They’re all dads: trombonist/leader Ben O’Shea, pianist David Gleason, saxophonists Brian Patneaude (tenor) and Dave Fisk (tenor and alto), bassist Mike Lawrence; and drummer Andy Hearn.
Their Dadtet band name signifies parenthood more than any oblique reference to Louis “Pops” Armstrong. It serves instead as a convenient, collective marquee label for these established area jazz cats. A prior name, the Ben O’Shea Quintet, confused a woman who came to a gig expecting an Irish St. Patrick’s Day vibe.
However, she stayed for most of that gig, just as everybody stayed for the Dadtet’s Jazz on Jay show Thursday under a pounding sun. And they did play “Summertime,” a song Satchmo famously recorded with Ella Fitzgerald.
Four of the dads – O’Shea, Gleason, Patneaude and Fisk – played regularly with Keith Pray’s Big Soul Ensemble before it went on hiatus during the plague. In Pray’s 17-piece crew, all adopted workmanlike personas. Thursday, however, O’Shea flexed his funny bone at times in a relaxed and self-deprecating way.
This gave the noontime gig a cool, easy feel; not because it was too hot to play fast or hard but because the guys shared the confident flair of walking through the tunes together, swinging everything.
Meanwhile, fans arriving for the show fled the sun’s hot glare for the shady side of Jay Street.
The Dadtet’s slow, dramatic early-set take on this classic featured strong solos by Fisk, whose statement of the familiar melody launched from a higher register than usual; Gleason, with an energetic rhythmic authority, and Patneaude running the changes with his typical grace and aplomb. O’Shea modestly soloed last, and with clarity and drive, before Fisk took the tune back to the head.
“Summertime” followed “Filthy McNasty,” one of the great song titles and first song by or about Horace Silver in the Dadtet’s mostly upbeat, hard-bop-inspired set. O’Shea took the lead here in a mid-tempo swing mood that built like a storm surge to crest then signal short swapping riffs that set each player in turn against Hearn’s drums. Unshielded by the tent over the rest of the Dadtet, Hearn was rescued from the sun by Jazz on Jay chief Betsy Sandberg or one of her volunteers, holding a beach umbrella over the otherwise melting percussionist.
“Ladybird” kept things breezy; another swing-time stroll where Patneaude especially shone but Lawrence also made the most of his first solo of the day; again, solos flowed before riff-swaps stacked up brisk and brash short cameos.
After “Summertime” came “In Walked Horace” by J.J. Johnson – O’Shea made sure to let us know the composer was also an eminent trombonist – where Fisk’s alto led the way but section playing sparkled, too. This brought smiles all around, on the bandstand as much as in the crowd.
(Saxophonist/trumpeter) Benny Carter’s “A Walking Thing” started almost like a reprise of “Summertime” in its sassy stroll beat that soon picked up heft as the soloists ganged up on it. This felt too short since it swung with such charm, especially when Gleason ping-pong’ed playfully with the horns.
Gleason intro’ed “What Is This Thing Called Love” as a brash bossa blast, but O’Shea gave this chestnut its biggest push and highest polish and the all-in resolution really rocked the place.
Then came blues-time in the well-paired “Blues in the Closet” of (bassist) Oscar Pettiford, then “Mo’ Bettah Blues” by (another bassist) Bill Lee for his son Spike’s film. In “Closet,” a walking bass line summoned first drums and piano then the horns, into a powerful swing-bus that picked up everybody. Patneaude was brilliant here, conducting a two-part conversation with himself. Slower and steady, “Mo’” mellowed things out in slow-drag fashion; low-pressure, maybe; but not low-energy.
They closed with (pianist) Horace Silver’s shimmering, simmering “Nutville,” a mid-tempo swing number like the earlier songs in the set. All the horns got good solos, then welded together in a brassy farewell.
Throughout, the soloists cooked quotes into the songs, as both spice and ingredients. The Dadtet not only knew the tunes in this 90-minute set inside out, they also knew how to distill, deconstruct and decant them into new containers.
The usual suspects showed up on Jay Street and had a fine time. That natty dude in black from shiny shoes to fedora set aside the Bible he’d been studying, tracing the words with his finger, to crouch before the band to shoot some video. A wiry woman of a certain age took over the dance floor all by herself in “In Walked Horace.” She had the moves and, like the band, she had the confidence, holding all eyes until she waved herself off as the crowd applauded.
Jazz on Jay continues Thursday, Aug. 19 with the precocious (college student) saxophonist Henry Fernandez and his Quartet.