Tag Archives: Bob Ringwald

“WILD REEDS AND WICKED RHYTHM” (Part Two): EDDY DAVIS, SCOTT ROBINSON, MICHAEL HASHIM, BOB RINGWALD, DMITRI KOLESNIKOV at THE CAJUN (JULY 5, 2006)

The Cajun Restaurant, no longer extant but the vibrations and sights still exist here and in our memories.

Eddy Davis, “The Manhattan Minstrel”

A little more than a week ago, I posted the first of a three-part series on this wonderful band, with videos from 2006 that I rediscovered.  I am taking the liberty of reprinting the text from that post here.  And the music from that first post is also here.  (For those impatient with prose — and some have told me this in ungentle terms — the new video is at the bottom of this posting.)

Late in 2005, I made my way to an unusual New York City jazz club, The Cajun, run by Arlene Lichterman and the late Herb Maslin. Unusual for many reasons, some of which I won’t explicate here, but mostly because it offered traditional jazz bands nine times a week — seven evenings and two brunch performances.

Who was there?  I will leave someone out, so apologies in advance, but Kevin Dorn, Jon-Erik Kellso, Vince Giordano, John Gill, Michael Bank, J. Walter Hawkes, Pete Martinez, Michael Hashim, Scott Robinson, Barbara Rosene, Danny Tobias, Steve Little, Bob Thompson, Barbara Dreiwitz, Dick Dreiwitz, Hank Ross, Craig Ventresco, Carol Sudhalter, Peter Ecklund, Brad Shigeta, John Bucher, Sam Ulano, Stanley King, and Eddy Davis — banjoist, singer, composer.  More about Eddy and his wondrously singular little band, “Wild Reeds and Wicked Rhythm,” which was no hyperbole, in a moment.

Originally I brought my cassette recorder to tape some of the music, but I had a small epiphany: seeing that every grandparent I knew had a video camera to take to the kids’ school play, I thought, “If they can learn to do this, so can I,” and I bought my first: a Sony that used mini-DVDs, each of which ran about 30 minutes.  It was, I think, the most inconvenient camera I’ve ever owned.  For some reason that I can’t recall, I tended to let the discs run rather than starting and stopping.  They were, however, nearly untransferable, and they sat in small stacks in a bookcase.

This April, though, I tried to take a cyber-detour, and was able to transfer all the videos, perhaps forty hours or so, to my computer and thus to YouTube.  I sent some to the players and the response was not always enthusiastic, but Eddy Davis was thrilled to have his little band captured, even though it did not have all of its usual personnel.  Usually, WR and WR had Orange Kellin, clarinet; Scott Robinson, C-melody saxophone; Conal Fowkes, piano and vocal; Debbie Kennedy, string bass, in addition to Eddy. On this night, Michael Hashim replaced Orange; Dmitri Kolesnikov took Debbie’s place.  [Update to this posting: pianist / singer Bob Ringwald of California and father of Molly, sits in for this set.]

I find these videos thrilling: this band rocked exuberantly and apparently was a small jazz perpetual motion machine, a small group where the musicians smiled at each other all night long, and it wasn’t a show for the audience.  And there’s some of the most exciting ensemble interplay I’ve ever heard — to say nothing of the truly false “false endings.”

I’d asked Eddy to write something for this post, and he responded gloriously.

WILD REEDS AND WICKED RHYTHM

I, Eddy Davis, have in my lifetime had the pleasure of having many wonderful Jazz Bands filled with wonderful musicians. It all started back in “The Windy City” in the late 1950’s and early 1960’s. I was a Composition student at the Chicago Conservatory and working as a band leader for the Syndicate on Chicago’s infamous Rush Street. Boy, those were the days. During this time many great, interesting musicians came through the band.

Fellows like “Kansas” Fields, who had just returned from a ten year stint in Paris and Charles “Truck” Parham who started in the music business as a truck driver for the Fletcher Henderson Band. He was hauling the band instruments from job to job. When I asked Truck how he got his nickname he told me this story. He said: “One night the bass player got drunk and couldn’t play, so Fletcher said “Hey, Truck, get up on the band stand and act like you are playing the bass.” He said he liked it so much that he bought a bass and learned to play it. When he came to my band he had just gotten off the Pearl Bailey/Louie Bellson trio. When he left my band he joined the CBS staff orchestra. I was lucky enough to have the likes of Frank Powers or Bobby Gordon on Clarinet.  I had the wonderful Norman Murphy on trumpet who had been in the Brass section of Gene Krupa’s Big Band. I also had the hilarious Jack “The Bear” Brown on trumpet. My band played opposite the original “Dukes of Dixieland” for a solid year at the club “Bourbon Street” in the middle. There were the Asuntos — Frank, on Trumpet — Freddie on Trombone and PaPa Jack on Trombone and Banjo. Gene Schroeder was on piano (where I learned so much) and the fantastic Barrett Deems on Drums.

At the Sari-S Showboat I was in the band of the great Trombonist Grorg Brunis, the Marsala Brothers, Joe and Marty, along with “Hey Hey” Humphries on drums, were also on the band. Another great band I played on was listed as Junie Cobb’s “Colonels of Corn.” The main reason this band was so great was that they were the very originals of JASS MUSIC. Junie was a multi-instrumentalist who on this band was playing Piano (he also recorded on Banjo). Al Wynn who had been the musical director for the great blues singer “Ma Rainey” was on Trombone and the wonderful Darnell Howard, who made terrific recordings with “Jelly Roll Morton,” was on Clarinet. We were playing at the Sabre Room and I was 17 (maybe 16) years old. I was a member of the last Jabbo Smith “Rhythm Aces” in New York City in the 1970’s.

Well, I could go on and on, but I’ll just say that the band “Wild Reeds and Wicked Rhythm” which I had for four or five years at the “Cajun Restaurant” on 16th Street and 8th Avenue in Manhattan was the thrill of my life. With the GREAT Scott Robinson and Orange Kellin on Reeds and Debbie Kennedy on Bass and MY BROTHER from a another mother — Conal Fowkes — was on Piano (he knows what I’m going to do before I do it and fits me like a glove). These were perhaps the most satisfying Musical Evenings I’ve ever known.

Scott Robinson is easily the best (for me) musical mind and player I’ve ever been in the presents of. I couldn’t come up with enough words to express my JOY with this band for those several years we performed every Wednesday night at the Cajun Restaurant in the great town of Manhattan.

We had two great subs on the night of this video. Dmitri Kolesnikov was on bass and on saxophone, the truly wonderful “The Hat” Michael Hashim.

Mr. Steinman, I would like to thank you so very much for supplying these videos and if you or anyone else has any other footage of any combination of this band, it would please me to no end to know of it.

The Banjoist Eddy “The Manhattan Minstrel” Davis

The songs are AFTER YOU’VE GONE / OLD BONES / YOU TOOK ADVANTAGE OF ME / TROUBLE IN MIND, all with vocals by Bob.

It’s so lovely to be able to reach back into the past and find it’s not only accessible but glowing.  There’s more to come.

May your happiness increase!

YOU WON’T NEED A SPREADSHEET TO HAVE FUN AT THE SACRAMENTO MUSIC FESTIVAL (May 25-28, 2012)

My friend Nancy Doran Giffin just sent me this early-birthday gift — the schedule for the 2012 Sacramento Music Festival.  I’ll be there.  Will you?  I can see myself racing around from sets:  the Reynolds Brothers, Rebecca Kilgore Trio, Bob Draga, Ray Templin, Clint Baker, Tofu Cavera, Uptown Lowdown, Dave Bennett, Allan Vache, Russ Phillips, John Cocuzzi, Uptown Lowdown, Stephanie Trick, Dan Barrett, Rossano Sportiello, Jennifer Leitham, Big Mama Sue, the Red Skunk Jipzee Swing Band, the New Black Eagles, Eddie Erickson, Molly Ryan, Bob Ringwald, Ray Templin, Vince Bartels . . . and that’s only about twenty percent of what’s on the program.

Since I am an old-fashioned type (I remember life before the computer), I will eventually give myself the sumptuous pleasure of printing out these pages and marking out my musical peregrinations with a yellow highlighter so that I don’t miss an exalted note.  But I’ve looked at this cornucopia for a long time, basking in anticipation of the wonders we will hear . . .

The festival schedule is posted and arranged by day.  Anyone can go to each day and do a “Find” for a particular name, then keep clicking “Next” to see all the places they are listed on that page.

Try it here.  Go ahead, knock yourselves out!

May your happiness increase.

SHE’S FROM NEW ORLEANS!

That’s CLEMENTINE — as celebrated here (thanks to Rae Ann Berry) by the Bay Area All-Stars, recorded at Nick’s at Rockaway Beach, Pacifica, California, on November 14, 2011 — under the aegis of the San Francisco Traditional Jazz Foundation.

As soon as they started with the verse, I was hooked.  Then I happily followed along with Bob Ringwald at the piano, the heroic Marty Eggers on bass, Bob Schulz on cornet (floating along behind the beat in the best 1932 Louis manner), Jim Maihack on trombone, Scott Anthony on banjo and vocal (offering the sweet, silly, irresistible lyrics).

Something for Bix, Tram, Venuti, Challis, and Goldkette — and now everyone knows how to pronounce the lady’s name — rhyming with New Orleans, not with “wine.”  A lovely hot vignette!

OUR FAR-FLUNG CORRESPONDENTS: SACRAMENTO JAZZ JUBILEE (II)

Bill Gallagher, also a fine writer, is encountered too infrequently in the pages of the IAJRC Journal. Here’s his report on the Sacramento Jazz Jubilee, held Memorial Day Weekend:

This celebration of jazz was started in 1974, primarily as a Trad Jazz festival. Today it is still mostly a Trad thing but there is a good deal of Mainstream jazz and even Latin, Gypsy and Zydeco. The problem, if you could call it that, is that there are 105 different bands appearing throughout the city at 30 different venues. Commendably, there are a number of youth bands that get to strut their stuff and it is heartening to see jazz attract the younger set, particularly while the audience (myself included) seems to be aging at an alarming rate. Attendance this year was about 75,000 people. Not a bad draw, you might say, but not close to the 200,000 attendees of ten years ago. Another reality in this age of shrinking budgets is that fewer international bands are to be seen. While the festival provides a highly efficient transportation system for getting from one venue to another, the sheer size of the three-day event makes it impossible to see and hear everything. But that doesn’t stop the faint of heart from trying.

Overlooking the magnitude of the event and its associated logistics, there was lots of great jazz. Becky Kilgore and BED knocks everybody’s socks off. Various All Stars in numerous configurations provided stunning, extemporaneous performances. Performers like Harry Allen, Russ Phillips, John Allred, Randy Reinhart, Joe Ascione, John Cocuzzi, Jim Galloway, Jake Hanna and, I’m proud to say, my good friend and pianist with few peers, Eddie Higgins, provided a continuous succession of one great performance after another. But a good part of the fun was listening to the banter that goes on with musicians and the occasionally funny slip by a fan. What do I mean? Well, here’s a sampler.

Tommy Saunders made reference to a compatriot of many years with the aside, “I’ve drunk to your health so much I’ve ruined mine.”

A woman approached Bob Schulz of the Frisco Jazz Band with a request. Would you play “I’ll Be Your Friend For Pleasure”? Sure, but I think you mean “I’ll Be Your Friend WITH Pleasure.”

As Jim Galloway began to introduce a number that featured him, “Bewitched, Bothered and …” But before he could get the last word out, Dan Barrett injected “Bob Wilber-ed.”

Bob Ringwald, father of actress Molly Ringwald, performed “Bethena,” a beautiful Scott Joplin rag. As background, Bob told the audience that his daughter had asked him to play it for her wedding. It was a difficult piece to learn and it took Bob some time to finally get it down. “In fact,” said Bob, “it took me longer to learn it than the marriage lasted.”

Great music. Great fun. Good times.

—- Bill Gallagher