John Neves thought he was going to be a baseball player. He had the tools—agility, focus, strong arm, good hands. A gifted athlete at East Boston High School in the late 1940s, he starred as an all-city second baseman. After that, he played semipro ball around New England, then spent a season as a professional in 1951. He played in North Dakota, with the Fargo-Moorhead Twins, a minor league outpost in the Cleveland Indians system. His jersey number there, as it had been in East Boston, was a backwards 7. The man had a sense of humor!
John’s older brother, pianist and arranger Paul Neves, introduced John to the bass. John studied privately and played with Paul—but he played more baseball than bass in East Boston. Then came Fargo. And then came army service in the Korean War, where a back injury ended his dream of a baseball career. But he didn’t abandon the Old Ball Game completely—he was known as a fierce competitor when he played on Al Vega’s softball team in the 1950s. By that time, though, he was already a professional musician.
The Stable/Jazz Workshop Years
When Neves returned to East Boston in 1954, he focused on playing the bass at the Stable, the haven for modern jazz. It was a long streetcar and subway ride down to the Back Bay, but he did it to sit in with the trio there. Saxophonist Varty Haroutunian and pianist Ray Santisi knew a good thing when they heard it. They hired Neves, and the house trio became a quartet. It became a quintet when trumpeter Herb Pomeroy arrived.
I wrote about the recordings made by the Jaki Byard Quartet at Lennie’s-on-the-Turnpike in an earlier post, and I’ve finally added an extended track from Volume 2 of Live! to my YouTube channel. I chose “Jaki’s Ballad Medley,” but as you’ll hear, Jaki was joking when he mentioned ballads. For some reason, though, the people at Prestige Records kept “Ballad” in the title.
Byard starts with a bit of his “European Episode,” and then works through “Tea for Two,” “Lover,” his own composition “Strolling Along,” “Cherokee,” and finally Frank Foster’s “Shiny Stockings.” Drummer Alan Dawson and bassist George Tucker acquit themselves admirably throughout, but the star is Joe Farrell on tenor, with two fine solos.
The recording was made on the night of April 15, 1965—which, as Lennie reminded me, was the night Havlicek stole the ball. You non-Bostonians will just have to follow the link to look that up.
May 30, 1971: Fire Closes Lennie’s-on-the-Turnpike
Firefighters broke through the roof to fight the blaze, which was confined mainly to the bar and dressing rooms, but the entire building suffered extensive smoke and water damage.
Just about all of the great jazz clubs described in The Boston Jazz Chronicles or in posts on this blog were inside the Boston city limits—the Savoy, the Stable, Storyville, the Jazz Workshop. But one, a favorite of both performers and listeners, was way up in the suburbs. That was Lennie’s-on-the-Turnpike, on the northbound side of Route 1 in West Peabody. On the morning of May 30, 1971, fire struck the club.
“You could say I am down, but not out,” proprietor Lennie Sogoloff told the Globe’s Bill Buchanan later that day. “This club has been my life since the early 50s and to see all the damage was a great shock to me. I just don’t know what direction we’ll take now. It’s something I’ll have to think about.”
Joe Bucci’s Capitol LP, Wild About Basie!, garnered a 3-star review in Down Beat. Organist Bucci (1927-2008), from Malden, worked in a duo with drummer Joe Riddick in the early 1960s. His work was marked by its relentless bass lines, which he played on the foot pedals exclusively.
Organist (and accordionist) Joe Bucci wasn’t the only guy playing the Hammond B-3 in Boston in the 1960s. Hillary Rose, Fingers Pearson, Hopeton Johnson, Walter Radcliffe, and others were playing it in the South End clubs from the late fifties on.
On the night of April 15-16, 1965, Jaki Byard, Joe Farrell, George Tucker, and Alan Dawson were recorded Live at Lennie’s.
Jaki Byard was on a roll in the spring of 1965, when he opened on April 12 for a week at Lennie’s-on-the-Turnpike in West Peabody. His early sixties work with Eric Dolphy and Charles Mingus made him one to watch, and his own trio and quartet recordings on Prestige showed him at his inventive and eclectic best. He was at Lennie’s to record a live set for Prestige with a formidable quartet.
April 8, 1968, witnessed the second Gretsch Drum Night at Lennie’s-on-the-Turnpike on Route 1 in West Peabody.
The people at Gretsch Drums came up with an interesting promotion in the late 1950s, called Gretsch Drum Night. The idea was simple enough: round up a trio of drummers who are endorsing the company’s wares, put them on a nightclub stage with a newest set of drums and accessories, and have them each play singly with the house band, and together in thundering drum battles. What you got, remembered Lennie Sogoloff, was “a lot of noise…but they were all fruitful nights. All the drummers in town would show up.”