Boston and the surrounding area is rich in history, from the colonial era forward, and I appreciate all of it. But I am particularly interested in Boston in the 20th century, and have researched the middle years of that century extensively. My extreme interest in certain aspects of the city’s cultural history led me to form Troy Street Publishing as a vehicle for sharing ten years of research and writing.

My first endeavor was a seven-year labor of love, The Boston Jazz Chronicles, which I published through Troy Street in 2012. It was early in the self-publishing game and I thought the prospects and possibilities of that game were endless. I still do, and my goal is to publish the projects described elsewhere on this site.

The Boston Jazz Chronicles, by Richard VaccaThis website, and its blog, The Troy Street Observer, are the primary outlets for telling my stories, but there are others—public speaking, walking tours, and a YouTube channel that puts some of the historic but out-of-print recordings back in circulation.

What’s in it for you? On this site you’ll find content about Boston people, places and events that you won’t find anywhere else. I’ve opened a window, and through it you’ll hear some of the not-so-common stories of Boston. I suggest you check back often to see what’s new.

—Richard Vacca

The Troy Street Observer

Dr Gene DiStasio, the Boss Bone

With so many fine trombonists having been a part of the Boston scene—I came up with a list of 27 with reputations extending well beyond the city limits just for the 25-year span of The Boston Jazz Chronicles—it is no surprise I overlooked a few who should have been mentioned earlier. Gene DiStasio is one I missed, and with his prominence on the Santisi tapes, I can finally rectify that oversight.

Photo of Gene DiStasio, mid 1960s
Gene DiStasio, mid 1960s

Gene DiStasio was born and raised in Revere, Mass, one of eight children, all budding musicians competing for practice time on the family piano. At 15, the trombone became his primary instrument, and in 1946 he started lessons with the Boston Symphony Orchestra’s John Coffey, a legendary teacher of brass players. After a few years, though, a lung ailment forced him to set aside the trombone, and he turned toward a different career path, entering Tufts University to study biochemistry. He graduated in 1953 and went on to study dentistry at NYU.

Of course, that wasn’t the end of the trombone. By about 1952, he had regained his ability to play, and became a regular in the local clubs. Even after he moved to New York, gigs still lured him back to Boston; one notable one was playing on Serge Chaloff’s 1954 recording, The Fable of Mabel. Trumpeter Herb Pomeroy was also on that session, and when he organized his big band at the Stable the following year, he offered DiStasio a chair in the trombone section. Gene accepted—and he enjoyed it so much, he came home, transferring to the Dental School at Tufts. He graduated in 1957.

So there he was, dentist by day, musician by night, and he kept it up for years. The Stable was Jazz Central for the local musicians, and it featured a band every night—Pomeroy’s big band on Tuesdays and Thursdays, various small groups under Varty Haroutunian’s direction four nights a week, and DiStasio’s quintet on Mondays. (I’ll have more on that group, with Hal Galper and Sam Rivers, in a later post.) DiStasio had the chops to move up in the jazz world—Buddy Rich and Woody Herman tried to pry him out of Boston—but he chose to stay put. When Pomeroy broke up his band in 1962, DiStasio was still with it. Then he worked with Kai Winding’s septet, and with the Jazz Workshop’s resident group, the Herb Pomeroy Sextet, from 1963 to 1966.

Brass Menagerie and Beyond

In 1968 he organized Brass ’68, a jazz-rock powerhouse featuring three trombones, two trumpets and two electric guitars, which became a prominent group on the local scene. (The name changed to the Brass Menagerie in 1969, and I’ll have more on them in a future post as well.) DiStasio was also part of Phil Wilson’s Trombone Ensemble in the late sixties and early seventies.

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