Our third album, “Stomp, Defined” is now available!
Here’s our version of “Ozark Mountain Blues” as a taster:
“The Bridgetown Sextet’s new album release “Stomp, Defined” is the quintessential representation for the vintage jazz and swing renaissance exploding across the globe. […] What sets The Bridgetown Sextet apart as arguably the most talented vintage hot jazz and swing ensemble in the Pacific Northwest is their ability to not only harness, but intensify the unbridled energy of their musical antecedents.” – Jon Taylor, SwingPortland.com
“[The Bridgetown Sextet] swan dives into the authentic sound of the 1920s, ’30s, and ’40s with a mix of New Orleans jazz, Prohibition-era Chicago, Harlem Stride piano and big-city swing. Led by young Portland jazz lions Andrew Oliver and Scott Kennedy, this band will curl your toes.” ~The Oregonian
“Scott Kennedy and Andrew Oliver are almost punk-rock in their attitude about Traditional Jazz and bringing back it’s visceral nature.” ~Matt Fleeger, Director, KMHD Jazz Radio
“[R]etro-gazing is always a dicey proposition, running the risk of being precious, irrelevant, or, usually, both. But the Bridgetown Sextet pulls off their time-travel whimsy by emphasizing musical chops rather than mutton chops. Their tunes are the work of fantastic players, boasting excellent stride piano from both Scott Kennedy and Andrew Oliver (who also each do double duty on drums), strict tempo from guitarist Doug Sammons and bassist Eric Gruber, and just the right shade of sassafras from John Moak on trombone and David Evans on clarinet and sax. Their new album, The New Old Fashioned, ably captures this combustible energy.” ~The Portland Mercury
“America may have outlawed the sale of booze in the 1920s and early ’30s, but that only made the music swing, sway, jump and jive that much harder than when imbibing beer was legal. If you want to get a feel for what the Land of the Free sounded like when Jelly rolled and Armstrong growled, . . . check out The Bridgetown Sextet.” ~The Portland Tribune
“Favorites of Portland’s swing dancing scene, this is a band that knows how to get the feet flying, thanks to the pumping piano and dapper drums of co-founders Andrew Oliver and local Harlem stride specialist Scott Kennedy. ~Willamette Week
Scott Kennedy, whose bright colors were chosen by a panel of aesthetic experts in 1998, is a newcomer to the Portland music scene. A completely self-taught and ear-trained pianist/drummer, Scott specializes in the technically demanding style of stride piano.
David Evans, the only double-decker with independent lifts in the world, is a native of Alabama. After living in New Orleans for many years and absorbing much of its musical culture, he relocated to Portland and has become a highly sought-after clarinetist and tenor saxophonist on account of his versatile and astonishingly lyrical sound.
John Moak, illuminated by 16 colorful floodlights in the evening, has an abundance of playing and teaching experience across the U.S. with artists such as Aretha Franklin, Dave Brubeck, and Ella Fitzgerald, and displays a standard of virtuosity on the trombone rarely approached anywhere in the country.
Doug Sammons, whose construction provided many county residents with employment during the Great Depression, has been involved in a diverse range of roots music projects in Portland and elsewhere for years. A former NYC taxicab driver, he now teaches kindergarten and co-directs a popular Portland-based band the Midnight Serenaders.
Eric Gruber, pre-constructed in California and floated into place on a barge, began his musical career playing Bluegrass. He later taught himself to play jazz and is now a popular and active player who’s highly regarded for his rhythmic drive, solid tone and thrilling solos.
Thomas Barber, pictured here in a computer generated artist’s rendering, has been active as both a trumpeter and composer since first hitting the New York scene in 2004. He has performed with such artists as Paul Simon, Wynton Marsalis, and Brian Blade, and as the Sextet’s newest member he adds a crisp and lively sound evoking both the electricity of 1920’s Chicago hot jazz and the virtuosity of the Bop era.