Paul Monat – cornet/leader, Robin Verdier – piano, Eric Anderson-trombone, Frank Laidlaw-clarinet/sax, Steve Taddeo-drum, Genevieve Rose -string bass. “Around the 50’s/60’s, bop and post big band groups started to lose their luster with the up and coming generation where Elvis, Buddy Holly and the Beatles were garnering greater appeal. To attempt to counter, there was a concerted effort to perpetuate small combo, early jazz/swing in New York in the 50’s and 60’s. The original “Condon Mob” marketed by a long time guitarist, Eddie Condon with the likes of Wild Bill Davison; one of Louis Armstrong’s favorite cornetists, George Whettling; a Krupa style drummer, Gene Schroeder, piano, Pee Wee Russell, clarinet and varying trombone and bass players sympathetic with the idiom. The “New Condon Mob” is our next century attempt to keep this particular style going forward with those who haven’t heard it yet." 

This is what Paul Monat promised the "New Condon Mob" would deliver at the Sherborn Inn - and they fulfilled that promise! Freewheeling Chicago Jazz, except without Condon - the guitar player couldn't make it. (Condon didn't play much after he became a band leader anyway.)

We first met Paul in the early 70's, when he was playing west coast style cornet along with Dave Whitney's trumpet in Bob Connors' Yankee Rhythm Kings. Then Paul met and befriended Wild Bill and Anne Davison. Paul picked up the Davison style with a passion, right down to the chewing gum.  Wild Bill worked with Eddie Condon from the mid-1940s through to the 1960s, hence the "New Condon Mob".

Frank Laidlaw was the original cornet player with the NY Red Onions Jazz Band, and now plays splendid clarinet/soprano sax. He's been with Hubble, Krupa, Wilbur, Davern, and Evan Christopher. Frank and Paul go back 38 years, which is why he drove for two hours to play here. Eric Anderson, trombone/vocals, drove from Maine. Generally he's hiding behind the sound of a marvelous tuba, but Eddie Condon never used a tuba.

But the star this evening was the beautiful, energetic young woman on the monstrous string bass; she more than made up for "Condon's" absence.  Genevieve Rose is one of New England's finest acoustic bassists, at one time backing Benny Waters.  She also is ensemble director at Smith College (Northampton, MA), Music Teacher for Orchard Hill School (South Windsor CT), and has has been part of UMass Amherst's Summer Music Program since 1997.  One busy lady!

This Joyful performance took us back to Greenwich Village, 1950's, feeling/hearing the spirit of the original Condon Gang. Paul's skillful, hard driving cornet gave impetus to the rest of the band; Andy's intense tailgate trombone on Keeping Out of Mischief Now;  Frank 's enormous voice on soprano sax on High Society; Genevive's distinctive solo on There'll Be Some Changes Made - she lifted the massive string bass and tapped it on the floor for emphasis.  Robin's impressive  piano style kept the band in line; along with Steve's drumming, sometimes rim-tapping like Big Sid "Rim Shots" Catlett.  Love it!

For the Mouldy Figgs in the audience, they included a couple of fine Traditional Jazz tunes with Tishumingo (fabulous string bass!) and Panama Rag. Then George Darrah took over the drums.

Andy sang most of the vocals, exploring different paths, such as falsetto on After You've Gone. We were holding our breath, but he made it!  (That's the first time we've ever heard him sing.) Paul had the raucous vocal on Save It Pretty Mama.

As the end of the evening approached, Paul and Frank had a Red-Hot cornet/soprano sax duet on China Town.  It all ended with blistering cornet/drum on Condon's Mandy, Make Up Your Mind. WOW!

 Wild Paul is back in town!