By Andrew Poretz***The Hot Sardines are an American jazz band—led by the French-born singer, Elizabeth Bougerol, and the native New Yorker pianist . The popular band returned to Birdland Jazz Club this week for a five-night, ten-set residency. NLE caught the first set on Tuesday night.
A group of talented musicians with a flair for fun and with energetic arrangements that are equally as suited for dancing as for listening, they always have the joint jumping in the several times I’ve seen them perform at Birdland and at events like the Gotham Jazz Festival. For this run, in addition to Bougerol and Palazzo, the Sardines were bassist Chris Van Voorst, drummer Rob Garcia, tenor saxophonist-clarinetist Ben Golder-Novick, trumpeter Andrew Stevens, trombonist-ukulelist J. Walter Hawkes and tap dancer Lamont Brown. Bougerol, dressed mainly in black with gold bracelets and white boots, is tall, with movie star appeal. Her expressive eyes have a certain mischief to them.
For a band steeped mainly in the music of a century ago, the surprising first song was practically new: the 1959 pop tune “Love Potion Number 9,” written 
by Jerry Lieber and Mike Stoller, who wrote many early Elvis Presley hits. The slowed-down, bluesy arrangement had something of a Peggy Lee feel to it, and featured Stevens and Golder-Novick trading solos. Bougerol is a terrific singer, and it’s always a treat when she sings in French. She was especially delightful on Sidney Bechet’s “Petit Fleur,” from the Sardines’ first Decca album. Her phrasing was especially warm and romantic, and “oh, so French.”
Tapper Lamont Brown made frequent appearances throughout the set, and led the action altogether on “Ain’t Misbehavin’” (Fats Waller, Harry Brooks, Andy Razaf). Brown is an excellent dancer, whose energy dramatically lifted every number he tapped on. The action got wild on the entirely instrumental “Somebody Stole My Gal,” a funny, spirited arrangement that had the band trading hot solos. Palazzo, who is especially known for his stride piano skills, was excellent here.
One of several showstoppers was “Big Chief” (Earl King), a somewhat legendary 1965 Professor Longhair recording. (This was one of several in the set that will appear on the Hot Sardines’ next album.) Much like King’s recording, Bougerol whistled the melody after a long intro from the horn section, with Garcia driving a crazy rhythm. At one point, Bougerol and Hawkes had a whistle-trombone call and response.
The hottest number of the night came when Hawkes joined Bougerol at center stage for one of the best renditions this writer has ever heard of the traditional jazz tune “St. James Infirmary” (the song’s true author is unknown since there are many versions stemming from folk traditions. Thanks to promoter Irving Mills, credit went to Don Redman and “Joe Primrose” [Mills] on the 1928 Lois Armstrong recording.) Notably, Hawkes is a fellow who is just dripping hot 
jazz. His appearance—complete with soul patch, his demeanor, his musical style, everything—is right out of Central Casting. He is one of the best trombonists and ukulele players on the scene, throwing himself physically into every solo, which are filled with humor and grace, in addition to superior chops. You always know you’re in for a treat when you see Hawkes on a stage. This appearance was no exception. Bougerol delivered the lyrics with exceptional skill, and then handed it to Hawkes, who, mute in hand, just about brought the dying protagonist of the song back to life for one last dance, with the finale of that familiar “Pray for the Dead” Chopin quote.
Bougerol brought out her washboard for a rousing “Goin’ Crazy with the Blues” (Perry Bradford), made famous by Mamie Smith, with another fine appearance by Brown. For a finale, the band turned to “Bei Mir Bist Du Schoen” (Sholom Secunda, Sammy Cahn, Saul Chaplin). A sizzling clarinet solo by Golder-Novick featured a call and response with Brown’s tap shoes.
Photos by Joe Clarke
