By David "Chet" Williamson Sneade
The Independent Benevolent Protective Order of the
Quinsigamond Elks #173 is best known as the Black Elks. Back in the late 1960s
and early ‘70s, the first Elks Club was on Summer Street. By the 1980s, the
order set up shop at 200 Chandler Street on the corner of Bellevue Street. Like
its predecessor, the Black Elks held Sunday afternoon jam sessions. The house
band was the Soul-Jazz Qt., featuring trumpeter Barney Price, bassist Bunny
Price, drummer Reggie Walley and pianist Allan Mueller. Qt., was an
abbreviation out of necessity. Sometimes the group was a quartet, other times a
quintet.
A pianist in residence with the Thayer Symphony and Chamber
Orchestras today, Mueller is also an outstanding jazz pianist in the Oscar
Peterson vein. A few years ago he sat down to recall his days at the Elks. The
intent of the conversation was to document the club as part of an oral history
section of the Jazz Worcester Real Book. Unfortunately, the section didn’t make
the cut. Here is our conversation.
Tell me what you remember about the club?
It was the same type of thing we were doing at the
Hottentotte [A former club on Austin Street]. We played a session. It was a
Sunday, like 3 to 7 p.m. The music room was separate from the bar. I remember
that the stage was tiny and not very deep. We had to spread across. If you are
looking at the stage, Reggie was on the left. I was next to him. Then Bunny.
The three of us would be in the back. Then the horns would be out front. Barney
really liked being right out there with the people. There was some kind of
soundboard and occasionally a deejay would crank something up on the break.
Who were some of the guys who sat in?
Bunny Price, Al Mueller, Barney Price, and Reggie Walley |
A lot of guys would come in and you wouldn’t even know their
name. They’d say “Hi, I’m Bill.” There were so many. And of course you have all
these guys lined up on the side. They would be holding their horns waiting to
play. I can remember Bob Simonelli would come in and play. He would get so
frustrated because you’d be playing a tune like, “l’ll Remember April” and
somebody would be up there blowing and he might be three fourths of the way
through the tune and stop playing and walk off.
We’d be in the middle of a tune and this guy would start at
the beginning. You’d go nuts trying to figure out where all these guys were. If
you were playing “How High the Moon” in G, they’d
play in G, but they wouldn’t make any
changes. Simbob would look at me. We just decided to keep the form no matter
what.
Bob Simonelli |
It was loose and relaxed. Reggie would be smoking his pipe
and smiling. Everybody was drinking and having a good time. We’d set up, play
and have a good time. It was fun. I can remember Teddy Blandin coming in. When
I left, one of my students, Jim Heffernan, came in.
Jim Heffernan |
What was the audience
like at the club?
It wasn’t just a black crowd. It was a good mix of white and
black. Everybody was there to hear the old tunes and remember back when there
were clubs where you could go out and hear that stuff. There were very few
places where you could go once the Hottentotte closed. As those places died out
you wound up with discos and deejays. Before you knew it there were not many
venues for musicians to play.
Nobody seemed to bother us. I could never remember any
instance of any kind of a racial thing going on. When I was there or Nat
Simpkins was there it was just a crowd of musicians and a crowd of people that
liked music. There was no, I’m black and you are white. No problems. It was a
natural situation. We played and people appreciated what you did. Nobody would
ever hassle you.
Nat Simpkins |
I taught at Clark [University] during that period and so just
spreading the word that we were doing jazz on Sundays you’d get a lot of kids
coming down sitting-in. I’d have students get up and play a little bit. That’s
the name of the game, how you learn to play. Again, you had to be a little
careful because the union was strict about people sitting-in. They weren’t
supposed to unless that had a union card. They didn’t like the business of
sitting-in anyway. We did it anyway.
Charles Ketter |
[A partial list of other players to have played the jam
include Bruce and Steve Thomas, Bill Vigliotti, Jim Robo, Charles Ketter, Jerry
Pelligrini, Bill Ryan, Tommy Herbert, Sonny Benson and Willie Pye.]
Trumpeter Bill Ryan and saxophonist Joe Pisano |
Did you ever play at the club when it was on Summer Street?
You are talking about the original Elks, which was way over
in the Laurel/Claytonneighborhood. I did a lot of playing over there with
Barney and Reggie. This was in the 1960s. I remember going into the place.
There was a big old upright piano in there. It was really beat, out of tune,
but not ridiculous. The sustain pedal didn’t work. I can remember somebody went
out back and found a broom handle. We were able to saw it off and stick it on
the piano. We did a lot of stuff like that. We’d take the whole front of the
piano off so you could hear it.
Larry Monroe |
It was like a session. One time Larry Monroe was with us. He
was studying at Berklee. I remember we rolled the piano right out of the club
and down the street. Some of the local kids were riding it. We rolled it right
onto a basketball court and we played an outdoor thing there. The kids were
running and jumping all over the place. It was all-acoustic. Bunny played an
old upright bass. There was a saxophone player name Al Pitts. He was great. It
was fun to play blues with guys like that. They played the real stuff.
What it was like
working with Barney? There’s not much is written about him.
Mueller, Price, Bill Myers, Bobby Gould and Monroe |
Mueller, Bunny and Barney |
He was great with the crowd. Right off the top of his head
he always had all kinds of stories, little anecdotes and stuff. The first
concert I did at Clark University, I had Larry Monroe and Barney, Bobby Gould,
Bunny Price and myself. It was when I first started to teach at Clark. We did a
jazz concert. I remember Barney got on the mike and he said, “What town are we
in? Oh, wait a minute this is Worcester.”
This was a typical Barney thing. He
would always keep you laughing. He had a million stories. I think a lot of it
was because he worked at the train station helping people with their luggage.
He had a lot of personality. We did a lot of jobs together and he was an awful
lot of fun to be with. Barney and Howie Jefferson were also a great pair to
work with.
I seemed to recall
him going from Louis Armstrong hits to modern stuff. Was he flexible like that?
He was open to doing anything. I mean, jazz-rock tunes, he’d
get in and play it. Barney was good with the swing and the old time blues. He’d
get in and do his thing, whether we were doing a Cannonball Adderley tune,
“Walk Tall.”
Elwood "Barney" Price |
I had a lot of respect for Barney. He may not have been a
schooled musician but the guy was a real musician and somebody that I
respected. It was for what he was able to do, his entertaining with the people.
It’s certainly something I can’t do. Barney, Howie [Jefferson] and Reggie were
the three guys.
You have to hear these guys back in their prime to really
appreciate them. The problem is some people hear them when they are old and
their chops are starting to go and they say, “What’s the big deal with these
players?”
This article was first published in Jazzsphere on April 16,
2008.
Note: This is a work in progress. Comments, corrections, and
suggestions are always welcome at: walnutharmonicas@gmail.com Also see:
www.worcestersongs.blogspot.com Thank
you.
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