The Yankee Rhythm Kings; they excelled at Lu Watters two-beat California jazz. Bob was the original leader of The Back Bay Ramblers. Their book has 121 arrangements; Connors wrote 91 of them.
He and his wife now live in Florida. He’s retired from music, but keeps busy restoring archived movies and silent films. If you’re interested in movie history, he has a vast collection of rare films that you won’t find anywhere else.
A Bennie Moten tune, That Too, Do had audience participation and everyone in the band responding “Yeah” and “Right”; another Bob Connors arrangement.
Herb Gardner
Herb Gardner was invaluable, transitioning the musicians from one section to another and offering just the right chords behind soloists.
He’s been the pianist-in-residence here at Primavera, playing with numerous bands on piano, trombone and vocals.
Mike Peipman is originally from Australia
Bill did the tom tom drum intro to their newest tune – 1951 – the Australian Nullabor. Robin Verdier’s Monte Carlo Jazz Ensemble plays this all the time.
Mike says it means ‘flat plain with no trees’ – “null arbor”? It may have come from the Australian aborigines, with heavy drum accents.
Bill Reynolds, leader
Bill’s drum continued the beat into ‘Leven Thirty Saturday Night. This was a Frank Powers arrangement – he was a reed player from Chicago who did many arrangements for Ed’s band.
It is also the name of one of the albums that Ed Reynold’s original Back Bay Ramblers recorded for Bob Erdo’s Stomp Off Records. Some are still available. (See below) All of the tunes played today came from these CDs.
Nancy is crazy about her man.
Nancy was back for Dreaming About My Man. She really feels the words and puts heart and soul into her singing.
Fat’s Waller’s Concentrating on You was recorded by Hunter’s Serenaders, a territory band from Omaha, Nebraska.
Ed Reynolds liked territory bands and often used some of their tunes.
Ridin’ but Walkin’, a 1929 Fats Waller tune was played at The Cotton Club. The Ramblers did it justice. It brought out Clark’s tenor sax – nice, Billy on clarinet with drum beat tapping on the choke cymbal, Mike on muted trumpet. Short but in the groove!
The River and Me was recorded by the Absolut Duke Ellington, who played it every night at the Cotton Club. It’s a fabulous swinging tune. The Ramblers used the Frank Powers arrangement. Trombone, trumpet, clarinet and tenor sax, Stu Gunn pushing them on string bass, all the musicians pushed the boundaries with some profound, imaginative swinging! They raised goose bumps!
Right Kind of Man was sung by Ruth Etting in 1929. Nancy’s fine vocal was followed by two alto saxes taking 32 bars in multi-dimensional harmony. Billy Novick and John Clark are always pushing music forward, expanding on it.
Back to instrumentals, Vipers’ Drag is a 1930 Fats Waller tune made popular by Cab Calloway.
Jungle Blues was arranged by Billy Novick. He and Bill Reynolds have been ‘partners in crime’ for over 30 years. Two clarinets harmonizing backed by steady drum beat.
Dynamite! Billy Novick and John Clark on various reeds
Nancy feels so blue!
Nancy was back with Nobody Cares, backed only by Herb Gardner on piano. She’s so blue, you can absolutely feel it!
Ed would definitely be proud of this band; it is absolutely outstanding! Their passion for this music is obvious. Hot Dance Music at its best!! We hope to hear more from them really soon.
Meantime, you can still get the fine music. Bill still has several CDs from Ed’s band.
Red Hot Band
Cuttin’ Up
‘Leven Thirty Saturday Night (4 left)
My Mom is in Town (1 left)
… also LPs and Cassettes of Boston Shuffle
Ed Reynolds, New England’s premier Jazz Historian and collector of Traditional Jazz records, deftly drew rarely heard traditional jazz ditties from 1925 to 1931 for his outstanding jazz musicians from our area and New York City.
Karen Cameron is originally from North Dakota. She was with Fred Waring’s Pennsylvanians, and has sung with the Artie Shaw Band and other commemorative big bands around the country.
These are Ed Reynold’s Back Bay Ramblers 2001 at the Hot Steamed Jazz Festival. This band played some of the finest 1920’s period music at the festival. This is not swing – this is Traditional Jazz-Hot Dance Music at its best!
Jeff Hughes trumpet, John Clark clarinet/alto sax, Dan Gabel trombone, Herb Gardner keyboard/trombone, Al Bernard tuba, Steve Taddeo drums
We have so many marvelous Jazz Musicians here in New England, unknown to the rest of the world. The Jazz Jesters are a primary example. All except Jeff have made music their livelihood. They love what they’re doing, as does Jeff. But Jeffrey Hughes, Ph.D. lectures in Biological Sciences at Wellesley College to support that precious Jazz habit.
Jeff Hughes on trumpet
Jeff’s trumpet tonight is a 1946 Olds Super trumpet that he found in original condition at a second-hand store and picked up for peanuts.
The Jazz Jesters capture the style of music of the 20’s and 30’s that our mentor, Ray Smith featured in his Jazz Decades. They kicked it off with a Jimmy Mazzy vocal on Lucky Day, their theme song. (We are the lucky ones!!) They continued with Copenhagen, a tune the bands of the 20’s loved to play – named not for the city, but for chewing tobacco. John Clark arrangement.
Dan and Jeff play counterpoint to John’s clarinet.
Dr. John meticulously researches the original arrangements and gives them his added touch. Jeff Hughes said “a good arrangement gives the musicians plenty of room to improvise.” These musicians have astonishing improvisational skills!
Violinist Stuff Smith contributed to the song “It’s Wonderful” (1938) often performed by Louis Armstrong. That was in an interesting time. Bobby Hackett and Jack Teagarden also played it. Jeff gave it a zesty delivery on flugelhorn, Jimmy vocal; Steve swirling brushes on snare drum.
Steve Taddeo
Steve Taddeo is proud of his 1939 Slingerland Radio King drumset with one cymbal sent to him by Ray MacKinley. The remaining cymbals are from Buddy Schutz who played with Benny Goodman and Jimmy Dorsey.
He swirls brushes on the snare drum, uses cowbells, woodblocks and rim shots to maintain the beat.
Herb Gardner, pianio-trombone
Herb Gardner has become the pianist of choice here at Primavera on Thursday nights. Herb’s solos are intelligent and heartfelt, and he offers just the right chords behind soloists.
Al Bernard maintains the Trad Jazz rhythm.
Gently pushing the band, Al Bernard maintains the harmonic structure with a steady, rhythmic pulsation.
One of Al Jolson’s most famous tunes was California Here I Come; this band prefers the sequel, Golden Gate. We liked Jeff’s vocal!
Dan Gabel gives his all to Margie
Dan was featured on Margie. Craig ball is usually here on reeds, but he’s nurturing a broken left hand that will be in a cast for a while. Dan Gabel filled in for him on trombone, playing off of Craig Ball’s saxophone chart.
He also did the vocal. Fabulous – he’s a natural. At 26, he holds the future of our music in his hands.
Bix’s Birthdate was March 10th. They celebrated him with the last tune he ever recorded, Deep Down South.
In 1929, after suffering a nervous breakdown Bix Beiderbecke went back to his hometown of Davenport, Iowa, to recover at his parent’s home. He returned to New York in 1930 and made his last recording sessions in September of that year, with the Dorsey Brothers, Benny Goodman, Gene Krupa, Joe Venuti and others. He was 28 years old when he died.
The band also played Davenport Blues, a tune Bix Beiderbecke wrote about his home town.
Jazz Jesters play Davenport Blues
John Clark does a mean vocal.
Interesting interlude with the band
playing and John Clark handling a fast,
challenging vocal on a tune Fats Waller
recorded in 1935 – Zonky.
This was a first for us!
Herb Gardner joined Dan on trombone with I Can’t Believe That You’re In Love With Me, with exciting, rhythmic improvisations.
Two virtuoso trombonist
We had just celebrated St. Patrick’s Day two days ago, so an Irish tune was called for – great head arrangement of Wearing of the Green with neat segue into Deep Henderson. Later they added Irish Black Bottom in 1920’s style.
Kansas City was the germination center of Jazz in the 20’s and 30’s. Benny Moten’s tune, Jones Law Blues, was a precursor to the Count Basie Band. Smooth number, nice dance tune.
The inimitable Jimmy Mazzy
Jimmy Mazzy was featured on a Louis Armstrong tune, in his own inimitable style, Mighty River. Great arrangement, with clarinet and tuba trading fours. Jimmy also had the vocal on a stock arrangement from the 20’s to the 50’s of River, Stay Away From My Door. (Appropriate with four feet of snow slowly melting into our local rivers.)
.Another tune that was hot in the 20’s and 30’s ‘Leven Thirty Saturday Night, by Archie Blyer, an American song writer, arranger, and record executive, and music director for Arthur Godfrey. (John Clark wasn’t born yet, but he has become an expert on Blyer.) The Jesters used the stock arrangement made famous by vocalist Julius LaRosa on the Godfrey Show, with Jeff singing the vocal.
Change of mood, a high-spirited arrangement of Paducah, composed by Don Redman in 1928 that was played by McKinney’s Cotton Pickers. Many of the music leaders were familiar with Paducah as a river port. In the late 1920s, jazz made its way up the Mississippi from New Orleans to points north and east as small bands and orchestras provided entertainment on river boats.
Coming to a close, Jeff Hughes and the Jazz Jesters sent us home with fun memories, Black Mariah (paddy wagon) then segue to Good Old Days, the theme song for Our Gang, the Little Rascals.
These virtuosic New England musicians achieve the marvelous sound of Jazz from the 20’s and 30’s, but give it their own twist. It’s still happy, toe-tapping music. We’re very happy and contented to have them here, but wouldn’t mind sharing them with the rest of the world! Are you ready, World?
Jeff Hughes trumpet, John Clark reeds, Tom Boates trombone, Ross Petot piano, Jimmy Mazzy banjo/vocals, Rick MacWilliams tuba, Dave Didriksen drums
The Wolves were in rare form, back from a six-hour recording the previous day on their latest CD, #13. They’re on their way to the Arizona Jazz Classic Festival this weekend. They practiced on us, playing early New Orleans music with fiery enthusiasm – How LUCKY are WE???? They were asked to play King Oliver tunes at the Arizona Jazz Classic Festival, and we heard many of them, plus other tunes from the 20’s and 30’s, with original arrangements by John Clark.
They started Hot and Heavy with Michigander Blues, and a joyous New Orleans Stomp. A tune Bix Beiderbecke did with Frankie Trumbauer, There’ll Come a Time.
Tom Boates was featured on Snake Rag, a King Oliver tune that is always a big request. We only get to hear Tom once a month – the lucky folks at Bill’s Seafood in Westbrook Connecticut hear him every Friday with the Bill’s Seafood All-Stars. Boates sang the vocal on St. James Infirmary Blues, alternating choruses with each of the musicians. Nice touch. He closed with a growling trombone and drawn-out flourish.
Front line, featuring Tom Boates, with Jeff Hughes trumpet and John Clark clarinet
Jimmy Mazzy doesn’t use arrangements.
Jimmy had many vocals (We never get enough of them!) All from memory. Just Pretending, which is seldom played by any other band. The Halfway House Orchestra did some self-loathing tunes, I Hate Myself for Loving You and I Hate Myself For Being So Mean To You. John took out the baritone for that one.
Rita Brochu and Kathleen Howland
Another King Oliver tune, Olga, nice dance tune, then a romping New Orleans tune Buddy’s Habit. Another K.O. tune that Louis played with his Hot Five, Sunset Café Stomp, got Kathleen Howland up and dancing with her Mom, Rita Brochu. It was Kathleen’s birthday. Dr. Howland is a teacher of Music Therapy, both in private practice and at several schools, and plays one heck of a baritone sax! Special request for Kathleen, one of Jimmy’s favorite depression songs, Dip Your Brush in the Sunshine had everybody up dancing.
Betty Weaver requested a song from John Clark, and he obliged with The Oceana Roll, a popular RagTime tune written in 1911 about the U.S. Navy and the USS Alabama: “Billy Mccoy was a musical boy On the Cruiser Alabama he was there at the piana Like a fish down in the sea, he would rattle off some harmony.” Never gets dull!!
John Clark sings The Oceana Roll
Jimmy was asked to lead on a K.O. tune, I’m Lonesome Sweetheart, powerful trombone pushing the band. Someday Sweetheart, another Jimmy vocal, gave Rick MacWilliams a chance to shine on tuba. We haven’t heard Chimes Blues in ten years, it was fabulous, with Ross Petot playing the chimes on piano.
Rick MacWilliams and Ross Petot, fabulous rhythm section
Excellent drummer Dave Didriksen completes the rhythm section, keeping time with rim tapping on snare drum and cymbals.
Dave Didriksen
Their final tune, a sizzling Panama, was recorded by Kid Ory’s Creole Jazz Band. The Sherborn Inn furnished some Pyrotechnics:
We’ve been so fortunate to listen to this dynamic Wolverine Jazz Band from its inception, They celebrate their 19th anniversary next month.
We don’t mind sharing them with the folks in Arizona! Enjoy!
