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New Black Eagle Jazz Band at Ken’s Steak House

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7-pc real Trad Jazz Band

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.

Guttmann bowing bass

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 on muted cornet

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 playing passionate trombone

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 on banjo, mouth open, still wearing his red sox

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, wearing gamulka, at piano

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 with drum stick raised over snare drum

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.

New Black Eagle Jazz Band Luncheon at the Sherborn Inn

Status

 

7 pc Traditional Jazz Band

Stan Vincent trombone, Bill Reynolds drums, Peter Bullis banjo, Jesse Williams string bass, Tony Pringle cornet, Bob Pilsbury piano, Billy Novick reeds

The New Black Eagle Jazz Band, with four of the originals, Tony, Peter, Bob and Stan, have been playing for over 42+ years.   They are one of the few bands still playing authentic Trad Jazz, (“Don’t call it Traditional/Dixieland!) Their sound is still fresh and exciting.

Weathermen had predicted snow (that never developed).  Stalwart fans of the New Black Eagle Jazz Band ignored them to attend the first of the Sherborn Inn’s afternoon luncheons this year, and were glad they did.  It was warm inside the Sherborn Inn, with  Hot New Orleans Traditional Jazz and two fireplaces blazing.

This luncheon consisted of a 3-course meal with salad, choice of beef brisket or stuffed salmon in Alfredo sauce, carrot cake desert, and coffee.  Delicious!

Tony playing cornet, Bob piano

Tony Pringle and Bob Pilsbury

Tony Pringle, still in British accent, announced the first New Orleans tune, Moose March.  It was one of the tunes often recorded by the George Lewis Band from New Orleans.

The Eagles recently added a new tune to their repertoire of 1000+ tunes, an old Pop tune of the 30’s done by the Brox Sisters, Tie Me to Your Apron Strings Again.  (They came before the Boswell and Andrew Sisters!)

The band picked up the pace with Once in a While – not the one you’re thinking of.   This one was done by Louis A. in the 1920’s.   It’s still thrilling, with Tony’s clipped cornet defining the New Black Eagle Sound.

Tony’s Getzen Eterna cornet had just been repaired at great expense.  Apparently while Tony had been taking a break, someone checked out the cornet and dropped it on the floor.  (Folks, please don’t touch the instruments!)

Bob Pilsbury answered a request for Jelly Roll Morton’s The Pearls, giving  it a New Orleans Spanish tinge.  There were many requests from this crowd; some have been following the band since 1971.  Another request for a spiritual, He’ll Understand And Say “Well Done”.   We love Stan Vincent’s  deep, wide-toned, robust “tailgate” style, reminiscent of George Brunies.

Stan on trombone

Stan Vincent on tailgate trombone

Tony explained where the next song came from, Ken Colyer, 1928-1988, an English trumpet player who is still in the heart of many Trad Jazz players.  He had joined the British Navy, and jumped ship here in the U.S.   When he was arrested, fans bailed him out.  That’s when he wrote Going Home.  He returned to England to find The Chris Barber  Band still waiting for him.  Nice vocal by Tony.  (It came from the heart.)

Another request, it was a Gospel Hit in the 1950’s, but was first recorded in the 1920’s, I Wasn’t Gonna Tell Nobody.   Drum and bass completely synchronized, Billy with sticks on snare drum and choke cymbal.

Bill Reynolds and Jesse Williams

Bill Reynolds drums, Jesse Williams string bass

Another request – West End Blues.  Jesse on solo, gently caressing the bass, easing beautiful sounds out of it.  The whole room was so silent you could have heard a pin drop!

Wingy Manone (1900-1982) originally did Old Fashion Swing.   He lost an arm in a streetcar accident, in N.O. which resulted in his nickname of “Wingy”.  This isn’t the dancing kind of swing – this is the one folks had on their porches in the “good old days”, before Ipods and Iphones.

Billy on alto sax

Billy Novick on alto sax

 

 

Billy Novick was featured on alto sax with Body & Soul.  Not Coleman Hawkins’ classic –  Billy has his own magnificent, emotive command of the jazz language.

 

 

 

We were fast approaching overtime – 2pm is the luncheon cutoff.   Peter Bullis gets his only banjo solo on Louisian-I-A.

Peter on banjo, with mouth open, wearing his traditional red sox

Peter still in his red sox, playing Louisian-I-A

They sent us home with one of their nostalgic closing songs, Rose of Cairo.
The band is scheduled for several more afternoon luncheons, popular with folks who don’t want to drive at night.  They also have a regular appearance at the Sherborn Inn on the 2nd Thursday of the month 7-9:30pm.

To keep informed of their other performances, sign up for the New Black Eagle Jazz Band  NEWS and Schedule by joining Tony’s e-newsletter  tony@blackeagles.com.

 

New Black Eagle Jazz Band luncheon at Sherborn Inn, October 23, 2013

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New Black Eagle Jazz Band

New Black Eagle Jazz Band

Tony Pringle leader/cornet, Stan Vincent trombone, Billy Novick clarinet and alto sax, Bob Pilsbury piano, Peter Bullis banjo and red sox, Jess Williams string bass, Bill Reynolds drums

Starting into their 43rd   year this month, the NBEJB still has it – the Traditional Jazz that draws crowds.   Everybody was elbow-to-elbow at the Sherborn Inn’s Wednesday luncheon, just like the old days at the Sticky Wicket.  People were bussed in from Senior Centers and enjoyed the Inn’s fine food and especially the music.  There were still some Stickey Wicket ‘regulars’ here, loyal fans, who have followed the band for all those years.

large crowd in back, couple at table for 2 in front, half of the crowd at the Sherborn Inn

Part of crowd at the Sherborn Inn’s luncheon

The Band played many of their old chestnuts, Tony singing When Your Hair Has Turned To Silver.  I’m Travellin’ –  Jesse Williams is the newest member; he injects new vigor into the band. (He was probably beginning first grade when the band started at the Wicket.)  Louisian-I-A, Tony on vocal.

Scott Joplin’s 1920’s ragtime by Arthur Marshall – Kinklets, is actually a pre-jazz number published in 1906. They didn’t improvise but Pilsbury played it as a fine ragtime number, Jesse bowing the bass.

Earl Hines 1930’s Rosetta. Together.  Duke’s East St. Louis Toodle-oo, Billy on super sax. Mahogany Hall Stomp. 

Jesse slapping bass, Tony on cornet

Jesse Williams slapping bass

Billy’s incomparable tenor sax was featured with the Rhythm Boys on Body and Soul.   Peter’s plink, plink, plink, banjo maintaining the Trad Jazz Beat, and still wearing his red sox.  (The Boston Red Sox won the World Series Pennant Race a week later!)

Billy and rhythm section, Peter wearing his red sox

Billy featured on Body and Soul. Note Peter’s red sox.

Stan Vincent on Trombone

Stan Vincent solo on Old Rugged Cross

 

 

Jesse’s string bass echoed Peter’s banjo on Old Rugged Cross.  Bill’s soft, skillful drum roll backed Stan’s fine tailgate trombone solo.

 

 

They finished with another Sticky Wicket chestnut – Panama.  Two hours went by too quickly!!  The crowd loved every minute of it!

The Eagles will be back here at 7pm on their usual 2nd Thursday of the month, November 14th.  Check out their site and available CDs at http://blackeagles.com/.

The Sherborn Inn lunches are held on the 2nd and 4th Wednesday of the month, 11:30am-2pm.  Good deal: Great music, 3-course luncheon, tax and gratuity, complete for only $25.