The band shouts “Go, man, go!” and he does. (Well, it’s a 32-bar song, but you know what I mean!) Mando walks the bar – him and handclaps – for “Hot Rod”, emphasis on the “hot”. “Datin’ with No Dough” has a sly lyric with a classic theme – a totally authentic jump blues. It isn’t a Raymond Scott cartoon theme, but it sure sounds like it! Mando sails fast, the riff pushing him on. “Who Dat?” quotes “The Odd Couple”, and leads to the infectious “Mousetrap”. The homestretch is fun, with unexpected delights. The bass solo quotes “Big Noise from Winnetka”, and Danny Glass gets a nice Latin sound on his turn, (“Watch ‘im fly,” says Eddie.) It’s eight minutes long, and over like that. Steen has another great solo – it gets the crowd clapping. The words are tough (about the Zoot Suit Riots of 1943) the music more so. The jungle sound continues on “Hey Pachuco!” – with a vengeance. He than puts a wordless vocal on “The Mooche”, which is kept short (I wanna hear the horns!) Bill Ungerman steps forth with rusty baritone, popping all the right notes, and Mando has his best solo, a blast of early-morning despair. (Catch the “Salt Peanuts” quote at the end – blink and you’ll miss it.)
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Mando is good, and Scott Steen steals it with vicious trumpet. There’s a teensy vocal (simple words, but effective), then the horns take over. “Park’s Place” is a steaming bebop blues. “Honey Child” has a deadly horn riff, similar to that on Billy Stewart’s “Summertime” – deadly. It’s not up to Frank’s standards (surprised?) but Nochols is surprisingly close – not a lounge singer’s parody, but the real thing. The joint is jumping they’re in the mood, all right.Ī bit of a shift now: “we’re gonna do you a little Vegas, so pretend you’re losing your ass out there.” Achor takes a great bouncy line, and Eddie goes into “Something’s Gotta Give” with Sinatra inflection. The horns hit a riff from the Dovells’ “You Can’t Sit Down” (is this eclectic or what?) and we hit a long fadeout, with the crowd shouting “Boogie After Midnight!” as Eddie Nichols takes it home. Achor is better: a loud bit between blues and rockabilly.
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Mando Dorame has a decent solo: a little grit and a slowly building heat. James Achor hits a tangy lick, and we “Boogie After Midnight”, a solid jumper with romping horns. A final crash, and the cheers are deafening. Their “Sing” is the Goodman version, complete with the “Christopher Columbus” midsection it’s short but it works. The drums splash, the trumpeter rasps, and the baritone has that good solid honk. There’s a rap about jazzbos hitting the beach, but that can be ignored. “Your Honor, ladies and gentlemen of the jury, welcome to the Mint.and now, without further ado, it is my honor and privilege to introduce to you, for their stint at the Mint, the Royal Crown Revue!” The famous beat ensues, and the horns tear off “Sing Sing Sing”. The crowd is raucous a roughneck, with outrageous Brooklyn patois intones an announcement.