Tag Archives: John Bucher

A MIDSUMMER NIGHT’S DREAM: THE RED ONION JAZZ BAND, SUMMER EDITION, at THE CAJUN (June 24, 2006) PART ONE: DICK DREIWITZ, JOHN BUCHER, LEROY “SAM” PARKINS, HANK ROSS, ALAN CARY, BARBARA DREIWITZ, RONNIE WASHAM

Dali, THE PERSISTENCE OF MEMORY

How long ago is eleven years?  From one perspective, it’s a huge distance: we can’t go back to the seconds that just elapsed no matter how we try.  But through technology, we travel backwards and make ourselves comfortable there: consider photographs and recordings. In the New York City of the recent past, wonderful things happened as a matter of course, and perhaps we took them for granted. The Cajun, a New Orleans restaurant and jazz club on Eighth Avenue between 17th and 18th Street in Manhattan, offered music seven nights a week and on Sunday afternoons. Supervised by Arlene Lichterman and the late Herb Maslin, it was more down-home than posh, but the regulars (and tourists who wandered in) got more than their chicken or pasta.


What they got was wonderful congenial jazz.  Here is almost seventy-five minutes of it, still delicious.  The musicians are Ronnie Washam, vocal; Alan Cary, banjo; Barbara Dreiwitz, tuba; Hank Ross, piano; Sam Parkins, Albert clarinet; Dick Dreiwitz, trombone and MC; John Bucher, cornet.

I asked Dick Dreiwitz if he would write a few words about what you are going to see — an informal record of that rainy, warm Saturday night.

SUMMERTIME

A Band of Substitutes

Summers for the traditional, classic jazz bands (some called their style Dixieland), those bands fortunate enough to have steady work (even if it was only one night a week), summers came and delivered even more problems than the usual problems during the rest of the year. Vacations, tours, and travel caused individual, regular band members to be absent, so qualified substitutes had to be found and hired.  Such was the case with the Red Onion Jazz Band’s (ROJB) regular Saturday night gig at the Cajun Restaurant in New York City on 8th Avenue at 16th Street one night during the summer of 2006.

Leader and drummer Bob Thompson had gone to his vacation home in Martha’s Vineyard and clarinetist Joe Licari was lured away for a more lucrative single engagement that no player in his right mind would turn down.  The other regular band members away that night were: Simon Wettenhall, trumpet; Larry Weiss, piano; Rich Lieberson, banjo/guitar, and Bob Sacchi, tuba.  As I remember, the only regulars were Veronica Washam, our singer, and myself on trombone. Truly, it was what John Gill would have called “An Emergency Band.”

Curiously, as luck would have it, two substitutes on the night of the taping were John Bucher, cornet, and Hank Ross, piano, both regular members of the ROJB from the late 1950’s through the 1970’s when the band and its musical style were at a zenith of its popularity.  This activity included travel to play at jazz festivals, intervals of steady work in the New York metropolitan area at such places as Child’s Paramount in Times Square and Park 100, and a solo, sold out concert at Town Hall. Alan Cary, banjo, and Barbara Dreiwitz, tuba, both long time friends and substitutes with the band, filled out the personnel except for clarinetist Sam Parkins, on this occasion playing his new Albert System instrument in public for the first time.

Since that summer, over eleven years ago, the Cajun Restaurant has closed its doors, Bob Thompson, Hank Ross, and Sam Parkins have passed on and the Red Onion Jazz Band is little more than a memory, a few old LP records, a couple of CD’s, and some photos.

And these videos, which I shot with my less-sophisticated camera that night, and have resurrected from the stack of mini-DVDs in a bookcase.  The sound is clear and the sight lines, although restricted, are fine.  I apologize to the sweet singer Ronnie Washam, “The Chelsea Nightingale,” for rendering her invisible, but my memory is that she blanched at the idea of having a video camera aimed at her.

What you’ll notice immediately about this band of “substitutes” is its easy medium-tempo embrace of the music’s inherent lyricism, a swinging sweetness that is not always the case in bands wedded to this repertoire, who often aim for higher volume and quicker tempos. This version of the ROJB feels like people very fond of one another, taking a walk in late summer, aware that they can reach their happy destination without rushing.

Here’s the first segment, with AVALON (vocal RW) / BLUE TURNING GREY OVER YOU / SEE SEE RIDER [C.C. RIDER]:

and more — THE LOVE NEST (vocal RW) / MAMA’S GONE, GOODBYE / ‘DEED I DO (RW) / JAZZ ME BLUES / AIN’T MISBEHAVIN’ (RW):

and a third helping — THE JAPANESE SANDMAN / Introducing the band / MY BUDDY (vocal RW) / BYE BYE BLUES (RW) / HAPPY BIRTHDAY (RW) / I CAN’T GIVE YOU ANYTHING BUT LOVE (RW):

I’ll say it again: this is a lyrical, gliding band, full of individualists devoted to the communal glories of this music.  I miss The Cajun and am honored to present these vivid musical recollections both to people who were there and those not able to make that scene.  And there are more sounds from this band to come.

May your happiness increase!

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“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!

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

Eddy Davis, “The Manhattan Minstrel.”

Hallowed ground.

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.

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

Here’s the first part of the evening.  Eddy announces the songs, some of them his originals and a few transformations — all listed in the descriptions below the videos.

Come with me to the glorious days of 2006, to a club that has been replaced by a faceless high-rise apartment building, which has none of the joyous energy of the band and the Cajun.  And enjoy the music, with no cover charge — yours for keeps.

Part One:

Part One, concluded (with apologies to Dmitri):

Part Two:

May your happiness increase!

MOMENTS LIKE THIS: TAMAR KORN and the EARREGULARS (Nov. 14, 2010)

In his book ANSWERED PRAYERS, Truman Capote planned to include a story, “And Audrey Wilder Sang,” referring to the lovely wife of director Billy Wilder.  If she sang, you knew it had been a memorable party. 

Capote never met Tamar Korn, that brave improviser, but that’s his great loss. 

When she’s an unexpected guest, rare music results — as it did at the end of the night last Sunday, November 14, 2010, at The Ear Inn. 

I’ve already delighted in the performances of Pete Martinez, Dan Block, Matt Munisteri, Jon Burr, and John Bucher.  (But why not another few lines in praise of Dan’s deep repertoire of riffs and timbres, of Pete’s passionate intensity, Matt’s rocking work — singing along with his solo on the second title — and Jon’s woody propulsion.  And how they fit together here!) 

Tamar brought her own special kind of drama (without artifice), deep emotion, and vocal beauty to two songs.  And the audience at The Ear paid her the compliment of listening closely.  Perhaps they, too, were swept away by the vision of sweet pastoral she offered on UP A LAZY RIVER:

Then Tamar suggested THE SONG IS ENDED — thinking no doubt of her heroes the Mills Brothers and Louis Armstrong who had recorded this Irving Berlin number at a trotting tempo nearly seventy-five years ago.  Paradoxically, when Tamar told us the song was ended, it only made us want to hear her sing more:

Thank you, Tamar.  Thank you, gentlemen — for moments like this, so rare in anyone’s listening experience, perhaps in anyone’s life.

GREAT MINDS THINK ALIKE! — at THE EAR INN (Nov. 14, 2010)

Two reeds and a rhythm section! 

Not the sweet crooning of Jimmie Noone’s Apex Club Orchestra, the jostling-around of Bechet and Mezzrow, or the outright can-you-top-this of Soprano Summit and Summit Reunion.

No.  Dare I say it . . . something better.  Dan Block (clarinet and tenor), Pete Martinez (clarinet), Matt Munisteri (guitar), and Jon Burr (bass).  Cornetist John Bucher looked in for a brief visit, but otherwise it was a reeds-and-rhythm soiree, and a very lovely one at that. 

When I listen to these performances again, I think of songbirds having a deep conversation, or vines intertwining, gracefully and ardently.  Four of the most thoughtfully compatible jazz improvisers, reveling in the sounds they could make together, their lines complementing and completing each other’s spur-of-the-minute inventions, never colliding or overriding.   

Dan and Pete admire each other too much to be competitive, so the ensembles were riffing contrapuntal delights rather than a cutting contest between their Albert system clarinets (thanks to Michael McQuaid for the identification), and when Dan picked up the tenor, it was jazz with a great deal of swinging courtesy: “You play the melody and I’ll improvise around it, and then we’ll switch.” 

And the other members of the quartet were having a wonderful time: Jon and Matt, working hard, creating long lines and rocking propulsion.  Don’t let the darkness of their corner at The Ear make you miss out on the strong melodies they create!

Here’s a sample of the delights last Sunday at The Ear Inn (that’s 326 Spring Street, Soho, New York City):

Although the dawn wouldn’t break over Soho for hours to come, Dan suggested MARIE:

Fats Waller’s encomium about his Baby (complete with exultant verse), I’M CRAZY ‘BOUT MY BABY:

A logical development on the amorous theme, a slow, swaying LOVE IS JUST AROUND THE CORNER, with nods to its early, memorable singer (Mr. Crosby) and improviser (Mr. Russell):

Hark, a hot cornetist — over my shoulder!  John Bucher joins in for THREE LITTLE WORDS, with riffs that evoke the 1943 Commodore recording with Lester Young and the Kansas City Six:

RUSSIAN LULLABY is a song near to my heart — it works well at so many tempos, and has echoes of Ed Hall, Ruby Braff, Teddy Wilson, Joe Thomas, and Vic Dickenson attached to it (what could be wrong?) — and this version is a classic on its own terms:

And an extra minute, too good to leave out:

Dan Block suggested I THOUGHT I HEARD BUDDY BOLDEN SAY (or BUDDY BOLDEN’S BLUES) which turned out to be an excellent idea:

In keeping with the generally romantic repertoire and Dan’s love of Irving Berlin, A PRETTY GIRL IS LIKE A MELODY:

Memorable creative improvisation — with more surprises to come!

LOCAL HEROES: THE EAR REGULARS (March 21, 2010)

Why do some combinations of musicians coalesce memorably, and others not?  I suspect that it is a matter of forces the players themselves can’t explain.  They can tell you in detail why things don’t work: someone’s tired or annoyed; X dislikes that tempo; Y can’t stand the song; Z doesn’t feel well. 

But when all the stars are in alignment, the music is uplifting.  And the players look contented when they hear their colleagues; the smiles you see at the end of a song add up to a contented glow around the band.

This unpredictable magic happened on Sunday, March 21, 2010, at The Ear Inn (326 Spring Street, New York City). 

Two of the Ear Regulars were the valiant co-leaders: guitarist Matt Munisteri and trumpeter Jon-Erik Kellso, brave and true, who have led their little band on Sunday nights for thirty months now, a delightfully consistent series of small-band jam sessions.  One of the horn players, clarinetist Pete Martinez, had played there a week ago in concert with trombonist Harvey Tibbs.  And Scott Robinson has been a Regular, off and on, since the start — but this time he was featured on bass sax (with a surprise appearance on piccolo late in the evening). 

Were they especially happy to be playing together, although they knew each other from other appearances?  Was pleasurable anticipation, soon realized, in the air?  I don’t know.  But on this Sunday, the Ear Regulars reminded me of the great New York sessions of my youth — small groups featuring Ruby Braff, Vic Dickenson, Bobby Hackett, Milt Hinton, and others — lyrical, singing hot jazz.

Here are nine performances from this wondrous constellation of players, with guests coming by.  I know that the videos aren’t the same as being there, but perhaps if you raise the volume and get in the groove, you’ll catch the fervent spirit.  And I know it wasn’t just my happy hallucination: you can ask Jackie Kellso, Kevin Dorn, Doug Pomeroy, Molly Ryan, Dan Levinson, Barbara Rosene, and the elated Friends of The Ear whose names I didn’t catch. 

After a spirited warmup on THERE’LL BE SOME CHANGES MADE, Jon-Erik did something unusual by suggesting an even faster CHINA BOY.  It summoned up the drive of the Bechet-Spanier HRS session, with a good deal of Adrian Rollini added, as well as some Quintet of the Hot Club of France flavoring from guitarist Julian Lage:

Then, the Ear Regulars decided to try that very pretty Arthur Schwartz song, I GUESS I’LL HAVE TO CHANGE MY PLAN (associated in my mind with Bobby Hackett and Jack Teagarden), happily asking Scott to take the melody statement, a splendid idea:

Do you associate LOUISIANA with Bix, Bing, or Lester and Basie?  Whichever version you prefer, this one rocks:

I don’t know who thought of CREOLE LOVE CALL, but any time Jon-Erik takes out his plunger mute, I listen attentively to the secret messages he’s sending:

And the set closed with a minor romp, BLUES MY NAUGHTY SWEETIE GIVES TO ME, which gave Pete another chance to sear us with his lovely exuberant upper register:

After a break for dinner, it was time (however late) for a sensitive reading of Walter Donaldson’s AT SUNDOWN, at a lovely ballad tempo:

Cornetist John Bucher had come in when the second set started, and Jon-Erik invited him aboard for I NEVER KNEW, with closing riffs reminiscent of the 1933 Chocolate Dandies record:

Guitarist Dave Gross joined in for the final two numbers: a beautifully articulated IT’S THE TALK OF THE TOWN:

Finally, after some discussion, the Regulars chose WHISPERING to end the evening:

This music speaks for itself.  If you’ve never been to The Ear Inn on a Sunday, you’re denying yourself rare pleasure.