Jeff Hughes cornet, Dan Weiner guitar, Deb Larkin vocals, Ross Petot piano, Pete Tillotson acoustic string bass, Dave Didriksen drums. November 25, 2014
Two days before Thanksgiving, heavy snow predicted, horrific traffic on the roads, nevertheless a good crowd braved the elements and made it to the Sherborn Inn to hear Swing Times Five. Inside it was warm and cozy, with two blazing fireplaces and one Hot Swing Band, playing popular tunes, and other great tunes that we seldom hear.
They began with a light easy bounce on Topsy, Jeff playing dark, rich sounds on a 1990 Schilke cornet.
Jeff’s teammate on the front line was guitarist Dan Weiner, swinging on a flat-top electric/acoustic guitar, custom made for him by the late guitar hero Jimmy D’Aquisto. Ross Petot collaberated on piano – sometimes supplementing the front line, always listening, filling in spaces, supporting solos, conjuring notes.
The rhythm section backed them admirably, with Pete Tillotson on melodic string bass and Dave Didriksen’s accommodating drumming.
The spark plug that ignites the band is one of our very favorite vocalists, Debby Larkin.
Debby started with Billie Holidays’ version of Wishing On a Moon, Jelly Roll Morton’s This Joint is Jumpin’ – and this joint was jumpin’, with Dave’s drums driving the band.
Sent For You Yesterday, But Here You Com Today. Billie Holiday’s What A Little Moonlight Can Do;
Ross took off with left hand playing stride and right hand playing intricate melodies. te Tillotson makes fine melody and swings on string bass on When Dreams Come True. Don’t Be That Way was lively. Lullaby In Rhythm. Crazy Rhythm. Hughes’ sizzling cornet blew us away on Stomping at the Savoy.
Berklee Professor Jeff Stout arrived to support his lovely wife on powerful trumpet with You Turned The Tables on Me. She dedicated Just The Beginning of Love to recently deceased popular pianist, Ray Santisi, who taught her that song.
Cottontail was afire with the two Jeffs in absolute rapture playing this music. The fans were riveted in their seats.
Irving Berlin wrote a thousand tunes. We don’t hear this one very often: Late, Late Show. They closed with a very special wish – We’ll Be Together Again.
The Sherborn Inn has been sold. We have two more bands in December, Stan McDonald’s Blue Horizon Jazz Band on December 16th, and a Free-for-all JAZZboree on December 23rd – with many of the musicians who have been playing here for the last 19 years. FREE for ALL!
Come January, our Jazz will move to Thursdays, 7-9:30pm at Primavera Ristorante, 20 Pleasant St, Millis, MA 02054 (508) 376-2026. Fine Italian restaurant. Check it out. www.primav.com/ We hope you will continue supporting great jazz and join us there.
Swing Times Five has its first CD out – Raincheck – It can be ordered by getting in touch with the new band manager, Dave Didriksen. firstname.lastname@example.org
The Blue Horizon Jazz Band took a romp through the music from the 20’s to the 50’s, playing happy, foot stomping Traditional Jazz. Jeff Stout was relaxed (he must have had a good day teaching at Berklee.) McDonald plays Traditional Jazz for the sheer spirit of it; he lives for this music. They were feeling each other out, trumpet playing lead, soprano sax counterpoint. Gerry Gagnon’s trombone complementing the front line. They were dynamic!
It all came together, starting with I Got Rhythm. They got rhythm! Save It Pretty Mama Stan vocal, and soprano sax with piano comping. Stu Gunn’s string bass is solid as a metronome. He stays sharp playing classical bass with the Cape Cod Symphony,
They haven’t played the catchy tune by Sidney Bechet, Lastik, in a long time. Great tune; trumpet and sax taking lead, muted trombone playing counterpoint. Gerry Gagnon pulls a multitude of sounds out of that trombone with different mutes.
Jelly Roll Morton’s My Gal Sal has had many versions over the years. Piano intro with Stan on clarinet, they made it a fine instrumental, a bit slower than usual.
Bechet’s Tijuana, a Latin tune named after a bar in Kansas City; then to Irving Berlin with All By Myself. Roamin’ , Ross played a western loping on the piano.
Steve Taddeo maintained the feel of Trad Jazz with clean controlled drumming, He let loose on his drum solo on Running Wild.
Ross set a soft tempo for Sugar, trombone providing balance for sax and trumpet. Jeff’s silky trumpet solo was backed by subtle rhythm section. Beautiful.
Lyrics can be an integral part of melody. Stan contemplated, When I Leave The World Behind.
New Orleans, Jeff Stout on powerful trumpet. They changed the mood with Sidney Bechet’s Marchand de Poisson, warm melodic lines. Wild Cat Blues marvelous, intricate ensemble.
Gerry Gagnon reaches up and makes beautiful music on Sidney Bechet’s Spreading Joy. Astounding!
Si Tu Vois Ma Mere, another Bechet tune. Matt Chavin of ’20’s Jazz’, says “Stan McDonald is probably the closest living representative of the style of Sidney Bechet today.”
I Remember When sax and trumpet in sync, with piano playing riffs. Stan took the ending with a consummate high note!
With time growing short, the ensemble closed with a resounding lively finale of When I Grow Too Old To Dream.
The Blue Horizon Jazz Band will return with another romp through the music from the 20’s to the 50’s on December 16th. We don’t know yet what the new ownership in January will mean. But….
Dan Gabel’s High Society Jazz Band will be here December 2nd, and we’ll close the year on Tuesday December 23rd with a FREE-FOR-ALL JAZZboree with many familiar fine musicians! No admission fee, and cake for all!! Join us???
November 11, 2014 with Robin Verdier leader/piano, Bob MacInnis cornet, John Clark alto sax, Craig Ball clarinet, Al Bernard tuba, Bill Reynolds drums
Robin Verdier’s Monte Carlo Jazz Ensemble brought us back to the fast paced, energetic music and dances of the optimistic 1920’s. New styles of music and dances evolved. They were an escape from the horror of war, and an opportunity to release pent up emotions created by the restricted lifestyles forced on the public by the war effort. Ragtime which had been popular during and after the war was suited to the new music tempos and so it flourished.
Robin Verdier, our own erudite Rag Time pianist, is well versed in this music. The musicians perform his arrangements in sensitive, sophisticated Ensemble.
They Called It Dixieland began this momentous evening. Mine All Mine, a tune composed by Fats Waller that was not associated with Fats because Fletcher Henderson recorded it first in 1927. Excellent solos.
1925 Hotsy Totsy Now with Bob’s fine cornet enriched by piano’s soft notes, tuba in the background.
Then we were privileged to hear the World’s first performance of Robin’s arrangement of Irving Berlin’s 1927 Shaking the Blues. Marvelous!
Moving ahead (for them) to 1938 with Fats Waller’s I’ll Dance At Your Wedding with fabulous cornet, smooth alto sax, piano trickling between solos.
Rags were popular back in 1902, when Scott Joplin wrote Elite Syncopation. At that time Rags were played on the streets of New Orleans. Our own Scott Joplin, Robin Verdier, handles the difficult syncopated melodic line with ease. He played to a large, appreciative crowd!
A rarity, a collaboration between Cook’s Blame It On The Blues with Sidney Bechet’s Quincy Street Stomp, showed more fabulous ensemble, and clarinet skillfully trading 4’s with alto sax.
1924 Alabamy Bound, adept in this art of drumming, Bill Reynolds was tapping on the wood block. Bill’s father, recently deceased Ed Reynolds, had a big influence on Robin Verdier and was responsible for at least five of the tunes this evening.
Bill Reynolds’ drums and Al Bernard’s tuba kept the rhythm burning. Albie’s tuba sometimes becomes an extension of the Ensemble.
Dave’s drum introduced a 50’s jazz tune, Nullabor, probably named after a desert in Australia – maybe an aborigine song, with heavy drum accents. Nice clarinet by Craig, then outstanding ensemble, closing with more thunderous drums.
1927 Anabelle Lee was one of Ed Reynolds’ tunes. Ensemble played in stop time in Sonny Clay’s 1931 Cho-King, featuring Bill’s choke cymbals.
My Baby Just Cares For Me 1930, That’s Where You’re Wrong 1929. Everybody’s Doing The Charleston 1925. Tiny Parham’s Now That I Found You 1930. Con Conrad’s 1921 Moonlight included a nice tuba solo with piano backing.
I Wish’t I Was In Peoria, Walter Donaldson’s I’ve Had My Moments. In Our Cottage of Love, Down Where The Sun Goes Down.
Mule Face Blues, nimble fingers flew across piano, Reynolds applying fine choke cymbal and drumming, the Front Line in distinguished ensemble that sets this group apart.
They closed with When Lindy Comes Marching Home, written by George M. Cohan for pilot Charles Lindburgh’s successful solo flight across the ocean. The ensemble interpolated other Cohen tunes – we recognized Yankee Doodle Dandy.
This was a momentous moment for many reasons: John Clark had just returned from his Wolverine Jazz Band’s great reception at the Arizona Classic Jazz Festival. This was Bob MacInnis’s last performance for this year in New England – he left for Florida the next day. We’ll miss him until Spring. And the future of Jazz at the Sherborn Inn is uncertain, as it is under new ownership in January 2015. Just in case, we are searching for new venues.
We certainly hope to hear the Monte Carlo Jazz Ensemble again, either here at the Sherborn Inn or at a new venue. Stay tuned.
Jeff Hughes trumpet, John Clark reeds, Tom Boates trombone, Ross Petot piano, Jimmy Mazzy banjo/vocals, Rick MacWilliams tuba, Dave Didriksen drums
The Wolves were in rare form, back from a six-hour recording the previous day on their latest CD, #13. They’re on their way to the Arizona Jazz Classic Festival this weekend. They practiced on us, playing early New Orleans music with fiery enthusiasm – How LUCKY are WE???? They were asked to play King Oliver tunes at the Arizona Jazz Classic Festival, and we heard many of them, plus other tunes from the 20’s and 30’s, with original arrangements by John Clark.
They started Hot and Heavy with Michigander Blues, and a joyous New Orleans Stomp. A tune Bix Beiderbecke did with Frankie Trumbauer, There’ll Come a Time.
Tom Boates was featured on Snake Rag, a King Oliver tune that is always a big request. We only get to hear Tom once a month – the lucky folks at Bill’s Seafood in Westbrook Connecticut hear him every Friday with the Bill’s Seafood All-Stars. Boates sang the vocal on St. James Infirmary Blues, alternating choruses with each of the musicians. Nice touch. He closed with a growling trombone and drawn-out flourish.
Jimmy had many vocals (We never get enough of them!) All from memory. Just Pretending, which is seldom played by any other band. The Halfway House Orchestra did some self-loathing tunes, I Hate Myself for Loving You and I Hate Myself For Being So Mean To You. John took out the baritone for that one.
Another King Oliver tune, Olga, nice dance tune, then a romping New Orleans tune Buddy’s Habit. Another K.O. tune that Louis played with his Hot Five, Sunset Café Stomp, got Kathleen Howland up and dancing with her Mom, Rita Brochu. It was Kathleen’s birthday. Dr. Howland is a teacher of Music Therapy, both in private practice and at several schools, and plays one heck of a baritone sax! Special request for Kathleen, one of Jimmy’s favorite depression songs, Dip Your Brush in the Sunshine had everybody up dancing.
Betty Weaver requested a song from John Clark, and he obliged with The Oceana Roll, a popular RagTime tune written in 1911 about the U.S. Navy and the USS Alabama:
“Billy Mccoy was a musical boy
On the Cruiser Alabama he was there at the piana
Like a fish down in the sea, he would rattle off some harmony.” Never gets dull!!
Jimmy was asked to lead on a K.O. tune, I’m Lonesome Sweetheart, powerful trombone pushing the band. Someday Sweetheart, another Jimmy vocal, gave Rick MacWilliams a chance to shine on tuba. We haven’t heard Chimes Blues in ten years, it was fabulous, with Ross Petot playing the chimes on piano.
Excellent drummer Dave Didriksen completes the rhythm section, keeping time with rim tapping on snare drum and cymbals.
Their final tune, a sizzling Panama, was recorded by Kid Ory’s Creole Jazz Band. The Sherborn Inn furnished some Pyrotechnics:
We’ve been so fortunate to listen to this dynamic Wolverine Jazz Band from its inception, They celebrate their 19th anniversary next month.
We don’t mind sharing them with the folks in Arizona! Enjoy!
Jeff Hughes trumpet, Craig Ball clarinet and tenor sax, John Clark clarinet, alto and baritone sax, Ross Petot piano, Jimmy Mazzy banjo/vocals, Al Bernard tuba, Steve Taddeo drums.
The Jazz Jesters were just back from a studio recording of their first CD. They presented a nostalgic evening of authentic old tunes by hundreds of revered players newly arranged by John Clark.
When Dr. John Clark enrolled at Connecticut College, he discovered their vast Traditional Jazz library. He immersed himself in it, absorbing every record and tape. With that knowledge, he was able to create authentic arrangements of the bands of the 1920’s and 30’s – tonight was spectacular!
They always begin with their theme song, This is My Lucky Day, with Craig on tenor sax. Deep Henderson, Fred Rose 1920’s. It wasn’t meant for Fletcher – it was about Deep Henderson Creek. Two saxes give it a special fling. In Zulu Wail, the two featured a fascinating exchange between two clarinets.
Jones Law Blues (1929) was recorded by Bennie Moten’s Kansas City Orchestra. Nice blues, great solo by Jimmy on banjo, and muted trumpet by Jeff Hughes. This was the first time they used this tune.
Great trumpet solo. The Yamaha Tuneable Bell trumpet was custom made for Jeff; it has a wide bell that gives it a warm cornet sound.
Jimmy was featured in a 1927 Walter Donaldson, Changes. noteworthy Tuba solo by Albie, who is sometimes pushing, sometimes just providing a steady beat. Jimmy ‘owns’ Cabin In The Sky. My Blackbirds are Bluebirds Now. One tune was recorded by just about everybody through the ages, That’s My Desire.
Jeff and John like to test new tunes on us, like Lew Pollack’s 1920’s Dianne. Sweet dance tune, had John & Gisela Bruneccini dancing.
They played King Porter Stomp, Blue River, Cabin In The Rain, Copenhagen, sweet romatic Moon Song, transporting us back to the Golden Era of Jazz.
Golden Gate was HOT, with great solos and celestially rocking alto sax by Clark. Hughes was singing.
Ross Petot is an exponent of George Gershwin’s and was featured on S’Wonderful. His piano technicque is always Wonderful!
The early 30’s were Depression Years and featured many love songs. Bunny Berigan recorded I Can’t Get Started. They let Steve Taddeo loose on drums. Steve used a newer 70’s drum, with 1930’s Buddy Schutz cymbals, cross sticking with press rolls like Gene Krupa used with the Mel Hallett band.
Sweet Man was done by the Paramount Jazz Band. Jim and Jeff were proud to be members of Ray Smith’s Band. Tight number, with Craig’s clarinet, John’s alto sax and Jeff’s powerful trumpet on the front line.
They ended with an interesting 1920’s tune that interpolated another tune. That’s how they would introduce new tunes in the 20’s. The Jazz Jesters did their own, with a sweet Broadway Melody, interweaving Breakaway, with a surprise ¾ time tempo (waltz) and vocal by Jeff.
Jeff Hughes is a skillful band leader, and attracts the finest musicians. We’ll be hearing more of the great tunes played in the Jazz Decades when he collaborates with John Clark. We’ll let you know when the Jazz Jesters CD becomes available.
The Sherborn Inn has been sold. We may or may not have music here next year. We’re looking for a new venue to keep these fine musicians playing our kind of music, just in case. Any suggestions?
Bo Winiker trumpet, Ted Casher reeds, Herb Gardner trombone/vocal, Bob Winter piano, Jimmy Mazzy banjo/vocals, Eli Newberger tuba, Carolyn Newberger washboard, Jeff Guthery drums,
This band touches my heart and spirit. I arrived tired and stressed, but as soon as the music began it all faded away! They kicked it off with Kid Ory’s Muscrat Ramble that had the walls vibrating, then moved to Gershwin’s The Man I Love with a duet of Bo Winiker’s pure crystal-clear trumpet and Bob Winter’s burning piano.
Ted evoked Eastern European expertise with Russian/Jewish music, Bei Mir Bist Du Schön (Secunda 1938) with a long joyful Klezmer verse on clarinet, and Jimmy singing the chorus.
Jimmy was featured, almost tearfully, on Irving Berlin’s How About Me? “It’s over, all over”. But not our music!
Caroline Newberger joined them on washboard for a tune they’ve never played here before, Washington and Lee Swing. It was sensational! Bob Winter joined Carolyn in a duet, with the front line playing stop time in the background – perfect!
Chinatown is always attention-grabbing, especially with Jimmy’s scatting. Winter’s piano solo Till We Meet Again was #1 song in 1915-16. A love ballad, he started semi-classical then moved into swing, riveting concerto, finishing in sweet ¾ time.
Bo Winiker managed it well with Louis Armstrong’s late 20’s Cornet Chop Suey, arranged by Herb Gardner.
At intermission, Frank John, a new student that Eli is now mentoring, picked up Eli’s tuba and began to play around with the keys.
Frank is a promising first year student of Mike Roylance’s at New England Conservatory. He hit a fortissimo pedal G that Eli has never played. That’s one note below the bottom of the piano keyboard! We’ll be hearing more from him!
Herb sang and played the Cole Porter tune about the way young boys cavorted in the 1920’s, Let’s Misbehave. How did he know?
Ted Casher is his own man – plays his version of Body & Soul, with hints of Coleman Hawkins. It get’s to me every time!
My attempt at video – unfortunately the camera was wrong side up; fix resulted in black edges.
We had to leave early – preparing for Jeff & Joel’s House Party in Connecticut the next day. It was very difficult pulling away. We hung in for Bo’s essence of Louis in his spectacular Potato Head Blues, and Bob Winter’s unique interpretation of Oh By Jingo. I was really sorry to miss the rest.
This was the band’s last performance here at the Sherborn Inn for this year, as the Thursday night Jazz has been discontinued due to too many holiday parties.
Hopefully we’ll all be back next year! I really need that invigorating Jazz Fix!
Videos by Harold McAleer and Verne Welsh.
September 23, 2014 with Jeff Hughes trumpet, John Clark clarinet/alto sax, Dan Gabel trombone, Ross Petot piano, Bill Doyle rhythm guitar, Justin Meyer Bass, Steve Taddeo drums/leader, Caroline Griep vocals, and very special guest John “Bucky” Pizzarelli, 7-string guitar.
We’ve had many great Jazz Tuesdays at the Sherborn Inn over the last 19 years, but this topped them all! Bucky Pizzarelli inspired the men to play better than ever with his amazing 7-string guitar.
Bucky is a dynamic rhythm player as well as a great soloist; loves to play. He says “Every gig is a brand new day.” They opened with Don’t Be That Way.
The Swing Senders’ vocalist, Caroline Griep, stepped up with her own excellent interpretation of Blue Skies. She was also featured on I Can’t Get Started, Don’t Get Around Much Anymore,
Caroline tells Bucky S’ Wonderful:
Steve let his Krupa loose with Found a New Baby, going into his drumming walk-around, tapping anything within reach – tables, glasses, bottles on the wall at the bar. It concluded with Taddeo drumming on Justin’s bass, like Ray Bauduc and Bob Haggart on Big Noise From Winetka. Justin knew just what strings to pick – sounded fantastic!
Taddeo took the snare drum by the piano for a quartet with Ross, John Clark, and Jeff Hughes and a barn burning Dardanella.
The two guitars played it nice and easy on a duet of Darn That Dream.
Taddeo gave many of the musicians their own feature. Bucky played with the Vaughn Monroe Orchestra from 1944-1954, before he went into the service. Dan Gabel has been writing a biography of Monroe, and was featured on trombone with his theme song, Racing With The Moon. Bucky said he only played it about 4000-5000 times!
Justin Meyer was featured on Just You, Just Me, with George Darrah on the Slingerland drums. Bucky shines, playong soft and low on his solo of In a Mellow Tone and Send In The Clowns. His 7-string guitar is a joy to hear!
Jeff Hughes was featured with his 1946 Super Olds Trumpet on Prelude to a Kiss, marvelous trumpet, with piano backup, ending in a great extended flourish.
For twenty five years Bucky played with the Benny Goodman’s Big Band and small groups. They did Sing Sing Sing from Goodman’s heyday. John Clark didn’t want to play Goodman, but Bucky coaxed him into it, with help from the rest of the band.
Steve let his Krupa loose and Bucky joined him, bringing this fabulous evening to a close with a standing ovation.
Bucky said these musicians were top notch, and Steve was a great drummer. He told Steve he’d be glad to return. He’ll also be at Sculler’s Jazz Club December 12th, 8pm for a Guitar Night with Gene Bertoncini and Ed Laub.
Bucky played a solo a year ago with Richard Rodgers’ 1935 It’s Easy To Remember (But So Hard to Forget) with Ed Laub, Walt Bibinger https://www.youtube.com/watch?v=j1tEEdM6JWM
He’s is a guitar genius, and also has had the expertise to remain a free agent. In a Pizzarelli Biography he talks about 200 one-night stands with Vaughn Monroe, with Skitch Henderson on the Today Show, Benny Goodman, The 7th String, Life and Tales of Bucky Pizzarelli https://www.youtube.com/watch?v=goDqtP4MtqQ
Tunes played this evening;
Don’t Be That Way
Stomping At The Savoy
Prelude to a Kiss
If I Had You
Found a New Baby
I Can’t Get Started With You
Darn That Dream
Just You, Just Me
In a Mellow Tone
Racing With The Moon
Don’t Get Around Much Anymore
Send in The Clowns
Sing, Sing, Sing
This was a special evening with no summer substitutes; all the Blue Horizon ‘regulars’ were back with their powerful brass front line.
They began with All By Myself, Stan taking the first of many vocals. Jeff’s trumpet was crystal clear on Roaming, Ross’s piano picking up riffs. Their repertoire consisted of tunes from the 20’s to the 40’s, strongly based on melody. They have a genuine passion and feel for this music: Tishumingo, Bechet’s Lastic, Roses of Picardie, Gershwin’s Strike Up The Band. Rosetta was hard-charging and wild! Honky Tonk Town had Stu weaving from side to side with the beat.
The front line is bolstered by the deep rich tone of Gerry Gagnon’s trombone.
Stan played a forceful soprano sax solo on Save It Pretty Mama. He played low register clarinet on a rhythmic Wild Man Blues, with every instrument taking spontaneous, off the cuff solos on its many breaks.
I Would Do Most Anything For You, Taddeo maintained a resourceful Traditional Jazz beat on his Swingerland drums all evening with the use of brushes,wood block, bell, choke cymbal and pinging the hi hat stand.
Ross Petot was featured with the rhythm section on You Can’t Take That Away From Me, keeping the music fresh by using his magical left hand as a walking bass line instead of his famous stride piano. Marvelous!
Trumpet and sax were perfectly synchronized on When I Leave The World Behind, undergirded by Steve’s drums and Stu’s pulsating string bass.
The band has had fine substitutes like Paul Monat cornet and John Kafalas trombone over the summer (Gerry moved to impressive tuba). But it was refreshing to have the whole band back for the Fall Season. They sent us home with a gentle, sweet, Rose of San Antone.
The Blue Horizon Jazz Band is in its 19th year at the Sherborn Inn. They’ll all be back, along with our New England Fall Foliage on October 21st. Take a nice ride and join us!
Tony Pringle cornet/leader, Billy Novick clarinet and alto sax, Stan Vincent trombone, Herb Gardner piano, John Turner string bass, Peter Bullis banjo, Pam Pameijer drums
The musicians of the travel-weary New Black Eagle Jazz Band were relieved to be back at their Home Bass, the Sherborn Inn, 33 North Main St. Sherborn MA. One lives in Connecticut, one at Cape Cod, one in Marblehead, others Hudson, Sudbury, Norwood. Just getting together is an event! This summer they drove to up to the Berkshires Jazz Fest, down to Mt. Gretna in Pennsylvania, Music Mountain in Connecticut, back up to Deertrees Theater in Maine, as well as more locally at the Regatta Bar in Boston, and Amazing Things in Framingham.
The NEW Black Eagle Jazz Band began at the Sticky Wicket in October 1971, after founder Tommy Sancton of the original Black Eagle Jazz Band left for Oxford University in England. The NBEJB’s 43rd Anniversary is coming up next month. (see below)
Under the direction of leader Tony Pringle, The Eagles continue to maintain that real spirit of New Orleans Traditional Jazz.
Their original drummer at the Sticky Wicket, Pam Pameijier came up from Connecticut tonight. His reliable and dependable drumming revitalizes the whole band!
Herb Gardner is the new pianist with the Eagles, but definitely not new to the neighborhood. Herb was featured on Nobody’s Sweetheart Now showing a deep respect for the melody in his choice of notes.
Curse of an Aching Heart was followed by one of Tony’s favorites – Pleading The Blues. Papa Dip is an up-tempo tune about Louis Armstrong that was played by the New Orleans Wanderers – this band hasn’t played it in 10 years. Nice Spiritual, Lead Me Savior, Give Me Your Telephone Number. Billy moved to alto sax for Rosetta; Papa Di Da Da,
Billy was featured on a smoking Body & Soul, backed by the supportive rhythm of piano, bass and drum.
Climax Rag was a simmering hot number, not a Rag. It was originally written as a Rag in 1914 by James Scott. Stan Vincent plays it with a low, smouldering trombone.
John Turner fits in well in the rhythm section with his authentic Traditional Jazz acoustic String Bass.
Wild Man Blues was a rousing stomp. They closed with a familiar favorite, a real oldie, Panama, sending us home with more fond memories.
The Band will be traveling back to Cape Cod on Tuesday, September 30th at the Woods Hole Community Hall, 68 Water Street, Woods Hole for JazzFestFalmouth.org.
They’ll return to the Sherborn Inn on October 9th. This will be their last Sherborn Inn gig for this year, so be there!