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Snapshots in Time, Cleveland, OH (2026)

09/16/2026

PLAYING OVER THE CHANGES

50 years in the Music Business 1976 - 2026

Part 8 - B
My Prime Years,
(1995 - 2019)

INTRO
The rest of this Chapter will be devoted to my creative process at the turn of the century. Actually, also the turn of the millenium. My formal studies in Music Composition
began in 1976. By the Summer of 1977, Yours truly received my B.A. in Political Science. At this point, there was a decision to make. I was half way through my under grad work in music. My Comp. Professors urged me to enter grad work right away. In my mind, I was far from ready. There was too much to cover in 300 and 400 level courses. More important, my
studies on the Saxophone were less than impressive. Plus I was just starting to learn, really learn, about playing in the real world. As my youthful self said back then, why have one unmarketable degree when I can have two!

Adding teaching private lessons in 1978 and my first recording session in 1979 sealed my deal. Or should I say, sealed my fate.

Shortly after meeting Doug Dostal in 1979, I learned he was interested in recording and made a home studio in his basement. By the early 1980's, he took empty space at Music Manor in Maple Hts. adjacent to teaching studios and built a small, but very effective recording studio called Fame City Records. A few of us were getting our chops together playing Miles, Trane, Duke, Jobim, Luiz Bonfa etc. Doug played and recorded us. He then was learning about mixing down and making quality demos. I wish I had copies of some of those sessions. While never prolific, my life composing never stopped.

CREATING MY MUSIC:
"MANIFEST DESTINY"
(1996 - 1999)

A. Background
Legit vs. Jazz
My approach to composing music varied depending on the genre. In Classical Music, my composition studies commenced in the last quarter of the 20th Century. My exposure was to Serialism, The Schillinger System, Neo-Romanticism, Aeleatoric, Minimalism, post-Minimalism, and on and on..

Personally, I embraced everything and later learned that is labled Polystylism. (And to think I left the academic scene by the early 1990's.)

My approach to writing Jazz is quite different. Although I embrace most jazz and some classical forms, here is essentially what I do.

1. My first task is to come up with a working title. Most of these titles are from personal experiences.

2. Next is the style; Hard Bop, Samba, Cool, Ballad, etc.

3. At this point I go to the Piano and then start randomly playing chord changes in the style chosen. I will then settle on a Key Signature (or Tonal Center.

4. At this point, my next steps are to make the form (12 bar Blues, 32 bar Be Bop in AABA Form etc. or no form at all).

5. Now, it is time for a good melody. Often, I'll sing original melodies over the chord changes, then play that melody with the chords. Once I like something, I write it down.

6. Now I have a melody, a chord progression, a style and a title on staff paper. This is called a Lead Sheet.

At this point, with a good rhythm section and another good horn player, we could just play this tune. No formal arrangement is needed. That is unless I want one. This would be especially true for a larger group.

By the mid 1990's, my book of original Jazz Tunes and modest portfolio of Classical Pieces were building.
Meanwhile, as mentioned previously, my teaching and playing schedules were pretty full.

B. Many nights, after work, I would head out to Fame City Records to do sessions for Doug or his clients. Every one of them were different. His clients were heavy on Hip Hop, Rap, Rock and
something I learned a lot about called Hi Life. Of course there was Jazz from Doug as well as Soundtrack work and PSA's from Dan FitzSimons and Larry Glover.

By 1996, my decision to do my own CD Project was made. As previouly mentioned, my book of original Jazz had enough music for a few albums. As this was my first project, my decision was to go with all New material.

From 1996 through late 1998,
my first recording took shape.
There are10 Tracks on Manifest Destiny , 9 of them, original Jazz. One of these tunes, " It's A Dog's Life" was also featured on Dan FitzSimon's ill fated cable venture, The Puppy Channel.

Here are the Tracks:
1. It's A Dog's Life
2. Manifest Destiny
3. Going Back To The Old Pueblo
4. The Star Of The County Down (Irish Traditional)
5. Getridegasse Blues
6 -7. Reflections At Midlife
I. Grief
II. Solace
8. Rio 3 AM
9. When I Saw You Last Night.
10. An Irish Whiskey Evening

Personnel
• Kevin Scalley;
Saxophones
Bb Soprano, Eb Alto, BbTenor, Eb Baritone, Bb Bass
- Flute
- Irish Tin Whistle
- Clarinets;
Bb Soprano, Eb Alto, Bb Bass

• Doug Dostal
Piano, Keyboards

• John Mallett
Bass

• Tom Fries
Drums

With:
• Alex Klasson
Trumpet, Track 2
Flugelhorn. Track 10

• Mark Boich
Alto Saxophone
Track 2

• Heather Toth
Trombone, Tracks 2 and 10

• Patrick Joyce
Classical Guitar Track 4
Arranger Track 4

• Connie Edwards
Bassoon Track 6

One Story How two notes from a disrurbing dream built a Four Movement Piece.

In my late 30's and early 40's,
I lost 2 musician friends in strange accidents about a year and a half apart. About 8 months later, my Dad passed away after a rough battle with cancer. Not a happy time in life. One night I awoke from a disturbing dream. I have no idea what the dream was about. What I remember was a Bell Tolling, like at a Funeral.

The bell was very dissonant.
After this, I couldn't get this out of my head. Now I was wide awake. I don't often experience things like this. I went to my piano and played the two notes I heard. An F and a Gb, both above Middle C. There will be more another time. But to sum it up, the
F/Gb turned into an
Avanr-garde Piece I called Grief.

Grief was the first Movement of a collection titled, Reflections at Midlife.
Each of these Pieces stand alone as a Tone Poem. Again, more details another time. To sum it up, all four Tone Poems from Reflections At Midlife begin from the F/Gb.
This music is a fusion of
Classical and Jazz called
Third Stream.

CODA
Next time, you will get a feel for the Recording pro ess and what the sessions were like. Catch you soon.

Peace

- 9/16/26

Today's Pictures:

09/06/2026

PLAYING OVER THE CHANGES

50 years in the Music Business 1976 - 2026

Part 8 - A
My Prime Years, Part 1
(1998 - 2002)

INTRO

I have stated this before in regards to self discovery. Since beginning this year long project, The further through this I've gone the more amazed I get. First, it surprises me at the number of people who find a journeman musician's life even moderately interesting. I am very pleased, but surprised nontheless.

Second, there have been a few people that my suggestion has been to take on a similiar project. This is nothing new. Mostly famous people write their Memoirs (more often with a ghost writer). To me, it would not matter if you aren't a writer. It would not matter what career you had. It doesn't matter if no one reads it but you.

When you hit a cerrain age, and ideally before your health fails. Consider something that became a passion for you. Something that gave you meaning, that made your life better. Looking back at this part of your life may make more sense. And who knows, one of your grandchildren's
greatgrandchild in the 22nd Century, might come accross your wrutings and learn about what your life was like.

I used to love talking to my grandparents. Asking them about things I never would have learned otherwise. Your parents grandparents, etc. had stories, you have stories, every generation does. It's time more members of younger generations once again take an interest in how their family lived their lives before them.

A. Northeast Ohio Jazz Society 1997 - 2003

1. The Northeast Ohio Jazz Society or NOJS was established in 1977. One of it's first sucsesses was assissting Cuyahoga Community College with helping launch The Tri C Jazz Fest in 1980. It remains today one of the major Academic Jazz Festivals in the United States.

The music scene in general and the Jazz Scene in particular, were changing culturally, technologically, and musically. THE NOJS had to find a way to keep itself relevant as the 1980's gave way to the 1990's. There was one man on the Board of Trustees of the NOJS that I knew. You guessed it, that was Larry Glover. There were a couple other Board Members I knew from Dewey Jeffries' Friday Happy Hour Gig.

2. Election
In 1997, Larry encouraged me to run for the Board. Thinking on this, the irony hit me with a dose of amusment. Here I was, I guess you could say an "Overnight Sensation." If you define overnight as 21 years in the music biz. Or 11 years earier, the fleeting fame of being a member of Bourbon Street or 15 years after being Rodney Dangerfield's Sax Player, Styles Bitchley. Well, as Rowan and Martin might say, I could once again be eligible for "The Flying Fickle Finger of Fate" Award.

2 Assignments:
I actually did take this role pretty seriously. As often happens in Arts Organizations, 90% of the folks have wonderful intentions. Somewhere down the road, disappointment and disillusionment can settle in.

I told Larry Glover going in that I wanted to try and do something meaningful during my tenure. Larry already had a concept in mind and hoped I would join him.

2. Commitees:
a. Instrumets For Kids
This was Glover's concept. There are many families for generations that had a kid or two who gave school band a try. Many families forget about old, unused musical instruments laying dormant in an attic, basement or closet.

Instruments For Klds would accept donations of band
instruments in any condition. The instruments would be repaired and we would get them to kids and band programs that couldn't afford them.

We were the first such program in Northern Ohio. Larry and I were listed as
Co-Chairmen. We enlIsted Dan FitzSimons to wrire lyrics and I wrote the music for some "Instruments For Kids" PSA's on behalf of NOJS. We recorded them at Doug Dostal's Fame City Records as his studio time was donated.
In the mid/late 1990's, there were a lot of local Jazz Musicians who weren't in the academic approved "In Crowd." They thought it was about the music and the kids, not the recognition.

b. Musician's Liason Conmittee
This was another committee that was important in my opinion. Before joining The Northeast Ohio Jazz Society, my perception was a disconnection between the organization and local Jazz Musicians. While the NOJS sponsored many big name National and International Jazz Artists to peform here, there was less attention paid to local artists to catch a break. Cain Park did have a summer Sunday Afternoon Concert Series, but often it was headlined by the same Acts you could see 3 or 4 times a week every week. Not a good way to make local players feel welcome. As Vice Chairman of the Committee, my opinions were ignored by the Chairwoman, who was a Singer who's name you often would find performing 3 or 4 times a week every week.

As I neared the end of my 6 year term, my life was far too busy to be involved in such endeavors and I stepped away from the NOJS Board at the end of my Term.

CODA

For the rest of this month, I will focus on one topic that was very important to me.
That is recording my first CD Project, "Manifest Destiny."
Enjoy your Labor Day and the End of Summer.

- Peace
9/6/26

08/29/2026

PLAYING OVER THE CHANGES

50 years in the Music Business 1976 - 2026

Part 7 - B
My Niche, Part 2
(1996 - 1999)

INTRO
A number of my followers expressed amazement at the number of bands, orchestras, styles of music, etc. that as a freelancer I was involved in. Like many lists, this may look more impressive than it actually was. For example,
let 's look at Pit Orchestra work. I listed Beck Center and Greenbriar Theater as both doing Fall Musicals. I did not do both the same year.
Actually, the same Music Director moved from Beck to Greenbriar. The same thing happenned with the Music Director moving from Solon to Chagrin Falls. In both cases, many of the Orchstra players followed. I will discuss Cain Park and Shows in the 2000's another time.

Finally, most of the small Jazz groups listed last time involved many of the same players. In what is traditional in Jazz, whoever booked the job was the leader. He booked the players and negotiated the pay. So, once again, it wasn't as busy as it may have appeared.

Today, I have narrowed this Column down to one to,pic. A couple names that will keep popping up from 1996 - 1999 are old friends from the 1980's. You will hear more about Larry Glover and Doug Dostal. Let's begin.

A. WORKING WITH THE DEWEY JEFFRIES TRIO

As I just stated, Larry Glover was a friend from the mid 1980's. We met at WCPN 90.3 FM. At the time, WCPN was Cleveland's NPR staion playing Jazz and giving News.
I have previously described Larry as a force of nature, a Drummer, Entrepenuer, Entertainer, and generally a Raconteur. This Ne'er do well found Larry's energy and work ethic infectious.

Glover was the Drummer for The Dewey Jeffries Trio. They had a standing Friday Happy Hour Gig at a club just East of Downtown. This is how I met Mr. Jeffries. This Friday gig was always packed. It was a beginning of the weekend party. But it was more than that. The Trio was different on alternating weeks. One week you woild hear Dewey on Piano and Vocals, another Cleveland Jazz Legend, Kenny Davis on Trumpet and Flugelhorn, and Larry Glover on Drums. The alternating week featured Dewey and Larry with a Sax Player I had not met before. Being almost 30 years ago, I don't remember his name. I started going every week. Another hallmark of this job was Dewey welcomed any musician or singer to sit in.

The other Sax player left after a couple of months and Dewey offered me the job, alternating weeks with Kenny Davis. I still went on my off weeks to listen to Kenny. In my mind, anytime I listened to musicians the caliber of Dewey or Kenny, school was open. Some weeks, they had me sit in and that was also a treat.

On my weeks with the Trio, there were moments where we created something truly special. Dewey Jeffries was one of the best musicians to work with. He was kind to musicians and singers of all levels, ability and talent. Friends of mine like Dan FitzSimons, who was a good singer, would sit in under his stage name as Tony Mancini. Alex Klasson came often. This is where he met both Dewey and Larry. John Pastiric, a Jazz Accordion player, became a friend and a neighbor for awhile.

Larry Glover had boundless energy in everything he did, including his life as a Drummer.He drove a group hard without rushing the tempo. But even on a ballad, you could feel the energy waiting to be unleashed. I often compared his playing to Drummer, Art Blakey, the legendery leader of The Jazz Messengers. After he sadly passed away, I wrote a Tune dedicated to Lawrence Glover for a 10 piece band called, "Message For Larry."

A couple Tunes were memorable to me because of playing them with Dewey's Trio. But first, a couple of more things to cover.

After a few years, Larry Glover left the trio to open a Wednesday night gig at the same club, which Alex and I regularly attended.

Meanwhile, I met another drummer who worked often with the Jeffries Trio. His name is Leo Ryan. We hit it off right away, both musically and socially. Leo's playing could be summed up in two words, Always Tasteful. Ryan had the technique but chose to really listen to what the others in the band were saying in any given tune.

Dewey, Leo and myself spent breaks having a taste and talking about tunes that really went well. We also spent time talking Tribe and hating on Modell and the Ravens (who had recently been the now former Browns).

Most important, we all "worked the room." In other words, we all appreciated our crowds who showed up each week. The reason they showed up most every week can be traced to one man, Dewey Jeffries. He was an Entertainer. He had fun, we had fun and that helped the audience have fun.

I have to add, Jeffries was a fine Jazz Pianist. Jazz fans may have noticed that a standard Jazz Trio usually consists of Piano, Bass and Drums. Dewey, like Doug Dostal, had such a good left hand, that he didn't need a Bass player. His improvising was top notch. His ideas were always fresh and inventive. And he had the chops to back everything up. Sounds like the whole package, right?

I need to add that Dewey Jeffries was one hell of a Singer. His bluesy, baritone voice could handle ballads, blues, standards, and pop tunes from many decades as well as s**t singing. And like most great artists or athletes, he made it sound easy.

Finally, earlier I mentione a couple of Tunes that defined my times working with Dewey on that particular job. The Tunes became Jazz Standards over many decades. They were Tunes I had played hundreds and hundreds ot times, but these Tunes and the way we played them demonstrated all that makes Jazz the unique Art form it is.

"My Funny Valentine" became part of The Great American Songbook over 90 years ago. This Rodgers and Hart classic came from one of their least successful musicals called, "Babes In Arms."
Some leaders in small combos might have told me to just bring my Tenor. If I have a choice on these jobs, my preference is to bring my Alto, Soprano and Flute. Often, I will add a Tenor, or even a Clarinet. However during this time, I wanted to work on low horns and brought my Baritone Sax and occassionally even a Bass Clarinet. I think Jeffries understood all the diffetent Timbres or musical colors this brought to the trio.

On Valentine, my choice was to play Bari. In my mind, I was hearing a Stan Kenton Arrangement of the Tune from the 1970's. I think he knew instinctively what my intent was. And Dewey's soulful rendition was
amazing. At the climax, where the vocal line is, "Stay, little Valentine, Stay." The Bari screamed up high and faded away down low. Then I soloed on Flute... almost like an arrangement.

The other Tune we often did was "Autumn Leaves." As always, Jeffries just read the crowd and went into it. No music, no key shout outs. He kept the momentum going. Dewey sang and the Tempo was faster than usual.
Leo was the Drummer then. I did my usual fills behind the vocal, and as always, I played this on Alto. The point is finally coming.

It was one of those moments that only come once in awhile. Dewey took a fantastic Piano Solo. As I started my Alto Solo, I came in by finishing his musical thought. The crowd was getting into it too. Then it happened. Dewey started altering the chords, stretching the harmonies of the tune. He was smiling. In turn I played a repeated 4 or 5 note line altering it down chromatically with Dewey laughing and Leo smiling. We stretched the Solo, traded 4's with Leo, then he took a hell of a Drum Solo.

As Dewey came back in singing the tune, something struck me. There are usually people ordering drinks, laughing, and other normal bar noise. But as we played the tune out, the crowd was silent. Silent like in a Concert Hall. When Autumn Leaves was finished, the crowd erupted.

Unlike some clubs, Academic and Classical Concert Halls, as well as some snooty "Arts Patrons" think, this is where Jazz belongs. If you are good enough and entertaining enough, people will listen. That evening, The Dewey Jeffries Trio was good enough! And Man, did they LISTEN!

CODA

Next time, we will begin Part 8 which will focus on two topics:
1. RECORDING
"MANIFEST DESTINY"

2. JOINING THE BOARD of TRUSTEES of THE NORTHEAST OHIO JAZZ SOCIETY

- PEACE

8/29/26

Today's Pictures

08/10/2026

SNAPSHOTS IN TIME
page

First of all, allow me to say how overwhelmed I was in your response to my Retirement Announcement a couple of days ago.

This morning on WOBC, A.T.C.was doing his Summer Show, SIT a'la ATC
( 9 - 11 AM) and Chris was on With Strange Martini (11-1) today. They both had some very kind things to say On Air Thank you, gentlemen!

More on my time on "Snapshots in Time" on WOBC soon. But now, what's next?

These concepts are part of my next chapter. They are not ego driven. Instead, they are rather a way of completing my body of work, such as it is. If I have time, the books I have worked on will be completed. I will start a You Tube Channel. There is all sorts of content to add here. I will begin with my CD Projects. These will be presented with and without commentary. Also, old S.i.T. Playlists will be presented once or twice a month with encouragement for my fans to re-listen to this great Jazz on whatever platform they use.
I may also put on portions of old shows if possible. And perhaps, postng old and new PLAYING OVER THE CHANGES Columns.

Finally, over 51 years in the Music Business, I have worn many hats. My years as a Performer, Educator, Business Owner and Jazz Radio Host
have been documented.

Sometimes, my work as a Composer and Arranger get lost in the shuffle. While not prolific, I have done my share of Jazz composing as well as soundtracks, PSA's, pop songs and arrangements for hire. Even less known is my work as a Classical Composer. Recently, my music brother of 35 years, Alex Klasson, asked me an intriguing question. Would I be interested in writing a Classical Piece for him...on Flugelhorn? I immediatly said, hell yeah!

At this early point, I am suggesting a Classical Piece for Bb Flugelhorn and Piano.
More to come.

So, if you were worried that I might just spend my remaining days sipping Irish Whiskey and watching reruns of Ironside...hmmm...Never mind!

I do however, intend to binge on College Football on Saturdays in a few weeks. More soon.

Peace

8/10/26

08/08/2026

A SPECIAL ANNOUNCEMENT FROM: SNAPSHOTS IN TIme

It is with a mixture of Regret and Relief that today, August 7, 2026, I am announcing my Retirement from WOBC 91.5 FM Oberlin College and Commity Radio. I am into my 11th year of doing S.i.T. and my enthusiasm has not diminished.

However, facts are facts. In November 2022, my life changed and my health failed. I lost my right leg to Necrotizing Fasciitis. After 3½ months in rehab, my hopes were high to meet my challenges. Hopes vs. realitty often differ. There was one and only one reason I was able to come back in 2023. That was my Wife, Jeanne.

She knew how much I enjoyed doing Jazz Radio. She was my chauffeur, technical
assistant, roadie, and number one supporter. She did all of this while battling cancer and other varied illnesses. What I slowly realized, was how much she enjoyed sharing my passion for sharing Jazz with my listeners. My major reason for not walking again has been not wanting to potentially lose my other leg in a similiar fashion. Call me a coward, but one amputation seemed to be more than enough.

Now, I will be 71 in 3 months.
The last couple of years my hands are failing. Dexterity is beyond challenging. This is why I'm not playing. S.i.T. continued because Jeanne was there to bail me out when my hands were letting me down. Jeanne still enjoyed
co -hosting the show. We were taking things 1 Semester/Term at a time.

That ended on June 10th when Jeanne's battle with CLL ended peacefully in Hospice. Snapshots in Time is being retired today, August 7th. Without Jeanne, it won't be fun anymore.

Saying thank you to my listners is not sufficient. But, THANK YOU.

To my Community Saturdays fellow Hosts: Cosmic, Chris Shaw, Chuck Ryals and (early on) Kyle Sherepita; we shared over a decade of Radio Magic - Thank You All!.

Finally to ATC
(.".Alexander The Comic), Thank you for filling in and taking over when Jeanne was hospitalized. You also remembered S.i.T. this summer. I promise to get back to you soon.

I am not ready to go "Into That Good Night" By Monday, I will have more updates on my future plans.

Unril we meet again, always remember,

KEEP JAZZ ALIVE!

05/09/2026

PLAYING OVER THE CHANGES

50 years in the Music Business 1976 - 2026
Part 5 - A (1986 - 1990)

UPDATE:
My wife, Jeanne is improving. I remain optimistic and am thankful for your continued thoughts and prayers. You are all good, good people. We will soon have to make decisions on the next phase of her recovery.

INTRO:
Last month, my journeyman career was completing it's first decade. Looking back now, there is a definite plan that unknowingly was followed. For the first time, the realization hit me. JB's Blue Notes and Bourbon Street were bookends of sorts. The band that John Brzozowski brought to life was built on musicianship, variety, and versatility. Lead vocal duties wete shared. Horn players worked full time playing multiple instruments including guitars and keyboards. Bourbon Street took things a step further.

We had three great, well known local Rock musicians who worked with two established local horn players who played everything while sharing their Jazz roots and Classical training. As my time wth Bourbon Street winds down, some good stories are in order. Today:

BOURBON STREET...
AND BEYOND

A. Bourbon Street Stories

1. Indians Home Opener 1986

Like most Opening Days in Cleveland, expect Snow Flurries instead of 79° and Sunny. Bourbon Street played
For the Home Opener in 1986 outside Cleveland Stadium, behind the Bleachers. As I recall, it was in the 30's and a brisk wind off Lake Erie. It was perfect for a late season Browns Game. While not a glamouus job, there was a payoff. We had decent seats for the game. The real payoff?
At the 7th Inning Stretch, the five of us stood on top of the 3rd Base (Visitors) Dugout and sang a quasi-Barbershop version of, "Take Me Out To The Ball Game." That is a cool memory. We also played at a number of Tribe Games in the '86 Season between half Innings. We were set up on top of the Bullpen dugout down the Right Field Line. Fun times. No foul balls hit our stuff either!

2. Kelley's Island Storm

Bourbon Street spent time each summer at both Kelley's Island and Put-in-Bay on South Bass Island. Both are entertainment meccas in the western basin of Lake Erie. One Saturday Night in July, we were doing a Bar Gig in "Downtown" Kelley's Island. Summer storms can be pretty severe on any of The Great Lakes. We were playing our 1st Set during a bad Thunderstorm. It was about 9:30 pm when the power went out. It went out over the whole Island. The rest of the bars closed down. The bands couldn't play without power.
The five of us just decided to go acoustic. Gary and Red took out acoustic Guitars. Jim put his Snare Drum on a strap. JB had his Trumpet and I took out my Clarinet. We started faking Dixie Land Tunes. The bar kept selling beer.
Not only did everyone stay, the crowds from all the closed bars came down. We were the only game in town. One bar stayed open because of Live Music. Bourbon Street showed what Pro's do. We spent the rest of the night playing Blues, Jazz, Folk and whatever else was requested. The huge party on the Island went on unti the owners emptied their coolers.

After the band broke up, JB and his wife would go up to Kelley's. For a number of years, when they realized John was with Bourbon Street, they would still talk about the night Bourbon Street kept the party going on Kelley's Island after the storm.

3. Great Venues

Besides Cleveland INDIANS Games and the Lake Erie Islands, Bourbon Street played many of the big, hot spots in Cleveland in the 1980's. This included:
• The Cuyahoga River Fest
• The National Rib Cookoff
• Friday's after work, Party in The Park
• We also played quite a bit at The Dock on the East bank of The Cuyahoga River next to D'Poo's in The Flats. In the summer, playing on a Patio on the riverbank, you might have to stop playing in the middle of a song, as a large freighter would be navigating the crooked river from Lake Erie to the Steel Mills. It always reminded me of how this is the industrial might that built America.
• We continued doing the Private Party/Wedding Band Jobs.

CODA:
All good things...
Next time, a fond fairwell to Bourbon Street and a lot of changes which started the second decade of this musical journey. The last part of Bourbon Street and Beyond, next time.

Peace
- 5/9/26

Today's Pictures:

04/29/2026

PLAYING OVER THE CHANGES

50 years in the Music Business 1976 - 2026
Part 4 - B (1982 - 1985)

ANNOUNCEMENT:
This installment was written early in the month. On April 7th, my wife Jeanne, was admitted to the hospiral. Three weeks and two days later, she is still there. Jeanne is a very private person and has been in a rough fight. But she is a fighter and will get through her battles. I ask for prayers and positive thoughts for her at this time. Thanks to all of you.

Here is the 2nd part of April's installmrnt.

INTRO:

Last time, all of you were introduced to the NE Ohio Rock Band, Bourbon Street. Although our time together may have lacked in quantity, the 5 of us established a coverband that, in my opinion,
demonstrated quality, versatility and potential during it's run.

A. MORE BOURBON STREET

The best way to make my point is to introduce you to the band. We ranged in age from our late 20's to early 30's when we began. Our musical backgrounds were all quite different. Yet those differences gave way to an eclectic playlist with fresh arrangements of many genres of music. There was no other 5 piece band doing what we did in Northeast Ohio. Not bad for a Bar Band.

Bourbon Street

• Jim Stamper
Drums, Background Vocals, Lead Vocal, Business Manager

• Red Higgins
Bass, Lead Vocals, Background Vocals, Front Man

• Gary Mikulik
Lead Guitar, Lead Vocals, Background Vocals, Electric Fiddle, Drums

• John Brzozowski
Trumpet, Flugelhorn, Trombone, Rhythm Guitar, Electric Piano, Harmonica, Background Vocals, Percussion

• Kevin Scalley
Alto, Tenor, Soprano Saxophones; Clarinet, Flute, Piccolo, Electric Piano, Synthesizer, Background Vocals, Percussion

B. Versatility
In the early/mid 1980's, times were indeed changing on the local live music scene.

The Bar/Club Scene featured Rock, Country, Blues, R&B, Country Rock, Alternative, and even a little Jazz thrown in. Bourbon Street played music from most of those. On the Wedding/All Occasion/Party/Country Club Scene, there were many types of bands. There were still bands playing Standards, Big Band, Polkas, Tarantellas, Csárdás', Waltzes, 1950's-1980's Rock. Once again, Bourbon Street could do it all. Bourbon Street was different. Most Wedding Bands tried to play Rock, but not very convincingly. We were a Rock Band that could also play the other music well.

In Clubs and Bars, Bourbon Street had a pretty cool playlist. Thinking back some 40 years is difficult. I recall doing, a Beatles Set and other 60's Songs. From the 70's, you could hear covers from: The Doobie Brothers, The Marshall Tucker Band, Z.Z. Top, The Blues Brothers, Blood, Sweat & Tears, Kool And The Gang, Pure Prarie League, Van Morrison, Bob Seeger, Rick James and many others.

We also did current (at the time) hits from Huey Lewis and The News, songs like 867-5309, even The Curly Shuffle among others. Jim Stamper, if you can recall good ones I missed, feel free to add them.

With a name like Bourbon Street, even in clubs, we would finish the 1st Set with some Dixieland, usually "When The Saints..." Often in the 1st Set, the guys would let me do a Jazz Tune. Usually "Misty" or maybe "Take Five." Occasionally, we did an original by me called "Legerdemain." 20 years later that Tune appeared on my CD, Headin' Out Again (2006)

Finally, beyond the great musicians and chemistry we had, the Arrangements we did were often different from the Hit. But, many times we heard from the crowd that they liked our version better. When I wrote a horn chart, I had to make 2 horns sound like 4 or 5. And Gary could make his Guitar sound as full as having another guitar and keyboard..After a horm song we could play "Orange Blossom Special" with Gary on Electric Fiddle, JB on Guitar and your truly on Electric Piano. Other bands would add 3 horn players dressed like the Blues Brothers playing maybe 60% of the gig. We had 5 players working 100% of the gig plating our butt's off.

CODA
In May, expect to hear some great Bourbon Street Stories. Also, hear about my trip back to the life of a journeyman Woodwind Doubler/Jazz Musician after Bourbon Street broke up.

Next time, Bourbon Street and Beyond (1985 - 1990)

Peace
- 4/5/26
- 4/29/26

Today's Pictures:

Snapshots in Time

09/16/2026

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08/29/2026

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