New Black Eagle Jazz Band at the Sherborn Inn, April 12, 2012

Posted on April 12, 2012 by admin

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!

Dixie Diehards Dixieland Jazz Band at the Sherborn Inn, April 10, 2012

Posted on April 10, 2012 by admin

by Marce

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The Dixie Diehards Jazz Band promised and delivered “a heady dose of New Orleans traditional jazz, second line street parade music, gospel and early jazz classics” at the Sherborn Inn.

Alan Shapiro trumpet/Music Director, Rick Foster trumpet/vocals, Dolly Fruzzetti vocals, Bill Dube clarinet, Paul Peterson saxophone, Ron L’Herault trombone, Chris Wadsworth banjo, Steve Shaw tuba, Dr. Dale Ellenberg drums.

Alan Shapiro, 1st trumpet (left) leads the Dixie Diehards.
Rick Foster 2nd trumpet on many tunes.

Rick Foster has many rolls as ebullient interlocutor, vocalist, trumpeter, and Historian – with extensive knowledge of the early jazz repertoire.

His vocals are relaxed and natural; he understands the lyrics, and takes us places with the songs.

We took the first trip down to New Orleans, with the band in classic jazz polyphony onWay Down Yonder in New Orleans. Nice clarinet solo by Bill Dube, Ron on muted trombone, Peterson on tenor sax, trumpets in fine freewheeling ensemble!

They continued that era with the 1902 Scott Joplin’s Entertainer, and the 1919 Rag.Bourbon St. Parade began nice and easy, but quickly turned into a barn burner!

Rick explained that much of the early jazz started out as spiritual, but the next one had some ‘country’ in it – Lonesome Road.

Ron L’Herault was filling in on trombone, reedman Bill Dube has amazing command of the tenor sax as well as clarinet.

Classic jazz started in New Orleans, and spread all over the world. Another early number, Yellow Dog Blues, is actually about a railroad. West Coast Jazzers jump up and shout during the breaks, but stoic New Englanders sit and just listen! Maybe some West Coast, or Potomac River Jazz, Tri-State Jazz, Pennsylvania Jazz, New Jersey Jazz Society members could come here and teach us?

Rick introduced charming and charismatic Dolly Fruzzetti, for W. C. Handy’s St. Louis Blues.

Dolly sang All of Me for an avid fan, Lynn Sickle, whose birthday was the next day. The Sherborn Inn staff had a ‘cake’ of ice cream ready for her to make a wish. (We didn’t ask her what she wished for, but I’ll bet it was for much more Dixieland Jazz.)

Many of the New Orleans tunes were morose; those were tough times. St. James Infirmary Blues refers to someone’s deceased lover. Funeral marches always began with a slow, somber beat. After the internment, the tone changed, and the marchers celebrated the deceased’s great life, with the “second line” following the band back to town. Dixie Diehards demonstrated with a lively, upbeat Didn’t He Ramble. Feet were stomping – it was difficult to sit still – we should have brought our parasols!

Influenced by Gene Krupa and Buddy Rich, Dr. Dale Ellenberg maintains a heady tempo.

Steve Shaw brings a wealth of experience to the band with a powerfuloompah tuba beat.

Rick jumped ahead a few years with a vocal on Jambalaya (and a crawfish pie and file’ gumbo.) Soprano sax and clarinet soared with the melody, bouncing off each other.

Banjo player Chris Wadsworth let loose with a rapid right hand on a lively I’m Alabamy Bound. Fantastic!

(You might remember him playing with Jean Kelly at the Colonial Inn.)

We moved back to 1927 with Bix Beiderbecke’s Singing The Blues (‘til My Baby Comes Home)

Jazz has had all kind of connotations and changes over the years. Duke Ellington transitioned to Swing in the late 1920’s. The drums kicked off Ellington’s The Mooche,Ron L’Herault on muted trombone, Peterson driving on soprano sax, Dube on terrific trilling clarinet.

Today Wynton Marsalis is promoting the old classic jazz, encouraging the next generation with the Essentially Ellington High School Jazz Band Competitions. (Medfield High School is one of the 15 finalists who will participate May 4-6 at Jazz at Lincoln Center.

The Diehards played a tune Wynton Marsalis wrote, Happy Feet Blues, drum intro with a second line beat, Chris banjo solo; sounding just like New Orleans street music!

We were delighted to have the gracious Dolly back for a number of tunes, Louisiana, Blue Skies, Second Hand Rose, Stranger on the Shore. She is a joy! Dolly has a long and impressive list of credits as a piano player, singer and entertainer.

Rick has always maintained a strong devotion to Louis Armstrong. He returned with a wistful Do You Know What It Means To Miss New Orleans? and I’m Gonna Sit Right Down And Write Myself a Letter. Great ensemble by the Diehards, with Ron hitting lowest register on the trombone that caught everybody by surprise.

They wrapped it up with the ubiquitous Closer Walk, with a whistled segue to the Saints, concluding another fine Tuesday afternoon of Dixieland Jazz at the Sherborn Inn. There’s lots more coming – check the Schedule.

Thank you Dixie Diehards Dixieland Jazz Band, and Dolly Fruzzetti, for taking us on a marvelous trip back in time to New Orleans!

Swing Times Five with Debby Larkin at the Sherborn Inn, April 24, 2012

Posted on April 5, 2012 by admin

by Marce

Jeff Hughes cornet, Ron Petot piano, Dan Weiner guitar, Peter Tillotson string bass, Dave Didriksen drums, Debby Larkin vocals

This evening featured many of our favorite composers. Jeff began nice and easy on flugelhorn with Benny Carter’s best-known tune, When Lights Are Low, and then did an abrupt turn-around with Duke Ellington’s It Don’t Mean a Thing If It Ain’t Got That Swing, with muted cornet, Ross Petot’s fingers running the keyboard. They ran a broad spectrum of Early Jazz and Swing.

With his cornet, flugelhorn, many mutes, and attitude, Jeff is a complete front line. This gentle man is so filled with music, it just pours out of him, it refuses to be contained. Louis, Bix, Joe “King” Oliver, Bunny, Al Hirt, Harry James – take your pick.

Joined by vivacious Debby Larkin on vocals – talented and versatile, she can swing as well as sing. The evening just flew by!

From Jerome Kern’s Showboat in the 20’s, the sweet ballad Can’t Help Loving That Man of Mine was a swinger!

Cole Porter’s You’d Be So Nice to Come Home To. Jerome Kern’s A Fine Romance.

Cole Porter’s Let’s Do It – powerful vocal, with all it’s politically incorrect lyrics.

In the 20’s and 30’s, all the songs had double entendres. Have you watched TV lately? Who are we kidding?

Jeff was in New Orleans for the first time last month, on St Patrick’s Day. He found out that New Orleans is insane – all year – not just for Mardi Gras. He brought back a souvenir, Basin St. Blues, that drove couples to the shiny wood dance floor.

Cottontail, written for Ben Webster, featured cornet, piano, and guitar taking turns skillfully trading 4’s with Dave Didriksen on drums – before he let loose with a wild drum solo!

Ross was featured with the Rhythm Boys. He always plays something unique and special, this time Billy Strayhorn’s Midriff, quoting bits of Stumbling.

He played a dramatic intro to Harold Arlen’s Get Happy, Jeff back on cornet, as hot and powerful as any trumpet. He continued with passionate flugelhorn solo on Victor Young’s Love Letters, .

A little bit of Blues – I Sent For You Yesterday, (but here you are today!) Jeff and Debby working well together, Debby singing the verse, Jeff playing riffs with muted plunger cornet.

Especially for an ardent fan of the band, Lynn Sickle, they dedicated All Of Me.

The piano started with the verse on a tune that Hoagie wrote for Bix Beiderbecke that they had never played before. It doesn’t get played often, even though it’s a peppy, party tune, Jubilee. Hoagie Carmichael was a good friend of Bix’s during his short life – he died at 28. What an impact he had on the music scene!

Break time.

Jeff called upon a wonderful friend and supporter to fill in the break, “Brother” Myron Idelson. Memories of Myron Cohen. He has a million of ’em.

Myron proceeded to roast Jeff royally, even had Ross breaking up! He never repeats a joke, and they can be told in mixed company. “I’m going to get rich – invented a dog biscuit that tastes just like a mailman’s leg.”

With down-home openheartedness, he concluded with a request “…to have more love and thankfulness in this world.”

* * *

Deb came back swinging with a Benny Goodman favorite, Don’t Be That Way. Nice touch, Jeff Hughes cornet trading 4’s with guitarist Dan Weiner.

Dan was featured on My One And Only Love. In his late teens in Vermont, Dan started playing solo blues guitar in the styles of Mississippi John Hurt and Reverend Gary Davis. An innovative guitarist, his playing speaks to your soul.

Deb returned with a song made famous by Count Basie, appropriate for this month, April in Paris.

The band continued with Jonathan D. Kramer’s About Face. Jonathan was a self-conscious art-music composer, but soon “embraced the music that most Americans know and love.” That’s our jazz!

Late Late Show was WILD, Jeff playing both melody and riffs on muted cornet. This tune literally had everyone jumping up and down! Slower tempo – Deb returned with Skylark, Jeff sounding like Bix would on flugelhorn.

The Finale was a beautiful ballad, A Sailboat in the Moonlight and You, with Debby on vocal, nice string bass and cornet duet with the band in stop time. Pete Tillotson has as full and rich a tone as you can find on any string bass.

Jeff ended this wonderful evening with his closing theme song and the same smooth flugelhorn with which he started, We’ll Be Together Again. We’re counting on it!

Mood Elevators at the Sherborn Inn, April 3, 2012

Posted on April 3, 2012 by admin

by Marce

The Mood Elevators, Ginny Briggs, Karen Richards Tyo, and Chris Towle, exhibited their marvelous 3-part harmonies reminiscent of the Andrew Sisters’ 30’s and 40’s at the Sherborn Inn, with backing by John Clark clarinet/tenor sax, Ross Petot piano, Ken Steiner string bass, and John McLellan drums.

They had the The Andrew Sisters nailed with Don’t Sit Under The Apple Tree, I Love Coffee. Exploring new things, they spiced the evening with a 1954 mambo, Sway, and the silliest song in their repertoire, Mairsie Doats.

The Boswell Sisters, from New Orleans, were represented with Charley Two-Step (hottest man in town.) This House is Haunted (by the echo of your last goodbye) a comedic 90’s tune was borrowed from the Chenille Sisters.

They caught Lynn Sickle by surprise with her favorite All of Me, adding some special verses written by Tomi Hayashi, with lyrics by Karen.

This was Karen’s night, she was featured with Dream a Little Dream of Me, popular both in the 30’s and 60’s, (nice low register tenor sax by Clark) Orange Colored Sky, and a swinging Pennies From Heaven.

Easygoing and personable, Karen really connects with the audience.

Another swinger – Glenn Miller’s In The Mood, Jean and Jack from Sherborn were swinging all over the dance floor!

John Clark actually joined the Mood Elevators on vocal with Some of These Days. He doesn’t do that often, has a very nice voice.

Chris, always sprightly and full of zip, was featured with I’ve Heard That Song Before.

Ginny, gregarious and sociable, touched on the upcoming holiday with Easter Parade and Low Gravy, a song that had everybody’s mouth watering, about gravy, and pork chops and biscuits. (Jelly Roll Morton’s Red Hot Peppers 1930)

The band had the floor for a tune written in 1937 by Allie Wrubel and lyricist Herb Magidson, Gone With The Wind, with Clark on clarinet. The tempo picked up again with Everything is Hotsy Totsy Now, Goody Goody. And again In a Mellow Tone smooth tenor sax.

Ross Petot played haunting and elegant piano on Billy Strayhorn’s Johnny Come Lately, a tune that became a standard for the Duke Ellington Orchestra.

Ross is also a fine stride pianist, arranger, composer and teacher.

It was great to have Dr. Dave and Helene back dancing again, to Apple Blossom Time, done in a nice waltz!

The Mood Elevators have several summer concerts coming up. Check their website at www.moodelevators.com. You’ll find them May 12^th at the First Parish Church Universalist Unitarian Coffee house in Sudbury.

Blue Horizon Jazz Band’s Riff’s of Spring with Michael Peipman, trumpet at the Sherborn Inn, March 20, 2012

Posted on March 20, 2012 by admin

by Marce

Traditional Jazz has been around since the 1920’s but it never gets boring to us. Tonight was no exception, with the Stan McDonald’s resourceful Blue Horizon Jazz Band and authentic, hot classic jazz and swing…. and a surprise guest.

Stan McDonald, leader/soprano sax/clarinet, Gerry Gagnon trombone, Ross Petot piano, Al Ehrenfried string bass, Peter Gerler guitar, Dave Bragdon drums and this week, Mike Peipman on trumpet.

They began with Meet Me Tonight in Dreamland, Baby Ain’t I Good to You, Stan on clarinet and vocal, backed by the rhythm section

Al Ehrenfried on acoustic string bass and Dave Bragdon on drums drive the band with a proper Traditional beat, without being overbearing.

Peter capably rounds out the rhythm section on guitar, and moved to banjo for Margie.

Ross is an educated listener, complementing, rescuing, proffering ideas with a just a few pertinent notes on the Baby Grand.

Willie The Weeper was a barn-burner. Renowned for for his fine stride piano, Ross rendered a blistering solo on this one.

McDonald’s soprano sax took the intro to Once In a While (not the one you’re thinking of, but an upbeat, hot tune.) Stan takes the first solo. Mike’s smokin’ solo strayed from the melody; Ross intuitively picked it up on piano, the band carried on with enthusiastic, interweaving New Orleans polyphony. (There always has to be some suggestion of the melody in there somewhere!)

Mike generally plays modern, contemporary jazz, but displayed his aptitude for Trad with an impeccable rendition of Louis Armstrong’s West End Blues. Spectacular!

Baby, Won’t You Please Come Home, fine vocal by Stan. Mike’s inspiring trumpet solo reached for the stratosphere!

Gerry had the vocal on When I Leave The World Behind. Gerry Gagnon gives 150% whether on trombone or vocal. He normally plays with the Boilermaker Jazz Band, all over the U.S. Canada and Europe, so we’re happy to have him here with us.

Trumpet and Trombone stepped down, while Stan played Petite Fleur with a passion!

Stan McDonald was recently interviewed by Dave Radlauer on Jazz Rhythm, where the Bechet-style soprano saxophone master recalled his half-century musical career. This evening, Stan again honored Bechet with Georgia Cabin, Dardanella, Spreading Joy.

Chanteuse Mollie Malone was in the audience and stepped up for a fine vocal on Django’s Nuage, in French, backed by Al, steadfast on string bass and Stan’s strong soprano sax.

Too soon, time for the final tune. Lover, Come Back To Me, ending another superb Tuesday evening of Jazz at the Sherborn Inn with the Blue Horizon Jazz Band, and special guest, Mike Peipman.

Mike will be at the Regatta Bar March 31st with with Stanley Sagov and The Remembering The Future Jazz Band.

The Blue Horizon Jazz Band is here at the Sherborn Inn on the 3rd Tuesday of every month. Catch them on April 17th and see if Stan comes up with any more surprises!

New Black Eagle Jazz Band, with C. H. Pameijer drums at the Sherborn Inn, March 8, 2011

Posted on March 18, 2012 by admin

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.

Riverboat Stompers at the Sherborn Inn March 13, 2012

Posted on March 13, 2012 by admin

Larry Baxter cornet, Steve Straus leader/soprano sax/clarinet, Frank Bachelor trombone, Phil Hower piano, Dave Macmillan banjo, Pierre Lemieux tuba, Rich Malcolm drums

This is a crowd-pleasing fun band, many vocalists, fine Dixieland Band peppered with a bit of Spike Jones. They gave an enlivening performance and the fans loved every minute of it.

They started right out with Macmillan vocal on Honeysuckle Rose nicely backed by muted cornet. “Be Sure It’s True When You Say I Love You” – with the whole band singing very resounding vocals on It’s a Sin To Tell a Lie

Big Butter & Egg Man, Steve Straus on clarinet and vocal, Phil tasty piano solo buoyed by the rhythm section.

They dedicated a song to Rush Limbaugh, The Lady is a Tramp. Steve on soprano sax with Rich rim tapping the drum. They ended this tune appropriately, on a sour note.

Next was a lovely ballad from their first CD, played in three different keys, drum intro marking the beat to Bourbon Street Parade. Fantastic! We don’t care how many keys they play in, when they get serious, they play flaming HOT Dixieland Jazz! But they aren’t serious for very long – there was a sudden blast from a Spike Jones’ Model T car horn that made everyone jump out of their seats. Rich’s blistering multiple drum tags tore the house down!

They play games – Stump The Band, and someone tries to win a CD by guessing the tune. They’re getting more difficult, picking a tune that Steve says was so little known it was never published, but the Paris Washboard plays it. Cornet took a break on this one while the piano did the intro to Fat’s Waller’s 1937 Our Love Was Meant To Be. The band stumped the audience.

From the unknown to the very known, with Dave Macmillan “featured on 18 string banjo” on a spirited Baby Face. Larry Says Dave was “pre-disposed to play banjo.”

Piano intro to Blues My Naughty Sweetie Gave to Me —The lyrics of this tune are extremely fast, with many choruses that would test even the best vocalist. The band stopped, leaving Larry on his own, with his razor sharp phrasing of all the testy lyrics. Bravo! The full band returned, Larry cornet, Steve soprano sax, Frank trombone, Phil piano. Pierre’s fine tuba solo was backed only by drums. Rich closed with a clever solo played only on the snare drum!

Steve counted out the beat for Putting On The Ritz. It was his vocal, and he enlisted the help of the audience, who responded with “Putting on the Ritz!” Frank’s impressive trombone solo was backed by Pierre’s tuba.

Pierre is always present, with his own exciting solos, driving the band, or in the background behind other solos, playing so softly you hardly know he’s there.

It was break time, so they chose to play a familiar tune a propos of the fine early spring weather New England has been experiencing. They called it ” ‘ave a lawn”. (Avalon) Cute. It was WILD, with Dave on vocal – he doesn’t need a megaphone! Rich tapping the top hat with with a trad one-beat, and finishing with a hard charging drum solo, leading into break time.

When they returned, Steve soberly announced that Dave would play some serious banjo. But after he started, Larry and Steve took out their kazoos.

The full band jumped back in, with a fine clarinet solo by Straus.

Dave showed them – playing incredible, charging, banjo, withThere’ll Be Some Changes Made.

Dave is the primary vocalist with the band, starting with the first tune, It’s a Sin to Tell a Lie, then , Bourbon Street Parade, Avalon, Chinatown, and the finale, Wrap Your Troubles In Dreams.

Steve said “Many of these old songs were colorful, and naughty. We’re not making any social commentary with a not very well known tune, but it’s that universal excuse,” in I’ve Been Floating Down That Old Green River

They have recorded a tune especially for March, a very special waltz, Take Me Out To The Ball Game!!

There was a request (from the band) for C’est Ci Bon, Larry on poignant vocal – in perfect French. Glorious to this Frenchwoman!

Chinatown, was rowdy, with Frank playing briskly on double mute trombone.

Rich hit everything he could reach on the drum set, even the cow bell.

Back Home Again in Indiana. Larry carrying the melody, soprano sax and trombone in counterpoint. Nice.

While the audience was focused on the front line’s melody – Rich got up from the drums and did a little dance on the side! Macmillan continued unaware, strumming a banjo solo with tuba backup. The band connected again, closing with a wonderful ensemble.

Stump the band again. “A tune we frequently use – we’ll play it until we get it right. It’s a genuine copy of a knock-off from our CD.” Phil looked puzzled, since nobody had told him what they were going to play.

Steve on sax, Rich taking a drum solo against the front line’s stop-time rhythm, they started nice and easy, then raised the tempo for a smoking Limehouse Blues, then moved into great New Orleans polyphonic sound. Somebody won a CD on this one.

Phil had the piano intro to Cole Porter’s Miss Otis Regrets, another fine vocal by Larry, Steve on low register clarinet.

Goody Goody.
While the front line concentrates on melody, Rich provides the beat tapping the rim with right hand and hitting the underside of the top hat for emphasis with the left hand.

We enjoy watching him – now he keeps the rhythm going by softly rim-tapping on opposite edges with both drumsticks, and hitting center snare for a resounding beat, then ending the number with a dynamic flourish!

Time’s up. It’s time for the Finale.

Piano intro to Wrap Your Troubles In Dreams, with Steve playing a full chorus on high register soprano sax, then a chorus on low register sax.

Marvelous!

Despite the clowning around, these are talented musicians who play flaming HOT Dixieland Jazz; they are absolute crowd pleasers!

Watch for them in their New England stomping grounds at this website and at http://riverboatstompers.com/ .

Wolverine Jazz Band Sizzles at the Sherborn Inn!

Posted on February 28, 2012 by admin

by Betty Weaver

file photo

The Wolverine Jazz Band played to a capacity crowd at the Sherborn Inn on Tuesday, February 28th, playing upbeat jazz the whole night, from beginning to end.

They started with a lively My Blue Heaven, and did it perfectly. Everything sparked, and it took off from there

Trombonist Tom Boates was in a playful mood all night long, with his raucus, growling trombone. The highlight was his scatting with Jimmy Mazzy. Didriksen was beside himself, smiling all the while, playing a solid beat.

John Clark announced Dave’s engagement to his lady friend Cathy. The band had planned a slow song, then an upbeat tune for the Finale, but reversed it to a sizzlingSwing That Music, then Trombonist Boates took over the drums for an emotional and warm Memories, so Dave and Cathy could dance.

It was a sparkling evening, from beginning to end.

Congratulations, Dave and Cathy! Live a long and happy life!

Wolverine Jazz Quartet at Sherborn Inn Mardi Gras Luncheon, February 21, 2012

Posted on February 21, 2012 by admin

The Sherborn Inn had a double-header Mardi Gras celebration, beginning with the Wolverine Jazz Quartet, with Dave Whitney trumpet, Rick MacWilliams tuba, Jimmy Mazzy banjo, and John Clark clarinet/bass clarinet.

The 3-course luncheon was a choice of special Mardi Gras Shrimp Jambalaya or Bourbon Chicken. The band renamed Sunset Cafe Stomp with The Sherborn Inn Stomp.

In keeping with the New Orleans’ theme, a group of Red Hatters from Walpole (sans chapeau) livened up the afternoon with colorful costumes, complete with tiara and boa.

Donna Monteiro, Lee Normandin, Donna Kearney, Olga Cox, and Michelle Merriam enjoyed the Dave’s trumpet on Louis Armstrong’s Someday You’ll Be Sorry and Mable’s Dream.

When I Grow Too Old To Dream, Jimmy vocal; While We Danced At The Mardi Gras, he slipped in a touch of Ciri Biri Bin on his banjo. New Orleans was a natural, with Whitney ending in an impressive trumpet coda.

Instead of dipping into his vast collection of 20-s and 30’s songs, Jimmy chose Blues Before Sunrise for one vocal, done by B.B. King and Eric Clapton, and Dean Martin’s All I Do Is Dream of You.

Jimmy is self-taught, his playing is exceptionally unique. Every banjo player who tries to imitate him ends up saying “How does he do that???”

But he’s never boring, always adding something new, as in single-string picking of lower chords on his banjo solo of Louisian-I-A.

Adding another instrument to his arsenal, Clark brought in a bass clarinet to supplement his usual clarinet. (Only two instruments, no baritone sax.) None necessary – Clark’s expertise on reeds and Whitney’s trumpet carried the afternoon!

Louis Armstrong Hot 5’s Struttin’ With Some Barbecue was incredible on bass clarinet!

Rick MacWilliams’ tuba took the intro to the Burns and Allen theme song, Love Nest.
That’s a Plenty was WILD, with Jimmy scatting through his chorus.

They closed the afternoon at 2pm with Stuff Smith’s You Showed Me The Way.

The second half of the Sherborn Inn’s Mardi Gras was at 7pm. with Stan McDonald’s Blue Horizon Jazz Band, with Berklee Professor Jeff Stout on cornet.

The full Wolverine Jazz Band will be back at the Sherborn Inn on February 28th, 7 to 9:30pm.

Blue Horizon Jazz Band in its 17th year at the Sherborn Inn January 17, 2012

Posted on January 17, 2012 by admin

The Blue Horizon Jazz Band introduced Traditional Jazz to the Sherborn Inn in 1995 – it was a pleasure to be here again, as they continued into their 17th year. They kicked things off with All By Myself. Stan said this was a good way to start, since the band hasn’t played together since November. He was honored to have Jeff Hughes, one of his favorite people and a good friend, filling in for Jeff Stout.

“Dave Bragdon has been surreptitiously playing behind the band for eleven years.”….. Stan

Ross took the intro into Georgia. Great ensemble on Willie The Weeper. Tishumingo Blues had Jeff playing strong cornet, accompanied by Ross’s sterling playing, and Al Ehrenfried’s unwavering beat on the string bass. Gerry Gagnon was featured on trombone in Down in Honky Tonk Town, and ice muted trombone onYes, We Have No Bananas.

Stan asked if anybody remembered the Paris Brothers, Sidney and Wilbur? Very few hands were raised. He said “We have a whole new generation to educate!”

They soared into a fabulous Lotus Blossom, one of Stan’s specials on soprano sax. But Myron will tell you more —

Guest writer: Myron Idelson:

“Six ghosts returned to the Sherborn Inn Tuesday night, January 17, 2012, haunting us with the same great music of the December 11 Spectacular. The apparition’s were giants Stan McDonald, Jeff Hughes, Ross Petot, Dave Bragdon, Peter Gerler, and Al Ehrenfried.

They were accompanied by another giant, Gerry Gagnon. They proved that their keen musical intelligence and lucid style are unimpaired. And based on what the Blue Horizon Jazz Band did, offered those of us who were wise enough to attend the unique perspective of our musical future. Stan was soaring on the soprano sax and his vocal rendition of Lotus Blossom was stunning.

The highlights offered by Jeff Hughes, particularly with his gorgeous tones in the brief opening of Your Lucky To Me,the first number of the last set, was moving, and then his driving lead into the rousing balance of the song.

Ross as usual was remarkable and he awed all of us with his rare sense of newness. Folks, perhaps to feel that something is truly new, we first have to expect it.

Good Ol New York was the realization of the expected that struck us with the birth of the new. All evening Dave Bragdon’s breaks and long solos were crisp, clean, and he led the band at a clean steady and well defined rhythm on every number.

Gerry Gagnon’s driving solos and ensemble work were heart warming and caused a great feet tapping chorus from the crowd. The bass was steady and embraced and augmented the pace and mood all night. Peter Geller’s guitar solo on Georgia was ambitious and unlimited. Stan’s rendition of Irving Berlin’s When I Leave The World Behind was an additional highlight.

The fact is, the entire three sets were an unbroken glorious music interlude which marked it as a special night. As to their music, the Blue Horizon seems to have a reservoir of thousands of new innovations which do not lie dormant in their creative musical talents.

We all experienced the fact that it is the mark of a creative artist that makes the familiar seem new. The Blue Horizon does not dull the cutting edge of Traditional Jazz. Their capacity and their strong point is bold and forthright creativity which goes straight to the heart of the music they made great.

They were individualist and a team. That which is unique and worthwhile made itself felt. We caught it, and as a result we experienced musical growth and exhilaration. In our last review we said “Let’s do it again.” We sure did, but where was everybody?”