Jazz Jesters at the Sherborn Inn September 24, 2013

Posted on September 24, 2013 by admin

The Jazz Jesters

Jeff Hughes cornet, John Clark alto sax/clarinet, Craig Ball tenor sax/clarinet, Ross Petot piano, Jimmy Mazzy banjo/vocals, Al Bernard tuba, Steve Taddeo drums

We know it’s going to be an extraordinary evening anytime Jeff Hughes brings one of his many bands to the Sherborn Inn. The Jazz Jesters like to play the music of the 20’s and 30’s, when it was Bix Beiderbecke time in Davenport.

They began with Ross’s piano intro into Lucky Day, written in 1926 by DeSylva, Brown and Henderson. (They wrote many ‘feel good’ songs like The Best Things In Life Are Free, Life is Just a Bowl of Cherries.) The Jesters have made Lucky Day their theme song.

Getting into Bix mode – Sorry, was recorded by Bix and His Gang. House of David Blues – 1920, done by Fletcher Henderson with tenor sax played by Coleman Hawkins. The first time Jeff heard this one, in beautiful fidelity it was a life changing experience. Craig Ball was our Hawk on tenor sax. He also played gut-wrenching tenor on That’s My Desire.

Ross Petot plays Who’s Sorry Now?

Pianist Ross Petot has many tunes at his fingertips. His stride and intricate multi-layered playing was featured on Who’s Sorry Now. Jimmy says “It’s always a hit at Weddings.” (Who gave him a mike?)

Jimmy Mazzy

Jimmy introduced the 1920’s Song of the Wanderer with a vocal. Our favorite was Jimmy’s Cabin in the Cotton, 1932. Just beautiful! Close second was a smoldering ballad, Without a Song – not just one solo – he sang the whole song, in soulful, quintessential Jimmy.

This was an unusual evening where instead of all taking a solo, more than one musician had the whole song to himself. They are all accomplished artists, Jeff just lets them go.

Steve Taddeo

Bunny Berigan’s The Prisoner’s Song was introduced by Taddeo on drums, and Jeff just let him go for the whole 32 bars. Jimmy abruptly let loose with his infamous Mazzy holler.

Crisp Hughes cornet; he dedicated it to Bobby Hackett.

John Clark and Craig Ball

Oh Baby, done by Benny Goodman in the 1920’s, was a scorcher, Craig Ball on clarinet, Clark on soprano sax, pushed by Albie’s straight four on tuba.

Jeff Hughes on 1941 Henri Lefevre cornet

Jeff Hughes on 1905 Henri Lefevre cornet

Jeff played a tender solo, all his own, Dear Ol’ Southland, honest, straightforward, absolutely enchanting. His instrument of choice was a treasurable 1905 Henri Lefevre cornet, (precursor to the Selma Instrument Company). (Henri not only built each instrument by hand, he also built each part.) Remarkable tone.

Remarkable evening. There were hundreds of tunes, they only scratched the surface. More hot stuff of the 20’s and 30’s brought the evening to a close – Cabin in The Pines. Fats Waller’s special, the blistering Zonkie, released Taddeo’s inner Gene Krupa.

Couple passing by couldn’t resist dancing. Yes, they were waltzing!

They sent us home with a beautiful waltz, Let Me Call You Sweetheart, surprising a young couple who had just left the main dining room. They stopped and began waltzing on the dance floor. Maybe they’ll be back. We need more like them!

We are so lucky to enjoy all the talent here in New England. People love Jeff Hughes’ topnotch bands and musicians, when they can hear them; his bands are usually here on the last Tuesday of the month. Bring friends and introduce them to the fine Jazz and Swing at the Sherborn Inn!

Albie Bernard, without tuba, laughing and enjoying conversation

The Tuba Man

We do have fun!

Hal McIntyre Orchestra at TCAN

Posted on September 8, 2013 by admin

The Hal McIntyre Orchestra, directed by Don Pentleton

The Hal McIntyre Orchestra, directed by Don Pendleton, played the fantastic swing that was nurtured and inspired by Glenn Miller at TCAN, The Center for the Arts in Natick, on September 8th. It was much appreciated by an enthusiastic audience.

Now directed by Don Pendleton, it is still one of the hottest big bands today. McIntyre was a founding member and played alto sax in The Glenn Miller orchestra for years; Miller thought it was time for him to strike out on his own. With Glenn’s blessing and financial help, Hal formed his own band in 1942.

Hal unfortunately passed away in 1958 in a house fire; Hal McIntyre Jr. (who went to Berklee College of Music) took over. He kept the band going until he also passed away.

: Don Pentleton

Don Pendleton was asked by the McIntyre estate to continue the tradition. Don is a veteran Big Band drummer who performed with the Glenn Miller Orchestra. He also played with the Guy Lombardo Orchestra, Skitch Henderson, Ella Fitzgerald and comedians Phyllis Diller, Pat Cooper, Frankie Fontaine, and Georgie Jessel.

After 17 years, Don finally decided to give up the drums and step up in the front of the band. He’s a skilled, high-energy conductor.

This performance at The Natick Center for the Arts in Natick was their finale of a successful season that started in May at the Amazing Things Arts Center in Framingham.

They began with a rousing instrumental, Stomping At The Savoy. This music swings with energy and vitality!

Tom Ferrante, alto sax

The word is, if you don’t have arrangements, play solos. This band still has the original yellowed, dog-eared, 1940’s McIntyre arrangements, but still features virtuosic soloists.

Tom Ferrante’s rapturous alto sax was featured on I Can’t Believe That You’re In Love With Me, That Old Feeling; a tune made famous by Robert Goulet, On a Clear Day.

Highlighted were Arthur Bakopoulas on baritone sax with Love Walked In, Wayne Branco trombone on Should I Care?

Bill Kane

Paul Elman’s sax, backed by fine string bass on When You’re Smiling, was accentuated by Bill Kane’s drums.

The Latin touch is always popular at ballroom dances. The Band complied with George Benson’s version of the 1941 Masquerade, with Dennis Perriccio’s lead trumpet, Ferrante’s alto sax, and string bass giving them a powerful, rhythmic foundation.

Steve Piermarini smoldering trombone was featured on Yesterdays. Steve takes over directing the band for Steve Marvin’s vocals.

Steve Marvin

Steve Marvin sings in that poignant, touching, Sinatra style. He began with I’ve Got The World on a String. The number one tune Sinatra recorded, Cole Porter – Nelson Riddle’s, I’ve Got You Under My Skin.

From Robin and the Seven Hoods, Chicago, You’re Marvelous, Sinatra’s My Way. (Paul Anka heard it and wrote the lyrics.) Steve is noted for his Tributes to Frank Sinatra

There were many fine instrumentals, Days of Wine and Roses, A Train, What Am I Here For? a barn-burning New York, New York. The Finale was a the tune that always defines the Glenn Miller sound, In The Mood.

The band will pack it up for the winter, and return next spring with more lasting tunes and the same Jack Daniel-stained 1940’s McIntyre arrangements.

yellow, dog-eared arrangements

Seacoast Stompers in 6th year at the Acton Jazz Cafe

Posted on September 7, 2013 by admin

Seacoast Stompers

Scott Philbrick cornet, Craig Ball clarinet, Lee Prager trombone, Jimmy Mazzy banjo/vocals, Frank Stadler leader/piano, Albie Bernard sousaphone, Bobby Reardon drums

By Marce, Videos by Harold McAleer

The Stompers started right off with an explosive Jazz Band Ball that ignited the Acton Jazz Café, and they were smokin’ the whole afternoon.

Frank Stadler, leader of the Seacoast Stompers

Leader Frank Stadler has a list of every tune they’ve played in those 5+ years. He always brings in a list of new tunes or some they haven’t played lately.

But this is a democratic band, if they don’t like what he calls, they just do something else.

Jimmy Mazz singing, tuba and drums with him

Jimmy sings with Albie and Bobby support

Jimmy Mazzy is something else all by himself!

He sings Nagasaki with Al Bernard on sousaphone and Bobby Reardon raring to go.

The band actually all agreed on that tune, but not the key. Finely tuned ensemble; Craig’s clarinet set the pace, pushing the boundaries. Drums were vibrating off the floor!

Carrie Mazzy sings “Sugar”

Carrie Mazzy flashes a smile, singing Sugar.

They played Three Little Words in triple time, clarinet and cornet squeezing in multiple notes; difficult for trombone, but Prager is resourceful. Al Bernard’s sousaphone drove the band, Craig Ball sneaking in many other tunes – he can do that on clarinet.
Nice brush work by drummer. The musicians really appreciate Bobby Reardon’s drumming. He keeps them going, lays down perfect time, and never gets in the way.

Seacoast Stompers front line – Bob McHenry, former string bass, at right in blue shirt

The inimitable Jimmy Mazzy sings Kansas City. Cornet and trombone have remarkable interplay, but Scotty likes to tease Lee, playing rapid muted passages.
Watch what happens.
Kansas City

Lee Prager played a deep burnished trombone on I Guess I’ll Have To Change My Plans, with Jimmy singing a heartwarming, tender ballad.

Lee Prager on trombone

Lulu’s Back in Town was WILD, cornet trading fours with trombone, challenging Prager with vibrating cornet, Lee responding with vibrating trombone, it was hysterical! They actually gave each other high 5’s when it was over. Lee was having so much fun, he never stopped bouncing, except when he was playing. Great talent – it’s a pity we can’t hear him more often.

They moved on to a rabble-rousing China Boy, clarinet starting in nice low register, then moving up the scale into the stratosphere. Stadler prodded marvelous sounds out of the piano. Éva Balazs was back, listening to her favorite ‘humble piano virtuoso’.

They all agreed on Stadler’s call for the finale, Sweet Georgia Brown,
Bobby set the dynamic level:

The energy level was still high, leaving the audience with an adrenaline rush. We’ll all be back October 5th with more fun and upligting jazz with the Seacoast Stompers.

Tunes played this afternoon:

set 1
At The Jazz Band Ball
Someday You’ll Be Sorry
Squeeze Me
Smiles
Sugar
Kansas City
Tin Roof Blues
Old Fashioned Love
Nagasaki

set 2
I Can’t Get Started
Nobody’s Sweetheart Now
How Come You Do Me Like You Do
Oh Baby
Three Little Words
I guess I’ll have to change my plans
Jelly Roll (Ain’t Gonna Give You None)

set 3
Mandy Make Up Your Mind
Sweet Lorraine
Lulu’s Back In Town
China Boy
Sweet Georgia Brown

Monte Carlo Jazz Ensemble presents a Swell September Songfest

Posted on September 3, 2013 by admin

The Monte Carlo Jazz Ensemble

Monte Carlo Jazz Ensemble at the Sherborn Inn, Tuesday, September 3, 2013 with Bob MacInnis cornet/flugelhorn, Craig Ball clarinet/soprano sax, John Clark alto sax/clarinet, Robin Verdier piano/leader, Al Bernard tuba, Bill Reynolds drums

Bob MacInnis was sitting at the piano when we arrived, playing soft melodies, inviting people to come in and hear how Robin Verdier would once again transport us back to the captivating dances of a fascinating era, the 20s and 30s.

Bob MacInnis, versatile musician, plays every instrument fluently.

Arrangements – hardly anyone ever talks about arrangements, yet they are so important to the sound of a song. Every song changes when played in a different arrangement. This is Robin Verdier’s forte. He takes the original arrangements of the pop dance tunes of 20’s and 30’s, and adapts them to create complex harmonic structures and technically sophisticated melodies. If some sound vaguely familiar that’s no accident – he was also arranger for the Paramount Jazz Band.

Robin has picked a talented crew, with the front line of Craig Ball, leader of the White Heat Swing Orchestra, John Clark, leader of the Wolverine Jazz Band, and Bob MacInnis, who is in a league all his own. We only have him for another month – he heads back to Florida October 8^th where he’ll be playing someplace almost every night.

Bill Reynolds

The Rhythm section consists only of Bill Reynolds drums and Albie Bernard tuba, working together, providing a cushion with just the right chords. Then there’s Robin, who does it all – assisting both front line and rhythm and ensuring that everything is authentic.

The Ensemble opened with the 1926 Clarence Williams’ Candy Lips, Tiny Parham’s 1930 Now That I’ve Found You.

Robin Verdier, leader of The Monte Carlo Jazz Ensemble

Robin is particularly fond of Nullabor – written Dave Dallwitz, a musician from Australia. (They have great Traditional Jazz Bands of their own.)

Nullabor was possibly taken from an Australian aborigine song, with heavy drum accents, the rhythm section driving the front line. Bill Reynolds gave it a heavy drum intro, there were few solos, great ensemble ending in rolling drum.

They did some reminiscing of the fine band directed by Ed Reynolds, The Back Bay Ramblers. Now 95, he was sitting up front, taking pleasure in the music. (Ed is Bill’s Father.) If Dreams Come True, ensemble played in a syncopated pyramid, very refreshing. They also took the 1927 Anabelle Lee from the Back Bay Ramblers.

Front line plays Bechet’s Southern Sunset

Craig unpacked his soprano sax just for Sidney Bechet’s Southern Sunset.

One of the sweetest writers in the Great American Songbook was Walter Donaldson. Albie played the melody on tuba for his I’ve Had My Moments, with front line again in a lovely pyramid.

Al Bernard hidden somewhere behind that tuba

Albie doesn’t just play bass notes – he went WILD on Running Wild.

The Gershwin’s were represented with the 1929 My One And Only. Irving Berlin with Puttin’ On The Ritz, Con Conrad with Moonlight. Robin presented many other composers you’ve never heard of before – check his list at the bottom of this page!
They wrapped up with Ferde Grofe’s Daybreak (Mississippi Suite), their finale theme.

The Monte Carlo Jazz Ensemble brings in a different crowd. Many are musicians who appreciate the quality of the music; Lorrie Carmichael of the former Squirrel Hill Jazz Band, Bob Crane singer, (former Massachusetts Treasurer). Carol Mueller plays piano with Jimmy Mazzy at the Colonial Inn, Bob’s brother Dan MacInnis. It was a reunion of many fans too, some we hadn’t seen in years.

Hear the marvelous sound of the Monte Carlo Jazz Ensemble at https://sites.google.com/site/verdiersite/mcje

Bob MacInnis heads back to Florida soon. You can hear him at the Island Pub and Erin’s Isle in Naples, Florida. He’ll also be doing some Florida cruises this year.

* * * *

Set 1
Candy Lips                           1926 Clarence Williams
Now That I’ve Found You     1930 Tiny Parham
Nullabor                        1951 Dave Dallwitz
Dream Child                          1929 Hank Palmer
If Dreams Come True         ~1938 Edgar Sampson
* Miss Annabelle Lee            1927 Sidney Clare & Lew Pollack
Southern Sunset                   1932~ Sidney Bechet
Variety Stomp                        1927 Waller & Trent

Set 2
Fate                                       1922 Byron Gay
I’m Crazy About My Baby      1931 Hill & Waller
Moonlight                               1921 Con Conrad
I’ve Had My Moments        1934 Walter Donaldson
My One And Only               1927 George & Ira Gershwin
Puttin’ On The Ritz               1928 Irving Berlin
Shake It And Break It           1920 Frisco Lou Chiha & H. Qualli Clark
Big Bear Stomp                1944 Lu Watters

Set 3
I’ll Dance At Your Wedding   1938 Joe Davis [Fats Waller?]
How Am I To Know               1929 D. Parker & J. King
Mine, All Mine                   1927 Stept, Ruby, & Cowan
What-Cha-Call-‘Em Blues     1925 Steve Roberts
Okay, Toots                            1934 Walter Donaldson
Happy Feet                        1929 Yellen & Ager, King of Jazz
Running Wild                         1922 Gibbs, Gray, & Wood
Daybreak (Mississippi Suite, 1926 Ferde Grofe
(final theme)

* New arrangement

Bourbon Street Paraders on Hy-Line’s Cape Cod Canal Jazz Boat

Posted on September 1, 2013 by admin

Tuba, banjo, and clarinet players under the Bourne Bridge

Bourbon Street Paraders on the Cape Cod Jazz Boat. Rick MacWilliams, Michel Lavigniac, Paul Nossiter.

by Marce

September 1, 2013, Final Bourbon Street Paraders Jazz Cruise for this year

It was a cloudy day – Hy-Line’s Jazz Boat was docked at Onset Harbor waiting for the Jazz Fans. Last week they were sold out. This was Labor Day Weekend, there should have been more of a crowd – but the weathermen put a damper on it threatening thunder showers and lightening,

The Viking left late – 1:45pm, waiting for stragglers. Jazz can’t begin until the boat has left the harbor – neighbors don’t appreciate our music. Finally the Viking pulled away from the dock, and The Bourbon Street Paraders started their final cruise of the 33rd season with Bourbon Street Parade, of course.

The Trio took a joyous romp through Hello Central, Give Me Dr. Jazz. If I Had You, tuba playing sweet melody – Rick plays the melody on the tuba on almost every song. The sounds he gets out of that monstrous instrument, with only 4 keys, are amazing.

Michel’s 4-string Gold Star Banjo

The Flying Frenchman, Michel Lavigniac leads the Trio and keeps impeccable time on 4-string banjo. It was a 5-string Gold Star banjo, but he removed one of the strings.

Paul Nossiter has taken over reeds from the late Lee Childs. Paul took the intro to My Gal Sal, upbeat, lilting clarinet, folks up front dancing. Fats Waller’s Ain’t Misbehaving. Passing the Military Academy they played a Fats Waller-Louis Armstrong 1929 big hit, Black & Blue, banjo playing the verse – Michel makes every note count, no hysterics up and down the strings.

Railroad Bridge over the Cape Cod Canal

Passing under the Cape Cod Canal’s Railroad bridge, Found a New Baby, clarinet trading 4s with banjo.

Nossiter was singing Baby Won’t You Please Come Home as the boat sailed under the Bourne Bridge, and went wild on clarinet with Running Wild.

The Viking turned around at the Herring Run, with Michel featured on Avalon, and then they played a barn-burning Indiana. Ernie and his son Joey have been sitting in the front seat every week for 6 years. Ernie plays piano and has a nice voice, so Paul gave him the mic for I’m Going To Sit right down and Write Myself a Letter, fabulous banjo, backed by soft tuba.

They played a medley of Blues My Sweetie Gives to Me, and Everybody Loves My Baby. Reminiscent of New Orleans funerals they featured Closer Walk and Didn’t He Ramble, then moved to When I Grow Too Old To Dream. (Never happen!) At my request – Lime House Blues, complete with verse.

In honor of the last cruise of the season, Bye Bye Blues, and Bye Bye Blackbird. Passing the Maritime Academy we could see their ship, The Kennedy, docked at pier and the tug boat Independence.

passing the Maritime Militry Adademy

Maritime Academy’s Ship, The Kennedy

Another nostalgic blues, Basin St. Blues, clarinet playing warm, melodic lines, ending in a clarinet coda. They took off on Pee Wee’s Blues, written by clarinetist Pee Wee Russell. (He was called Pee Wee because he was so tall!)

Closing in on the dock, When You’re Smiling Paul in low register clarinet for first chorus, slipped in a bit of Swanee River. Farewell Blues. Banjo intro to When The Blue of the Night Meets the Gold of the Day. Only two people knew who Bing Crosby was.

They always finish with When The Saints Go Marching In, as the Viking pulls into the Harbor. Everyone on the boat joins in. That’s Joey’s cue to get up and dance for the last few minutes left of the Sunday Cape Cod Jazz Cruise. A lady in the front row joined him.

No thunderstorms, no rain, great Jazz! We’ll all be back next year, on the last week of June, 2014, for another cruise up and down the Cape Cod Canal with the Bourbon Street Paraders. Hope to see you there!!

Blue Horizon Jazz Band, with Dave Whitney and Dave Didriksen

Posted on August 20, 2013 by admin

photos by Bennett Green

Blue Horizon Jazz Band, with Dave Whitney trumpet and Dave Didriksen drums

Dave Whitney trumpet, Stan McDonald clarinet/sopranos sax/vocals. Gerry Gagnon trombone, Ross Petot piano, Peter Gerler guitar/banjo, Al Ehrenfried string bass, Dave Didriksen drums

It’s Tuesday at the Sherborn Inn, and we’re ready for an evening of our favorite Traditional Jazz. The Blue Horizon began with Meet Me To-night in Dreamland, Dave playing melodic trumpet with a congenial Stan McDonald on subtle clarinet, and Gerry Gagnon’s trombone using broad slides. Peter Gerler was on banjo.

Sidney Bechet and Mugsy Spanier’s Four or Five Times wasn’t raucous, but had a nice easy beat, Whitney playing melody, Stan with intricate counterpoint on soprano sax, Peter on guitar.

Then they revved it up, with a rollicking Honky Tonk Town, with tight New Orleans polyphony, and suddenly they had the listeners sitting at the edge of their seats. The band was on fire, lit by sparkplug Dave Whitney. You could feel it in the air. Save It Pretty Mama, Stan on soprano sax, muted trombone.

They kept the fires burning with Jelly Roll Morton’s Tijuana, with solo by Stan.

Stan had vocals on My Gal Sal and When I Leave The World Behind.

This band plays music of the early 20^th century. Shim-Me-Sha-Wabble, by spencer Williams was published in 1917. Marie Elena was a fine Latin beat. Dave Whitney on propulsive trumpet, If I Could Be With You.

Ross Petot has amazing technical prowess on piano.

There was much discussion about who would start the next tune, Ross won, playing the beautiful verse of When I Leave The World Behind, Dave keeping steady drum beat. Magnificent solos by the front line, with Stan closing in a high cadenza.

Ross introduced What Is This Thing Called Love?

Bechet’s Marchand de Poisson and Blues in The Air were exceptional, with Dave and Stan on a roll.

Dave and Stan with Al on string bass in backgrund

Dave Whitney and Stan McDonald in high gear. photo by Marce

The crowd was ecstatic, responding to the band, and the band was feeding off the crowd.

All listen while Al Ehrenfried plays acoustic string bass

Ehrenfried keeps a full, rich tone, playing proper bass lines, lifting the whole band.

Gerry Gagnon makes fine use of many mutes.

Gerry’s trombone lead into a solid up-tempo Good Ol’ New York. Dave Didriksen let go on drum solo.

Don’t You Leave Me Here Whitney in wa wa, vibrato trumpet, Gagnon on muted trombone.

Didriksen with big smile, giving high sign with fist

Dave Didriksen thoroughly enjoying the band

Time was running short, they were really cookin’ with I Got Rhythm, and everyone knew it.

They closed with Bechet’s Dans Les Rues D’Antibes, with horns holding on to the last note.

Dave Whitney and Dave Didriksen don’t usually sit in with the Blue Horizon Jazz Band, but the chemistry was there from the start; the band worked together with heartfelt solos and ensembles. We were fortunate to have shared this deeply moving evening of fine Traditional Jazz!

Stan McDonald’s Blue Horizon Jazz Band is in its 19th year at the Sherborn Inn, every 3rd Tuesday of the month. See you there September 17th??

Hot Steamed Jazz Festival – Funky Butt Jazz Band

Posted on August 19, 2013 by admin

Videos by Eric Devine – CineDevine

Pierce Campbell and The Funky Butt Jazz Band

Pierce Campbell guitar and vocals, Noel Kaletsky reeds, Lauren Evarts piano, Al Bernard tuba, John Rispoli drums

Pierce Campbell on guitar

The Funky Butt Jazz Band was started by his father, Pete Campbell and Bud Gettsinger 36 years ago. Pierce took over the band for playing traditional jazz, has various small combinations, and also performs solo..

He borrowed Noel Kaletsky and Albie Bernard from the Festival All Stars, for Summertime, Georgia, Dinah, One Meat Ball, I’m Confessing, Jelly Roll, Ain’t She Sweet, Buddy Bolden Blues. All great Trad tunes.
The Valley Railroad gave him an opener for Buddy Bolden’s Blues. Noel on soprano sax.

Lauren Evarts

Lauren is a regular member of The Funky Butt Jazz Band.

Noel on alto sax – Georgia

John Rispoli

John Rispoli is a monster on drums!

Al Bernard on tuba

Al Bernard put away the sousaphone and took out the tuba to play melodies for this session.

Ain’t Gonna Give Nobody None of My Jelly Roll

Noel Kaletsky

Noel Kaletsky is a complete band unto himself!
Unbelievable, from the Festival’s start to finish.

Price Campbell said it succinctly,
“Faster than a silver bullet!”

They all went WILD on Ice Cream!

Currently Pierce plays a variety of music which showcase his versatility. He performs solo singing and playing original and Celtic folk, American pop and Jazz classics. He performs Irish and original Celtic folk with The Kerry Boys, traditional Jazz with The Funky Butt Jazz Band, vocal Jazz classics and originals with The Pierce Campbell Jazz Duo/Trio and pop rock classics with Pierce Campbell and the Scramble. During the day, he entertains seniors at venues throughout CT.

Funky Butt Jazz Band

Hot Steamed Jazz 2013 – Dan Levinson’s New Millenium All Stars

Posted on August 17, 2013 by admin

Dan Levinson’s Millennium All Stars

Dan Levinson is a jazz Historian in New York devoted to Traditional Jazz, with a vast collection of memorabilia going back to the 1900’s. He has at least nine different bands. Fortunately for us, he spends much of his time searching out the newest talent coming out of the music schools and teaching these young NY musicians our kind of music, so it will be preserved well into the future.

He seems to save the Millenium All Stars for us at the Hot Steamed Jazz Festival. We have no idea how many young bands he is responsible for, but he has been bringing new ones here to the Hot Steamed Jazz Festival for 16 years. (He breaks the new ones in with a discerning Traditional Jazz Audience.)

This band was actually from the Millennium Generation, with recent graduates of the Manhattan School of Music. Jack Holkum on trombone is 21. Mike Davis cornet, Rob Atkins bass.

Mike Davis, Jack Holkum

Rob Atkins

Kevin Dorn, drummer

Except for drummer Kevin Dorn. Kevin was a young drummer when he first arrived here with Dan 15 years ago in 1998; now he’s one of the “elders” in the band, and has a great Traditional Jazz Band of his own.

Ian Frankel

Dan invited a fine Connecticut pianist, Ian Frankel, to join the band. Dan promised him there would be no reading, but this is Jazz, and it’s never the same twice. Frankel cleverly breezed through several surprises.

They began with Dan on clarinet with the title tune of an album by his Swing Wing Band, featuring Molly, At The Cod Fish Ball.

It includes Bud Freeman’s Summa Cum Laude Orchestra’s Copenhagen.

Molly has been coming here since 2004 – she is now Mrs. Dan Levinson. Molly also sang some tunes from her own new album, Swing For Your Supper, and I’d Like to Wake Up in the Morning Where The Morning Glories Grow.

Swing for your Supper

The Milleniums presented another tune from the Cod Fish Ball album, originally done by the Rhythm Makers, a mixed band, unheard of at the time. Oh Peter, You’re So Nice. In 1932 it featured PeeWee Russell on clarinet, with Eddy Condon on guitar, Joe Sullivan piano, and Zutti Singleton drums. Dan moved to tenor sax for the 1936 Mez Mezro & Sy Oliver, Hot Club Stomp.

Another from Molly’s Album, done by Bing Crosby and The Bob Cats, You Must Have Been a Beautiful Baby. A mellow front line backed Molly on Ruth Ettings 1930 Ten Cents a Dance.

They closed with the Gershwin’s The Lorelei from Pardon My English that opened at the Majestic Theatre, New York on January 9, 1933.

We sure hope Dan Levinson and Molly Ryan are available with more of New York’s new talented musicians for next year’s Hot Steamed Jazz Festival!
http://danlevinson.com/ensembles.html

Swing at Sunset 2013 – Compaq Big Band

Posted on August 12, 2013 by admin

Compaq Big Band directed by Al Saloky Photos by Marce

Wolverines/Vignola & Raniolo Compaq Big Band Hal McIntyre Orchestra

Compaq Big Band at Swing at Sunset, Friday, July 12, 2013

Director: Al Saloky, Vocalist: Rebecca Holtz, Sound Engineer: Jeff Hagan,
Piano: Dennis Cecere, Bass: Gil Bristol, Drums: Rick Hansen, Guitar: Dave King
From left to right:
Saxes: Chris Hildebrand (1st tenor) John Finocchiaro (2nd alto) Scott Tringali (1st alto) Paul Peeirolo (2nd tenor) Ryan Brooks (bari);
Trombones: Paul Cole (2nd) Scott Taylor (1st) Jeff Schiebe (3rd)
Leslie Havens (bass trombone);
Trumpets: Bruce McLeod, Jeff Sawyer, Scott Beckman, Michael Peipman, Peter Sokolowski

Many More Photos by C.S. Imming

Pretty blond girl in short black dress dancing on stage

Rebecca Holtz by Marce

The sky was threatening, causing some concern when The Compaq Big Band, directed by Al Saloky, played outside at the Vets Inc. in Shrewsbury. The band persevered, presenting a refreshing variety of Big Band styles, starting with Mercy, Mercy, Mercy, the title song of a 1966 album of Cannonball Adderley. Al introduced perky Rebecca Holtz, smiling, singing, and dancing all over the stage, I’ve Got a Lot of Living To Do.

Al announced they would do something different, then get into some some swing. There was space on both sides of the stage for dancing, but there’s no dancing to Gordon Goodwin’s Big Phat Big Band! Rebecca is comfortable singing in a variety of moods. She started with the Diane Reeves version of Big Phat Band’s Too Close For Comfort.

Rhapsody in Blue – Al called it the “The coolest American piece ever written”, with dynamic trumpet by Mike Peipman, and lead trombone, Scott Taylor.

Ryan on bari sax, Leslie (woman) behind him on bass trombone

Ryan Brooks and Leslie Havens

Ryan Brooks Baritone sax did the intro on Straighten Up and Fly Right, from Rebecca’s 2^nd Album. They moved to Diane Schuur’s Traveling Light.

Deedle’s Blues, done by Diane Schuur and Count Basie Band, is definitely not a Blues!

Peter Sokolowski on flugel horn

Intricate trombone intro to Tom Kubis’ arrangement of a song that should really be our National Anthem, America The Beautiful.

Peter Sokolowski took out his flugelhorn for Straight, No Chaser.

Chris Hildebrand (1st tenor)

Rebecca returned for Almost Like Being I Love and an old standard, Cheek to Cheek with fantastic tenor sax, Chris Hildebrand.

One of her favorite albums is the Count Basie Orchestra led by Frank Foster, I Caught a Touch of Your Love.

Rick Hansen, drums

Al stepped aside for the Buddy Rich arrangement of Love for Sale, letting drummer Rick Hansen loose; nice solo trumpet by Bruce McLeod.
Rebecca is a treasure, she speaks in tunes: I’ve Just Found Out About Love and I Like It. Why Don’t You Do Right.
The clouds moved on and the rain held off! They wrapped it up with another Diane Shuur – Count Basie Band, You Can Have It with Rebecca scatting, trading 4s with Scott’s tenor sax. “You can have it if you really want it, you can have the music all night long. Tell the drummer that you like his playing, tell the singer if you like the song.” Great! Let’s do it!

The audience called for more, but it was time to close. We left anticipating the Hal McIntyre Orchestra next week at Swing at Sunset.

black shirt listing all the places the band played in England in 2006

2006 Tour of Great Britain shirt

(Note – The Compaq Big Band’s shirt shows off their 2006 tour of Great Britain.)
Many thanks to Dan Gabel and The American Big Band Preservation Society, WICN, and Vets Inc. for presenting a great series this summer. Hope to see you again next year!!

The Vets – actually Veterans Inc. http://www.veteransinc.org/ provides homes and services for our veterans and their families. “They were there when we needed them. We must be there now that they need us.” Some actually reside here at 59 South St. in Shrewsbury, others at 69 Grove St. Worcester, MA.

Hot Steamed Jazz 2013 – Bob Seeley

Posted on August 1, 2013 by admin

Boogie Woogie Bob Seeley at the Yamaha

Bob Seeley, 85 years old in September, is a “National Treasure,” an exponent and proponent of Boogie Woogie. He grew up when Boogie was popular music, never forgot Meade Lux Lewis, Albert Ammons, James P. Johnson. He remembered when Albert Ammons and Pete Johnson played a duet at Carnegie Hall in 1938, from spirituals to boogie – it was a Boogie Woogie Dream!

A natural entertainer, he speaks about all the great pianists of the past, including some we’ve never heard of, like Freddy Slack, who wrote Strange Cargo.

Bob Seeley teaches us about past masters

Bob started out with Seeley’s Boogie. He played W. C. Handy’s St. Louis Blues first in boogie, then switched to stride – first slow, then at a thundering pace, sounding as if there were three pianists. Unbelievable!

He was having a problem with the piano – the ‘sustained key’ pedal on the Yamaha piano was hard, and stride has many sustained notes. He just pushed harder.

He asked for requests and unfortunately got one – Jay was having his 70^th birthday and his wife asked for Happy Birthday. Jay got his Happy Birthday Boogie. (Fortunately there were no copyright police around to collect the royalties on it.)

Seeley with a big smile playing Happy Birthday Boogie

Seeley loves what he’s doing!

Amazing Grace began very slow and reverent as a spiritual and quickly turned into a fast boogie – audience loved it, and he loved the audience. “Mature audience – thank goodness!!”

This is from the 2012 Hot Steamed Jazz Festival:

Hot Steamed Jazz Festival is located at a Steam Train Museum – he had to play something about railroads – he chose Honky Tonk Train. This was Meade Lux Lewis’ special tune that requires a muscular left hand. It has a repetitive bass that sometimes gives the left hand cramps. He was ferocious and wild! From there he continued with Pete Johnson’s JJ’s Boogie – at an exhausting pace!

He gets together with another fine piano player whenever he’s here at the Hot Steamed Jazz Festival. They generally start out peacefully. But with Barnhart, one never knows…

Seeley and Barnhart at piano

Barnhart and Seeley, peacefull playing 4 handed piano

Jeff Barnhart and Bob Seeley

When Barnhart plays – Seeley can’t sit still – no way! Loves to prance around.

And he never misses a parade!

Always has his tambourine with him…

He is a Happy-go-lucky Treasure!

“Boogie Woogie demands precise fingering and split second timing. It’s one of the most demanding and dangerous pieces of music to perform and only a handful of people left on earth possess it.”

Here he was on June 11th at the Blind Boone Ragtime & Early Jazz Festival in Columbia,Missouri ~ June 11, 2013. Video by Tom Warner (tdub1941) http://youtu.be/M8fz6jLnLr0

We are indeed fortunate to have Bob Seeley here in Connecticut to show us how its done. See you next year!!

Bob Seeley – Detroit

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Swing, Traditional Jazz, Dixieland Jazz, Big Bands

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