MATT BONAZZOLI INTRODUCES THE COMPAQ BIG BAND: 21 MEMBERS STRONG

The Compaq Big Band - ever heard of them? If not, put them on your list of must see acts. The Compaq Big Band is a 21-piece jazz ensemble made up of current employees of Hewlett-Packard, former employees of Compaq Computer Corporation, Digital Equipment Corporation and other talented big band musicians from the New England region. These guys are a fantastic, professional tribute to music of the past and also to what music can be today. Playing a mix of modern and classic interpretations of big band classics the Compaq Big Band (referred to in this interview as CBB) has been delighting audiences for 28 years. Catching a performance of the CBB is a reminder of how fortunate our older generations were to have had this music as the soundtrack of their lives. It's as powerful and vital today as it was then. Al Saloky the current band leader and front person of the group took some time out last week to grant me an interview.

WORMTOWN.ORG: First of all, thanks for taking the time out to talk with me and also, thanks for helping to bring this music to life for those of us too young to have experienced it in its heyday. Having enjoyed your performances a number of times I have to ask if the CBB has ever recorded?

AL SALOKY (CBB): A lot of folks ask us that question. No, not what I would call 'formally'. That's something that band has on its 'to-do list', when we have the time and money. The sound clips on our web site and those on a 'sampler CD' I send to potential clients come from either a simple stereo recording we have done at our rehearsal facility, with our own mixing board and other gear, or from a similar stereo capture off a sound board at a live nightclub appearance a few years back. A professional-quality, 24-track recording, will require going to a professional studio or purchasing additional gear for us to do this on our own. Right now we're looking at some options for the latter, given that we have a great place to rehearse, own most of the equipment, and some band members eager to try their hand at post-recording mix-down.

WORMTOWN.ORG: There are so many big band standards out there, how do you choose your set lists for performances?

AL SALOKY (CBB): We have about 800 charts in our library, accumulated over the 28 years we've been a band. There are about 100 of those in the active 'gig books' that get transported to and from performances. Periodically we will 'refresh' the gig books with new music, or with charts pulled from that larger archived library. And, on a regular basis, we take tunes we've been doing a lot, give them a rest in the gig book, and cycle something new in for the next several gigs.

What gets scheduled each night depends on the type of gig. If we are doing a swing dance, then I would put together a list of 100% swing tunes, in a fairly narrow tempo band of, say, 130 to 180 Beats Per Minute (BPM). I throw them all into an Excel spreadsheet, along with the BPM and duration of the chart. Then I move things around to mix up the tempos, group vocals together and add a few instrumental numbers in between, and then 'cut & paste' until each set looks like a good mix, and goes just long enough. Whenever we gig we try to include some recognizable big band standards such as "In The Mood", but mix in some things that folks might be so familiar with. Whatever we do, it has to be 'swing danceable'.

AL SALOKY (CBB): For more of a 'general purpose' dance we'll do a broader mix of music styles and tempos, such as mixing in ballads for slow dancing, and a Latin chart or two, each set. Again, it all has to be danceable, so tempo and style changes, or anything 'foreign' to dancers on the floor has to be avoided.

When we do a nightclub or concert gig, that's when we have a lot more flexibility. Since we are not catering to dancers, we can do more 'listening charts', with more complex themes, a medley that chains form one style to another, perhaps has grand pauses or holds midway through, and really stretches the band in different directions than charts made for dancing.

But whatever the gig, whatever the mix, it all goes into that spreadsheet that gets passed around, and everyone pulls all the charts out of the book at the beginning of night, in order, so we can maximize the amount of music going to the audience.

WORMTOWN.ORG: Given how many arrangements there are of a lot of the old swing standards, how do you choose which arrangement to play? For example, the arrangement you play of "My Funny Valentine" is very slow and sad. What drove you to choose that over a more upbeat feeling arrangement?

AL SALOKY (CBB): Though we have a ton of original arrangements of big band standards, the band's preference is to usually go with more recent versions. A good case in point is "In The Mood", perhaps the most recognizable big band tune in history. For many years the band played the original arrangement done for the Glenn Miller Band by Joe Garland. But, several years ago we came across a Jeff Tyzik arrangement done for Doc Severinsen's Tonight Show Big Band. That became and instant favorite of the band, with more energy and power than the older version, so it stuck with us.

As to "Here's That Rainy Day", at the Zara Jazz Club gig, we indeed chose to play the Dee Barton arrangement from the Stan Kenton Band over another, perhaps more upbeat variant. Though perhaps a bit sad, as you say, it's also one of the lushest, richest, most powerful ballads we have in the book. It's scored for five trombones, five trumpets, and two baritone saxes, and we know a lot of Kenton fans out there don't get a chance to hear these charts performed live any more.

WORMTOWN.ORG: Do any of your members compose? Do you play their songs?

AL SALOKY (CBB): Yes, we have folks in the band that compose and arrange. Just recently, our baritone sax player, Scott Tringali, adapted a fantastic version of "Jersey Bounce" for us, a swinging, hard-hitting chart originally done by Doc Severinsen's Tonight Show Big Band. We're beginning work now on his adaptation of Denis DiBlasio's hit version of "As Time Goes" by from Maynard Ferguson's "Storm" album. Scott is a great talent that we're lucky to have. One of our alumni, Matt Harden, now a music educator in Upstate New York, did a few great arrangements for us before he relocated, and we're always looking for people with a fresh take on old charts, or something completely original.

WORMTOWN.ORG: Usually you're in front of the band conducting and hosting. I've seen you play an instrument yourself, do you prefer conducting to playing?

AL SALOKY (CBB): Oh, very tough question. For many, many years I was the lead sax player in the band. When the opportunity to direct the group came my way eight years ago, I had a pretty weighty decision to make. As much as I love playing, I came to a conclusion that attempting to both play sax and manage all the real-time things that happen at a gig would probably end up in me doing both things less than 100%. And, to be honest, the guys that I have had replace me at the lead alto position are a lot better than I am. Like Clint Eastwood once said in a Dirty Harry movie, "A man's got to know his limitations". So, I'm content in the role of 'The Straw That Stirs The Drink", sitting in at rehearsal from time to time, and doing the occasional turn out in front of the band on the rare chart that requires something like two soprano saxes. But now that you mention it, maybe I'll take out the axe a bit more often...

WORMTOWN.ORG: Any chance you'll change your name again due to the Compaq/HP merger?

AL SALOKY (CBB): When the acquisition of Compaq by H-P was finally executed last year, we learned that there is a Hewlett-Packard Jazz Big Band, headquartered at their facility in Boise, Idaho. "H-P Big Band East" doesn't exactly roll off the tongue. We're currently looking at a name that makes sense to preserve the band's heritage yet move along with the times.

WORMTOWN.ORG: How do you recruit new musicians?

AL SALOKY (CBB): Usually it's a two-step process. When a position becomes open we first put a 'want ad' in the company's New England electronic newsletter, then wait at least 30 days to see if there is a talented employee that would like to audition. If no qualified employees come forward during that period, then we post the opening to our web site and other places on the Net, as well as spread the word informally to other local musicians. We are always on the lookout for people that are talented musicians, good 'team players', and folks that can get 'on board' with the band's philosophy and heritage of operating as a nonprofit entity.

WORMTOWN.ORG: How do you manage to keep such a large group of musicians rehearsed and even get them all to the shows? Is it out of their love of the music?

AL SALOKY (CBB): Well, it's not easy. In fact, it's darned hard. A lot of credit goes to the individual members that do in fact mostly do it for the love of this genre of music. There certainly is no 'real money' with this large a format group. I think most of the folks by and large enjoy the social aspect of being around each other, as well as realizing the product of all our hard work when things 'go right'. There aren't lot of big bands around, and certainly we believe that we have one of the better ones. Part of the formula that keeps us together is mastering tough charts, and having fun at a lot of different events and venues. We're also lucky to have some volunteers for positions such as Librarian and Treasurer, and Web Master, which helps us all out a huge amount. Besides the above, there's a hefty amount of determination on my part to keep things together and advance the group toward ever-higher goals.

As to other reasons 'it' hangs together, you'd have to conduct 23 more interviewsŠ

WORMTOWN.ORG: How do you keep the music fresh? Do you change your set a lot or play different arrangements depending on the venue?

AL SALOKY (CBB): That's a challenge. Much depends on what type of event and venue we are playing, as well as how often we may have played there in the past. As I mentioned earlier, many audiences come to hear classics such as "In The Mood" and "Tuxedo Junction", so charts like that are going to almost always be in our program gig in and gig out. However, we try to mix in a combination of other familiar tunes that folks can dance to. It also takes a lot of Wednesday night rehearsal time, both as a group, and in breakout sessions called sectionals, to work up new charts to a level we are comfortable with. We'll use them in a gig set rotation for several months, then cycle them back into the gig book and draw in something fresh.

Another interesting note is that almost every band member wants 'new stuff' cycled into the play list. But, when you go to take out a chart to make room for it, invariably it's someone's favorite that they do not at all want to see 'retired'.

WORMTOWN.ORG: Seeing as how it's so close to tax time, how does the non-profit concept work for you?

AL SALOKY (CBB): Interesting question. I'm not at all exactly sure. As I mentioned earlier, there is no 'real money' in the size format we have, with essentially a group of 'hobbyists' devoting a huge amount of time and energy to the group effort. We've chosen over the years to pour all of our gig revenues into the infrastructure of the band, such as very good electronics, nice music stands, and all the 'little things' that make up the overall 'product image'. Of course, we have to pay talented area musicians to sit in on gigs when regular members are out, plus there are the usual operating expenses such as postage for mailing, band T-shirts, web hosting, and so forth. For me, that investment has paid off in great equipment and challenging charts. Without all that, it's questionable that we would be able to present big band music at the level we do.

Only within the last year did we initiate taking any money from gig receipts and handing it out to individual members. But, that's essentially only 'gas money' so that it doesn't cost anyone to do gigs. For sure, no one's 'getting rich' on being in a big band. It is indeed exceptionally unique that we operate as a nonprofit, but yet attract and keep great musicians that enjoy working to produce a 'commercial grade product'.

WORMTOWN.ORG: What type of venue or club do you prefer?

AL SALOKY (CBB): Oh, I personally like a mix. I think most band members do. Doing only weddings, or only nightclubs, or only fund-raisers, or only fill-in-the-blank, becomes boring. In 28 years we've been through the good, the bad, and the ugly as far as events and venues go. They are all unique. An outdoor concert with 10,000 people on a lawn, stretched out of sight line is one kind of great experience. An in-your-face, intimate experience at Zara Jazz Club is another. Helping a local church raise money for their building fund by having a dance at a venerable old place like The Rockingham Ballroom in Newmarket, New Hampshire (right out of 1934) is another.

WORMTOWN.ORG: The CBB website is very well done, do you do that on your own?

AL SALOKY (CBB): Thanks. We were fortunate several years ago that our lead trumpet player at the time, Mike Axel, took up web mastering as a hobby. From there many of us contributed ideas, and even after Mike retired from the group he kept up the site for a number of years, gratis. More recently, our bass trombonist, Tom Gionfriddo, has taken over the web master job and is putting great deal of time into the site, with more 'cool things' to come. Like a house, a web site is never, ever quite 'finished'.

WORMTOWN.ORG: So when can we catch the Compaq Big Band next?

AL SALOKY (CBB): We're playing on Saturday, April 26 at Michael's Harborside at 8 p.m. in Newburyport and a Sunday, May 18 Swing Dance at Club Liquid at 6:30 p.m. in Leominster, and a whole bunch of shows in July. Our complete schedule can be found on our website.

WORMTOWN.ORG: Thanks for taking the time to talk with me and thank all of the people in the CBB for their efforts in keeping this classic music alive and kicking.

AL SALOKY (CBB): You're welcome and thanks to you and everyone at Wormtown.org as well.

(Matthew Bonazzoli sings, plays guitars, and writes songs for Gearhead. You can contact him at gearheadfan@yahoo.com or through the Gearhead website at www.gearhead.com)