Wolverine Jazz Band at Ken’s Steak House, Sunday afternoon
Review of Wolverine Jazz Band at Ken’s Steak House, May 3, 2015 – by Myron Idelson
On May 3rd, 2015, the venerable restaurant, Ken’s Steak House in Framingham Massachusetts launched a new venue for Traditional Jazz. Hosted by the Wolverine Jazz Band, led by John Clark, the music made by seven formidable talents from 4pm to 7pm blew all credibility by reaching new heights of Jazz brilliance.
The members of the Band: John Clark clarinet and bari saxophone, Jeff Hughes cornet, Jimmy Mazzy banjo and vocals, Ross Petot piano, Tom Boates trombone, Rick MacWilliams tuba and Dave Didriksen drums… were all guilty of playing excessive, appealing, ingratiating, bright, inventive, and intense extraordinary music causing a seismic shaking of Musical Joy, registering a 10 on the Richter Musical Scale.
The music played by the Wolverines was a Blue Ribbon Salute to their talents… and the audience became immensely wealthy. The unusual arrangements, the swinging tempos, the integrity of the Jazz in the slow tempos, the exciting refreshing impressive new insights showed the seven Giants were possessors of fantastic tone and range with never a hint or sound of a pallid solo.
The pleasing Hot choruses, the brilliant arrangements, were infusing and sparking the boys to unmitigated and scintillating new heights. There was never even a minor flaw the entire evening. It was a full and rich shattering experience – we were in the presence of ‘Musical Diety’. The future of Ken’s is predictable – more of the same with a parade of other bands to follow.
The Opening Night of our second new venue takes place on May 19th, 2015 at the Sheraton Inn in Needham, Massachusetts, 7pm to 9:30pm. The Wolverine Jazz Band as our host ensures us, once again, of another arousing night of Great Traditional Jazz.
Ken’s Steakhouse and The Sheraton Inn will offer a “Who’s Who” of Traditional Jazz.
Wolverine Jazz Band with Dan Gabel and Herb Gardner
Jeff Hughes cornet, John Clark clarinet and bari sax, Dan Gabel trombone, Jim Mazzy banjo/vocals, Herb Gardner keyboard, Rick MacWilliams tuba, Dave Didriksen drums
Wolverines are a favorite, not only in New England, but across the country. They had a couple of substitutes this evening. Dan Gabel was on trombone, subbing for Tom Boates, whose High School Jazz Band was on stage at the Epcot Center.
Herb Gardner has been ‘pianist of choice’ here since Ross Petot teaches on Thursday evenings. John Clark spent about 30 seconds explaining arrangements to the two substitutes, and then they all fell in together and soared.
It was the day after tax day, so they began with an upbeat We’re In The Money, from their 1st CD. They took When My Dreamboat Comes Home from The Paramount Jazz Band, who took it from the Jim Cullum Jazz Band, with Jimmy doing the vocals as he did with Paramount. From the 1920’s, Dardanella, fine tuned duet between cornet and clarinet, tuba pushing the beat, Jimmy took it out on banjo..
Jimmy is always Jimmy, remarkable!
Jimmy Mazzy was featured on a Muddy Water’s tune, playing himself, incredible as usual, with a little bit of support from cornet and clarinet.
Some Rogers and Hart was on the docket. Bless That Mountain Greenery was recorded by Jabbo Smith. It will be on the Wolves’ upcoming CD, #13. (They don’t really count No 1 because there was no trombone.)
Rick took a tuba solo on a dreamy, bluesy Michigander Blues, with the three on the front line slipping into a deep glissando slide. They finished with smiles on all their faces; it must have been signaled at the last minute and played on the fly!
Jim Mazzy and Jeff Hughes play Sleepy Lagoon.
Jimmy Blythe’s Oriental Man is Chicago jazz, with Clark playing hot Johnny Dodds clarinet. I Want to Linger was done by Rosy McHargue and his Dixieland Band as well as the Andrew Sisters. John Clark did the vocal with Hughes playing soulful vibrato on his Olds Recording cornet, vintage 1953. It looks like new with offset ergonomic valves and trigger slide, it plays excellent and has a wonderful sound. But then any instrument in Hughes’ hands has an excellent sound.
Jeff and Jimmy played a song for the late Jim Enright – his favorite, Sleepy Lagoon. Thank you both for remembering Jim!
Jimmy Mazzy’s choice – he has a million of them in that genius head of his, but this was a relatively new one. The front line followed with inventive solos. The You and Me That Used to Be was voted Best Record of the Year in 1972, and Jimmy Rushing voted Best Male Singer in the Down Beat music poll.
Jeff’s favorite, After You’ve Gone, recorded by Johnny Dodds’ Black Bottom Stompers, realased in 1927, was a nice danceable tune, melodic and lyrical clarinet with trombone playing harmony, and Jimmy singing,
Dip Your Brush In The Sunshine, Ted Lewis 1931, Uplifting and warm with Jim vocal and Jeff responding.
Rick MacWilliams pushes the band on tuba
Rick MacWilliams let go on a fine tuba solo on Johnny St. Cyr’s Oriental Strut. He provides a cushion of solid beat with the right chords supporting the band every note of the way.
Stomping at The Savoy swings from beginning to end; you never heard anything like it! Pity no one was recording. They haven’t played Blues in My Heart in a long time, Sweet.
Band played a unique Stomping at the SavoyA
Jerry Wadness requested Herb play trombone. Herb joined Dan in a hot fiery duet backed by the buoyant rhythm section on Harry Warren’s Lulu’s Back in Town, with Herb also singing it. They are a combustible combination!
Rose of The Rio Grande, high spirited playing with Dave Didriksen tapping on wood block and hi hat, then he let go with excited commentaries; crashes and rolls. Jeff followed on cornet with John on clarinet for an exciting duet, with Dan responding with short bursts on trombone.
Dave Didriksen keeps a fine beat
Lawrence Brown wrote another Jim Enright favorite, Memories of You, played by piano and clarinet. Superb. Jimmy singing with Jeff support, as they used to do with the Paramount Jazz Band. This will be on their 13th CD.
Time for one more. What, already??
He’s dangerous on that baritone sax.
They closed with a special version of Dinah with a soft 16 bar intro on cornet. John Clark’s full-throated lower register on baritone sax caught us right in the solar plexus!
Dan Gabel’s exuberant trombone followed, Herb’s fingers flying over the keyboard, Jimmy was carried away with his infamous holler. Dave’s drum cymbal rolled into the final ensemble chorus, with a closing cymbal crash for a WILD finale!. We were left breathless!
Where do we go from here??
Herb Gardner keeps busy
Herb Gardmer keeps busy. The following week, after the usual Wednesday night at Swing 46 in Manhattan NY, Friday the 24th he’s playing with the Black Eagle Jazz Band at Amazing Things Arts Center in Framingham. Saturday he’s on trombone for a Benny Goodman ’38 Carnegie Hall Jazz Concert tribute at Merrimac College in North Andover. Then Sunday down to Piermont, NY for two shows with Red Molly at The Turning Point. He says “Who has as much fun as us jazz musicians?”
Dan Gabel is always phenomenal. He teaches at Holy Cross College in Worcester, barely makes it here on time and always arrives hungry. He wolfs down a fine Italian dinner during the first ten-minute break.
Extending the slide to its maximum length, he’s constantly improvising, sometimes being forced to, as when playing trombone to a saxophone chart (not with the Wolves). Here he was given the chart to the wrong tune, but still performed with such passion that we never knew. His High Society Orchestra will be here at Primavera April 24th, 7pm.
As for the Wolverine Jazz Band, mark your calendars. They will be at Ken’s Steak House, Framingham MA on May 3rd, 4-7pm FLYER and the Sheraton Needham May 19th, 7pm, a new venue at 100 Cabot St, Needham, MA. Come hear the Wolves in a beautiful new setting – great menu, easy parking. On June 18th they’ll be back at Primavera, 7pm. John Clark keeps their site update! www.wolverinejazzband.com.
Scott Philbrick cornet, Craig Ball clarinet, Steve Piermarini trombone, Jimmy Mazzy banjo/vocals, Frank Stadler leader/piano, Al Bernard sousaphone, Bob Reardon drums
The Seacoast Stompers were back at Bemis Hall at their regular daylight time, 2-5pm, Saturday afternoons – great time to listen to great Jazz. They are wonderful, lyrical players, inspire one another, enjoying what they do, pleasing their audience. We especially enjoy Jimmy’s many songs. (We’ve been listening to Jimmy for over 43 years, and he is still unique.)
They began as always with their theme song, At The Jazz Band Ball. Frank Stadler leads the band, but Scott Philbrick is their ‘music’ leader. Frank held a list of tunes they would play. Something new had been added – all the endings were kept short and abrupt. Each one caught us by Surprise!
This was Craig Ball’s first sorti after breaking bones in his hand when he slipped on ice four weeks ago. He still should have had at least two weeks recovery, but was climbing the walls. So he returned to playing clarinet with a swollen left hand, clarinet still reaching for the stratosphere!
Everybody Loves My Baby – check out that clarinet.
I Would Do Most Anything For You, Scotty racing so fast on cornet, it almost made us dizzy, it was a Wowzer!
Moving to more moderate tempo, Mama’s Gone, Goodbye, Jimmy at his best with Albie’s powerful brass, Stadler offering just the right chords, drum tapping on crash cymbal.
Jimmy solo backed by Frank Stadler on piano and Al Bernrd tuba, plus drum not pictured
China Boy (video by Marce)
Baby, Won’t You Please Come Home had Scott playing sweet smooth cornet with Jimmy backing on banjo.
Upbeat Lady be Good, band in great New Orleans polyphony with exciting individual solos, Scott sneaking in tidbits of other tunes, Jimmy’s banjo pushing the beat with Bob beating hard on every drum he had!
Frank said that half of the tunes in this idiom seem to be in the key of F. So they moved to Rose Room, in the key of A♭, Scott’s cornet almost talking. Nice dance tune; there’s room at the back of the hall for dancing.
Al Bernard wrapped in sousaphone
Albie not only pushes the beat wrapped in sousaphone, but softly responds to solos In My Honey’s Loving Arms.
Strutting With Some Barbecue was wild!
Mood Indigo had an extraordinary cornet and trombone duet, with Scott throwing in some wa wa on muted cornet.
Scott Philbrick and Steve Piermarini in great muted duet
Jimmy’s choice, Nagasaki, in B♭, cornet leading, trombone playing counterpoint, Jimmy startling vocal. Piano took the intro to My Monday Date with Jim vocal.
It’s been a long time since they played I Ain’t Got Nobody, Pieranunzi playing fine growling muted trombone. Blue Lu, Bob Reardon with left stick on snare drum, right on splash cymbal, pushing the band.
Bobby’s choice of tunes – he always picks my favorite, Limehouse Blues. Piano intro, Bob’s brushes on tom tom drums, arms flailing in the air.
Bobby Reardon hitting all the drums!
E♭ banjo 16 bar intro into Louisiana, band following with exciting Dixieland Jazz.
Chicago was HOT, a barn burner with Jimmy scatting. Another upbeat, Found A New Baby with Jim vocal, Bob ended it with a stinging crash cymbal.
Wish I Could Shimmy Like My Sister Kate. Frank loves playing this 1870 Steinway!
They closed with another rouser, Swing That Music. Bobby wouldn’t let it end, playing two moving drum encores.
They also played Swing That Music here in January, with Dave Whitney on cornet and Scotty on banjo. This was before Craig broke his hand. That tune is always an excellent closer.
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This music touches the heart and spirit. The musicians consider themselves lucky to be jazz players; they love this music. The don’t use charts, they listen to each other, improvising, sometimes challenging each other. They don’t necessarily get rewarded, except from the crowd that shows appreciation by applauding their marvelous talent.
Seacoast Stompers will be moving to a new venue. It’s been fun being here at Bemis Hall, thank you Harold McAleer and Vern Welch for making it possible. Next month on Saturday, May 9th, the Seacoast Stompers move to ACT IV, (formerly Acton Jazz Café) now at Jameson’s Restaurant, 26 Andover St, Lowell, Massachusetts 01852 still from 2-5pm. Come have a good meal (5 ½ Stars), a drink, and enjoy this great band!! We hope to see you there – bring a friend.
Harold McAleer with trusty video camera
We expect Harold will be taping at Jameson’s restaurant also. We hope they have good lighting!
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!
John Kafalas, Steve Taddeo, Mike Peipman, George Gagnon, Jack Soref, Stan McDonald
Stan McDonald kicked off this evening with a low-register clarinet intro to Meet Me Tonight in Dreamland, introducing the music that embodies a joyful, timeless spirit, with marvelous improvised solos and intricate polyphonic jazz.
Jack Soref took the intro to Sugar on acoustic guitar backed by the rhythm section, followed by Kafalas’s fine trombone solo, with sax and trumpet together playing counterpoint. Jack is the latest member of the band and we welcome him and his Gypsy Jazz guitar. He has a unique talent.
Mike’s trumpet took the lead on Ole Miss with embellishments by Stan’s soprano sax, counter point support from trombone, backed by rhythm section. They are all improvising, yet each horn leaves space for the others; marks of professional musicians. Gerry’s tuba took the first solo into Jelly Roll Morton’s Tijuana, with drum/guitar back up, and the band following with fine solos and polyphonic jazz.
Gerry Gagnon, tuba and trombone player
Mike’s trumpet and Stan’s sax took the intro to Irving Berlin’s When I Leave the World Behind. Stan sang it with Gerry Gagnon softly backing him on tuba.
Gerry can be quite relaxed, or highly flamboyant on that monstrous instrument! He is a fine trombone player, but his tuba is so explicit, it just flows.
We had the pleasure of special guests here tonight, Henry & Jane Fischer from Orleans in Cape Cod.
Henry and Jane Fischer of Cape Cod with Stan McDonald
Jane and Henry feature early jazz and pop music on Dixieland Jazz, etc. every 1st, 3rd and 5th Sunday of the month from 9am to noon on www.womr.org, Their emphasis is on melody and traditional harmonies, whether played by original artists such as Louis Armstrong and Django Reinhardt or The New Black Eagle Jazz Band or Vince Giordano. They play older popular hits, boogie-woogie, ragtime and swing; music from the heart and soul of New Orleans to the inventive West Coast masters Gerry Mulligan and Paul Desmond.
They enjoyed meeting and having conversations with the musicians. Join Henry and Jane on www.womr.org for a fun filled three hours’ Jazz Brunch on Sunday mornings — you’ll have a hard time sitting still.
The Blue Horizon continued with Memphis Blues, Steve using wire brushes on top hat and choke cymbal. Great front line, backed by guitar, with drum and tuba playing closely in sync.
Stan McDonald, leader of the Blue Horizon Jazz Band
Stan took first chorus on soprano sax for Rose of The Rio Grand, with tuba playing every 4/4 beat. Extraordinary!
Jack Soref thrilled the crowd with his mastery on Old Fashioned Love, followed by fantastic trumpet and trombone solos with Gagnon’s tuba carrying dialogue/counterpoint, and Steve tapping upside down on bass drum.
Steve started Lotus Blossom with a four bar rhythm intro, followed by intricate ensemble by the band, and Stan taking the vocal. He closed it with a sultry cadenza on soprano sax.
John Kafalas swings on trombone
Lover Come Back to Me emphasized Kefala’s supple fingers on trombone. He was backed by Taddeo using splash cymbal for emphasis.
Gypsy Jazz guitarist Jack Soref plays all genres of Jazz
Jack was featured on I Can’t Give You Anything But Love displaying his fantastic energy, chromatic ornamentation. Finally, in a Trio with only drum and tuba, he let loose in a lush arrangement of Django Rhinehart’s Minor Swing. (Jack lived in Paris for half a year and had the honor of jamming with the old masters like Boulou Ferré and Romanian violin maestro Florin Niculescu.)
Mike Peipman, from Australia
Mike Peipman was featured on Dardanella, playing hot trumpet with passionate intensity. We are so lucky to have him here! (Thank you, Australia!) He’s been recruited by many local bands.
Stan McDonald took the first 32 bars with guitar back-up on Bechet’s Si Tu Vois Ma Mere with the band playing mellifluously behind him.
Steve Taddeo on his antique 1939 Slingerland drum set
Taddeo’s drum beats kicked off Swing That Music, pushing the band into their free-wheeling jazz, flourishing and intensifying into a hot barn burner!
Steve exuded energy all evening, while not setting the dynamic level too loud. He was great!
That should have concluded the evening, but there was still time left.
They finished softly with What Is This Thing Called Love, dazzling trombone solo, lyrical and seemingly effortless, like the Teagarden gate, with drum cross sticking. It was a serene ending to another evening of jazz at Primavera Ristorante.
The Blue Horizon Jazz Band will be here with more energetic, timeless Traditional Jazz on May 7th. Hope to see you here??? Bring some friends!
Steve Straus clarinet/soprano sax, Neil Flewelling cornet, Frank Bachelor trombone, Jimmy Mazzy banjo, Phil Hower piano, Pierre Lemieux tuba, Richard Malcolm drums
The Riverboat Stompers are a seven-piece ensemble specializing in Traditional and Dixieland Jazz of the 20’s to 40’s. They bring an air of authenticity, and you can easily tell this is the music they cherish and have played for many years. Jimmy Mazzy sat in on banjo and vocals, free to sing many of his unique vocals.
The others all came from a distance, driving through a downpour for their first performance at Primavera Ristorante. We haven’t seen them since July at the Sherborn Inn; they were well received.
With tight ensemble they began Dark Town Strutter’s Ball, Honeysuckle Rose; heartfelt solos. Ain’t She Sweet, Pierre’s tuba was bouncing off the back wall; Rich Malcolm stood up from the drums, just tapping two sticks together!
Jimmy Mazzy
Jimmy’s soul-warming vocals are encouraged; he really gets his head around the lyrics. Lulu’s Back in Town, All of Me. Phil’s piano offered just the right chords behind him, as well as all the soloists.
Steve Straus on soprano sax
Lazy River started nice and slow, Frank’s trombone playing with passion. Then pushed by Steve’s soprano sax, the band surged upbeat.
Neil Fleweling
A new horn in the band, Neil Flewelling has admirable technique with solos that move lightly from phrase to phrase. Neil has been playing professionally for over 50 years and teaching music for over 40 years in the Haverhill school systems. He fits right in with this band.
They played serious Dixieland Jazz, no shtick. Steve did ask the audience to “name this tune.” Hint: A Traditional Jazz barn-burner, based on a Sousa March. Nobody remembered Fidgety Feet. (We’re all getting old!) Straus on clarinet, hot cornet and tuba duet.
Pierre Lemieux
South, fine tuba. Generally the tuba plays almost exactly the same bass lines. Pierre Lemieux’s tuba plays some melody and counterpoint. He is heard all over the North Shore, leads his own group “The Mill City Jazz Band” and is a regular in “Jim Kilroy’s Jambalaya Jazz Band” and “The Jailhouse Seven”.
I Can’t Give You Anything But Love, Jim vocal, sophisticated exchange between cornet and sweet soprano sax. Tuba solo was backed by Rich Malcolm, standing, just clapping his hands for beat. The drummer is the heartbeat of Traditional Jazz. Rich may teach at Berklee, but he’s a knowledgeable Dixieland Jazz drummer and keeps a sensitive beat using anything at his disposal. Baby Face was wild, another Jimmy vocal, with Malcolm backing him by tapping on bell and rim of the bass drum.
Another New Orleans Chestnut, Bourbon St. Parade –“ Let’s fly down or drive down, to New Orleans.” Not a bad idea. They’re looking for volunteers for the upcoming French Quarter Festival on the 9th.
A 1922 original, Limehouse Blues, was recorded in 1922 by Red Nichols and his Five Pennies. Fancy drum solo, Rich twirling/spinning sticks in his hands, with the band playing behind him in low stop time. My Gal Sal, soft clarinet opener, with tuba softly mirroring his notes.
Phil’s piano took the intro to a lively Putting on the Ritz. Phil Hower’s heroes are the great stride pianists of the 1920’s and ’30’s, and he does his utmost to emulate their technique and style. His strongly rhythmic left hand has enabled Phil to be continuously on the roster of trad jazz bands.
Exactly Like You, In My Honey’s Loving Arms, lyrical, hugging the melody, Jim singing.
Steve asked if we would like to hear a Gershwin tune? Why not? Piano took the intro to Lady Be Good, Neil’s cornet sneaked in a bit of Stumbling. (They can make Trad Jazz out of any melody.) The audience was paying attention, feeding off the band’s energy.
Front Line
They closed with a zesty delivery of Kid Ory’s 1926 Muscat Ramble. It was excellent Dixieland Jazz from beginning to end. We hope to hear them again, with better weather. They do have a CD for purchase – check out their new website created by Frank Batchelor at http://www.riverboatstompers.com/.
An extension of Dave’s small bands, The Dave Whitney fourteen-piece orchestra was formed in 1989. The focus of this band is playing and preserving the classic sounds of the big band era. They play yearly dates at Canobie Lake Park and Southgate at Shrewsbury and are currently doing semi-regular dates at Chianti’s in Beverly.
The orchestra is comfortable playing for the listener and is equally at ease playing for dancers. Besides saluting the big name bands such as Benny Goodman, Duke Ellington, Count Basie, Tommy Dorsey, Glenn Miller, and Harry James, the Whitney Orchestra also plays the music of other fine bands such as Tony Pastor, Vaughn Monroe, Frankie Carle, Scat Davis and Red Nichols.
The Dave Whitney Orchestra has entertained for numerous swing dance parties and has performed at Ryles, the Sherborn Inn, Rockingham Ballroom, Bridgwaye Inn, and bi-monthly at Angelica’s in Middleton, MA. Future projects include a compact disc.
LINEUP
Leader,Trumpet/Cornet and Vocals – Dave Whitney
Vocals and Trumpet- Christine Fawson.
Trumpets- Joe Musumeci, Jeff Hughes, Rich Given.
Trombones- Scott Hills, Mike Strauss, John Kafalas.
Saxes- Art Bakopolus, Bob Drukman, Ted Casher, Blair Bettencourt and Kathleen Howland.
Piano- Steve Dale, Bass-Dave LeBleu, Drums-Reid Jorgensen.
Also appearing occasionally are John Clark,reeds, Dan Gabel,trombone and Roy D’Innocenzo, guitar, a charter member of Dave’s first band in 1971.
Christine Fawson
Dave Whitney
Dave Whitney
Well known in New England for his work with the Yankee Rhythm Kings, White Heat Swing Orchestra, and Chris Powers Orchestra, Dave was influenced by Louis Armstrong, Bix Beiderbecke, Bobby Hackett and many other great trumpeters of the pre-bop era. Dave has been called “Premier early style trumpeter” of this area” and “Dean of swing trumpet”. As a vocalist he was influenced by Armstrong, Prima, Tony Pastor et al, and he is also adept at smoother vocals a la Sinatra, Eddy Howard, and Perry Como.
Christine Fawson
As a vocalist and trumpet player, Christine Fawson has always loved performing classic jazz standards from the American Songbook. She has been a member of Syncopation and The Jazz Diva’s, and the R&B band Beantown. Christine has also been a solo artist at festivals and concerts around the world. She is a member of the brass faculty at Berklee College of Music.
The first Dave Whitney Orchestra CD, “Swingin’ at the WunderBar” will be out shortly.
Contact: (978) 667-5524
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?
Scott Philbrick cornet, Blair Bettencourt clarinet/soprano sax/vocals, Lee Prager trombone, Jimmy Mazzy banjo/vocals, Frank Stadler piano/leader, Al Bernard sousaphone, Bob Reardon drums
Daylight!! Afternoons of Dixieland Jazz are rare! It was a pleasure coming to Bemis Hall in Lincoln Massachusetts, even if it was raining, to hear the return of the Seacoast Stompers after a particularly brutal New England winter! The band had to cancel their February concert because of snow. We’ve missed them.
They began with At The Jazz Band Ball, always a barrel-house opener that sets the tone for an afternoon of uplifting, toe tapping, high energy music. Each of these musicians is a pro in his own right; nurtured and inspired by New Orleans music, they are phenomenal!
Frank has maintained a list of each song, where and when it was played.
They are also independent. Frank always brings in a list of tunes to play, but they generally ignore it. Tonight he brought in a complete listing of tunes that he has meticulously maintained since they first began in 2008. They checked out the list, looking for different styles, trying not to duplicate any melody. Each musician chose a tune.
Unfortunately, reed player Craig Ball fell down the previous day and hurt his right hand. He will be in a cast for some time. Blair Bettencourt graciously filled in for him. We’ve known Blair for over 40 years, so it was a pleasure to hear him again.
Scott Philbrick
Scott Philbrick is the ‘music leader’ of the band, letting them choose songs from the list, bringing them together as a team. His cornet generally establishes the melody, and the band sores with him making powerful music.
Everybody Loves My Baby, we love Lee’s trombone. Lee Prager joined the band in 2010 and has been a plus ever since. His deep, burnished, trombone is reminiscent of Tommy Dorsey. We don’t hear him often enough, he really makes a difference. He was also featured on I’ll Guess I’ll Have To Change My Plans.
Three Little Words, In My Dreams with Jim on sweet vocal. An old Basie tune: Things Ain’t What They Used To Be. The Front line had fun with shading on this one. Blair surprised everyone with a long, smearing gliss up the scale, Scott picked it up with some effort doing a slow gliss from low to high on cornet. It was much easier for Lee with that long, slow, slurring, slide on trombone! Nice touch.
Albie listens carefully and provides momentum for the ensembles, and also quietly backs many of the solos. Blair picked Tin Roof Blues, the musicians inspiring each other on this Trad Jazz chestnut. Lee called Mama’s Gone, Goodbye, giving Albie one of many sousaphone solos.
Elke and granddaughter Stella
Elke and Stella were having a ball dancing
in the back of the room.
There was a romping New Orleans take on Jelly Roll Blues, with ultra tight ensemble and great piano. It’s obvious that Frank loves playing piano; he says all Steinway pianos are individuals, handmade by specialized craftsmen. This one in Bemis Hall was built in 1870. Frank said “Playing it is a joy, even though I have a nine-foot Steinway at home”.
Frank Stadler loves playing piano.
Stealing Apples, Fats Waller’s tune made famous by Benny Goodman, was absolutely WILD, followed by a scorching Avalon. This never gets dull!
Bob Reardon posed for this one.
Bob Reardon listens carefully and gives the band just the bang it needs. He picked Limehouse Blues, with a tempo that was frightening-fast. (Forget the list, Bob always asks for Limehouse.)
Bob hit the drums with everything he had, using blue wire brushes. He knows his stuff – he has played for 27 years at the Kowloon Restaurant in Saugus.
Blair Bettencourt on bent soprano sax
Blair Bettencourt plays exciting clarinet. He has a particularly soft way of playing eloquent bent soprano sax. He also sang a couple of songs for us in a smooth, powerful voice.
Jimmy Enright and I were dancing to his clarinet at Bob Connors Yankee Rhythm Kings’ first performance in New England Life Hall in 1975.
Jimmy is extraordinary; he had just arrived from Florida this morning where he performed with the Williams Reunion Jazz Band.
Jimmy Mazzy
How Come You Do Me Like You Do? Sugar, In his own distinctive style, he pleads, cajoles, scats, sweet talks. He picked I Want a Little Girl, backed by Blair playing soft soprano sax, with Scott and Lee on muted cornet and trombone. Nice.
They closed with an upbeat Mandy, and sent us home with sunshine inside, if not outside. You can catch them LIVE at Bemis Hall every month. The Seacoast Stompers will return on April 11th, same time, same station, same fantastic group of musicians. Hope to see you there!
Craig Ball and his sky-writing stratospheric clarinet will be missed by his throng of fans and the many bands he plays in. We wish him a speedy recovery!!
Tony Pringle cornet, Billy Novick clarinet/alto sax, Stan Vincent trombone, Herb Gardner keyboard, Peter Bullis banjo/manager, John Turner string bass, Bill Reynolds drums, special guest Mark Endresen guitar
This was the first time the New Black Eagle Jazz Band has appeared at the new Jazz venue, Primavera Ristorante, and also the first time there’s been a full house – probably around 50 people. Pimavera is very happy with having Jazz here, and it will continue indefinitely.
The Black Eagles are a popular Traditional Jazz Band now in their 43rd year. Fans came from as far as Albany NY and Fairbanks, Alaska! No doubt, abundant sunshine and clear roads were motivating.
The band began with something we are all feeling, When I Grow Too Old To Dream. Their authentic Trad Jazz was exhilarating. Very few bands today maintain that special beat, and the Eagles elevate it to a real Art, in fact, the only Art that originated in America.
Lake Ponchartrain Blues – Tony’s clipped cornet is the sound that immediately identifies this band. My Memphis Baby, Billy on alto sax, Stan Vincent playing Big Jim Robinson tailgate trombone, on a tune by Narvin Kimball. Kimball was a 1920’s New Orleans banjo player who dazzled audiences with his left-handed single-string technique.
Herb Gardner
Herb Gardner took a solo and vocal on Crazy ‘Bout My Baby. Herb has been playing keyboard at Primavera for many different bands. He normally plays trombone.
(Bob Pilsbury, missed by his many fans, sends greetings from his home in Sudbury and would certainly like to hear from friends and fans. Address: Bob Pilsbury, 11 Barton St. Sudbury MA 01776.)
Bouncing Around is a 1920’s tune that was recorded by Armand J. Piron. Willie ‘the Lion’ Smith and his Cubs recorded The Old Stamping Grounds. The Black Eagles continued with many tunes played by these marvelous musicians. There aren’t many bands that can do them justice! Sam Morgan’s Bogalusa Strut. Louis Russell’s Saratoga Shout.
Rhythm Section, Bill Reynolds drums, Peter Bulllis banjo, John Turner bass
The rhythm section is laid back on ballads, but on a hot tune…look out!
Peter Bullis, still wearing his red sox, has been playing that Trad Beat for over 50 years.
Stan Vincen’ts nephew, Mark Endresen, a fine Calypso guitarist, sat in for Pete Bullis on Tomorrow Night, and a spiritual, In The Sweet Bye and Bye. They let Mark go on guitar – marvelous! Mark founded and is featured vocalist of Calypso Hurricane, an exciting, high spirited and internationally known group playing music of the Caribbean Islands. See http://calypsohurricane.com/ .
Joseph Tremitiere was definitely enjoying the music. He was here with his family, celebrating his 100th birthday.
Joseph Tremitiere enjoying himself at 100! He’s sharp as a tack.
Billy Novick was featured on alto sax with Mark Endresen backing, and dedicated the next tune to Joseph: A Hundred Years From Today.
Mark Endresen feels the music as he backs Billy Novick
Peter returned for a number played in the 1920’s by trumpeter Henry ‘Red’ Allen with The Luis Russell Band, Roamin’; Tony’s moaning, muted cornet just went right through you!
Bob Kaelin drove all the way from Albany NY – said he was having withdrawal symptoms since he last saw the band in October. His request was Panama. (Billy Novick had just returned from there.) Bill Reynolds added a monster drum solo, including the drum roll he performs so eloquently. With camaraderie and classic musicianship, this band gives you music that you won’t hear anywhere else!
They closed with an old favorite, Brahms Lullaby, with Tony introducing the musicians who make this band renowned.
They liked the new Primavera venue, and will return here on May 28th.
You can also hear them at Mechanics Hall in Worcester on April 8, Regattabar in Cambridge on April 17th, and Amazing Things Arts Center in Framingham on April 24th. Check their web site at www.blackeagles.com.
