by Marce

In its 41st year, the New Black Eagle Jazz Band continues its schedule of New Orleans Traditional Jazz all over the East Coast. 

Tony Pringle cornet, Stan Vincent trombone, Billy Novick reeds, Bob Pilsbury piano, Peter Bullis banjo, Bill Reynolds on drums , who’s been sharing that position with Pam Pameijer for at least 20 years.  The Eagles play every 2nd Thursday of the month at what has become their home base, the Sherborn Inn in Sherborn Massachusetts.   The band has taken on new verve and energy since  the addition of Jesse Williams on amplified string bass.

Signature of the New Black Eagle Jazz Band: Tony Pringle on cornet, with his derby mute.

Tony led with his strong and unique New Orleans-based style.

.They pulled out some of the war horses that they haven’t played in a long time for some delectable hot jazz, Shimmy She Wobble, Rent Party Blues, Papa Dip, (one of Louis Armstrong’s nicknames).  Each instrument taking turns on the break.

Bob Pilsbury had a breathtaking  solo on Django’s Nuages,backed by the rhythm boys.

With the 1930’s Louis Russell ballad Roamin’  Bob’s mellifluous solo sounded almost classical.  Billy played  low-register clarinet, with Bob’s gentle piano backup. Nice.  “Gentle” isn’t generally the right word for most of Pillsbury’s piano playing.
He played Dancing with Tears in my Eyes with great passion.

Love Nest, theme from the George Burns and Gracie Allen TV show, had fine  performances by Vincent on muted trombone and Billy on alto sax. 

They took some time looking over the songs and sorting them out, they must have close to a thousand by now, and Jesse hasn’t been around that long.

They came up with Saturday Night Function, and gave Jesse a chance to show his stuff on a 24-bar solo.  Superb!!

Sometimes in the past, the Black Eagle’s powerful sound drowned out the string bass – but we have no problem hearing Jesse!

They finished the first set with Climax Rag, which is not a rag at all – over time it has become hot Traditional Jazz.  Stan Vincent was in especially rare form all evening, and took a solo on this one that raised goose bumps!

Shine was another hot one, with Tony scatting the lyrics, Billy going wild on alto sax. Jesse’s bass was driving the band, and frenetically trading 4’s on slap bass with the trombone.

Billy was featured with the rhythm section with a gripping, mesmerizing In a Sentimental Mood.

Tony was still pulling out some oldies, White Ghost Shivers, and an old blues,Steal Away.

Not enough said about the indispensable rhythm boys, Dave Bragdon, keeping the Traditional Jazz Beat in sync with the bass.   And for over forty years, Pete Bullis’s unremitting plink, plink, plink on the banjo.  And his red socks.

They closed with a wild Red Wing, reminiscent of many nights at the Sticky Wicket, a real Barn Burner; and sent us home with a theme song that also brought back fond memories – and foretold the future – ‘Till We Meet Again.

We’re happy to have them on the East Coast.  Folks on the West Coast are anticipating their return to the Sacramento Music Festival on May 26-28.

They’re ready.
Brace yourself,
Sacramento!

by Marce

You could tell as soon as you walked into the room – Pam was back!  He inspires the band; it was as if it they had just stepped out of 1920’s New Orleans.

Tony Pringle cornet, Stan Vincent trombone, Billy Novick clarinet and alto sax, Bob Pilsbury piano, Peter Bullis banjo, Jesse Williams string bass, and  C. H. (Pam) Pamejier drums.

The New Black Eagle Jazz Band is going to Sacramento in May, so they wanted to practice/resurrect some of their old tunes.   They’ve been practicing on us for 40 years.

Between the Devil and the Deep Blue Sea, Pilsbury was featured on piano and vocal backed by Pam’s drumming, and Jesse flamboyantly slapping that bass.  Sweet Peter was dedicated to Jelly Roll Morton from New Orleans, who had many great recordings.  Banjo and string bass emphasizing the Trad beat together.   Peter’s calm, steady beat on banjo never swerves. 

Stevedore Stomp – Duke Ellington, eliciting memories of classic Traditional Jazz at the Sticky Wicket. That’s what Pam does, with Tony and his derby mute, Stan Vincent’s tailgate trombone, Bob prodding the piano.  There were five of the original seven members.  (Billy doesn’t count – he’s only been with them about 27 years.)

Four from original band. Pam, Tony, Peter and Bob.

Texas Moaning – a Blues that Sidney Bechet did with Louis Armstrong.  Second Line, a New Orleans number written by drummer Paul Barbarin, who played with Louis in the 30’s.  Billy’s alto sax added some swing to it.

My Mother’s Eyes – 1890, Tony on vocal for this sentimental tune.  Marvelous ensemble, Jesse’s bass in sync with Pam’s drums.

In A Sentimental Mood – Billy Novick clarinet featured with only Jesse to back him. Billy started  slow and sweet, Jesse backing on chords.  As they picked up tempo, Jesse seemed clairvoyant, connecting with Billy, playing that monstrous string bass like a front line instrument.   Freed from the constricts of Trad Jazz, they soared with abandon, and even surprised themselves!

Going Home, Tony on vocal, backed by an excellent young acoustic bass player, Johnny Gilmore, 16 years old; our next generation of Jazz Musicians.  Johnny is a music fanatic, and student of Jesse’s. He played a magnificent solo, and proper bass lines, as if he’d been there for years!  Bravo, Johnny!  Thank you Jesse, for passing your dedication and love of this jazz on to another generation!

Time for the Finale, one of our old favorites from the Sticky Wicket, Panama. (Peter finally had his banjo solo.)   Pam on snare drum, and Jesse’s relentless pulse on string bass drove the front line into a climactic high finish. 

The closing song was not their theme song, but an ominous tune, If We Never Meet Again. But we will, next month, right here at the Sherborn Inn.  And at the luncheon on March 28th.  And they’re ready for Sacramento.

Check  http://www.blackeagles.com for the growing list of their performances.