Tag Archives: John Gill

“UNDERNEATH THE GROUND, WHERE ALL THE FUN IS FOUND”: TERRY WALDO’S GOTHAM JAZZ BAND (January 29, 2017): JON-ERIK KELLSO, EVAN ARNTZEN, JIM FRYER, TERRY WALDO, BRIAN NALEPKA, JOHN GILL, JAY LEPLEY

Even in January, it’s hot down below — when “down below” refers to Fat Cat, 75 Christopher Street in Greenwich Village, New York, and when Terry Waldo and the Gotham City Band are in session.  As they were last January 29 — one of their Sunday early-evening delights.  (I’d advise not looking at the club’s graphic too strenuously; it raises certain questions.)

Our text for today, Brothers and Sisters, is the 1916 hit DOWN IN HONKY TONKY TOWN, by Charles McCarron and Chris Smith.  I would never have added the Y to the penultimate word, but that was because I’d never seen the cover of the sheet music.  I have changed my ways.

This site, the source of the sheet music above, also has a wonderfully erudite discussion about the origin of “honky tonk,” which I found fascinating.

Here is the start of the chorus:

Come honey, let’s go down,
to honky-tonky town.
It’s underneath the ground,
where all the fun is found.
There’ll be singing waiters,
singing syncopaters,
dancing to piano played by Mister Brown.
He plays piano queer,
he always plays by ear.
The music that you hear,
just makes you stay a year.

(At this point the variant versions became too deep for me to delve into without a paid sabbatical, but you get the idea — an inducement to good times.)

Here’s the quite hot instrumental version created belowstairs by Terry Waldo, piano; Jon-Erik Kellso, trumpet; Jim Fryer, trombone; Evan Arntzen, clarinet; Brian Nalepka, string bass; John Gill, banjo; Jay Lepley, drums:

The temperature is in the nineties today, so we don’t need anyone to get us hotter, but this will be homeopathically salutary, and you can also watch it next winter to keep heating costs down.

May your happiness increase!

NEW YORK CAKE: TERRY WALDO, EVAN ARNTZEN, JON-ERIK KELLSO, BRIAN NALEPKA, JIM FRYER, JOHN GILL, JAY LEPLEY at FAT CAT (January 29, 2017)

Not this (announced as “the best New York style cheesecake):

but a hot version of the song immortalized in 1924 and 1925 by Louis Armstrong and Sidney Bechet, Bessie Smith and others, CAKE WALKIN’ BABIES FROM HOME.  This is my second CAKE post: the first, presenting two hot performances by Dave Kosymna, Christopher Smith, Ray Heitger, Nicole Heitger, James Dapogny, and Pete Siers (all deftly captured by Laura Wyman) may be visited here.

But my experience of New York and New  Yorkers — even from the suburbs, what Flaubert would call the provinces — is that we don’t like to take second place to anyone or anything.  And in a cake walking contest, second place is noplace.

So here’s the New York version, created a month earlier at Fat Cat (75 Christopher Street in Greenwich Village) by Terry Waldo and the Gotham City Band, who were on that Sunday Evan Arntzen, Jon-Erik Kellso, Jim Fryer, Jay Lepley, Brian Nalepka, John Gill.  Consider for yourselves:

I won’t ask viewers to set up mock combat between Ohio and New York: all those cakes and contests are beautiful and hot.

May your happiness increase!

REBUKING THE DEACON: TERRY WALDO’S GOTHAM CITY BAND: TERRY WALDO, JON-ERIK KELLSO, JIM FRYER, EVAN ARNTZEN, JOHN GILL, BRIAN NALEPKA, JAY LEPLEY at FAT CAT (January 29, 2017)

Some might know W.C. Handy’s AUNT HAGAR’S BLUES as one of the ancient classics — a multi-strain composition, hallowed through decades of performance. But the lyrics tell a deep story: here is an approximate transcription of what Louis sang on the 1954 Columbia session honoring Handy (that recording the precious gift of the far-seeing George Avakian):

Old Deacon Splivin his flock was givin’ the way of livin’ right, yes
Said he, “No wingin’, no ragtime singin’, tonight,” yes
Up jumped Aunt Hagar and shouted out with all her might
All her might.

She said, “Oh, ain’t no use to preachin’
Oh, ain’t no use to teachin’.

Each modulation of syncopation
Just tells my feet to dance and I can’t refuse
When I hear the melody they call the blues, those ever lovin’ blues.”

Just hear Aunt Hagar’s children harmonizin’ to that old mournful tune.
It’s like a choir from on high broke loose, amen
If the Devil brought it, the good Lord sent it right down to me
Let the congregation join while I sing those lovin’ Aunt Hagar’s blues.

Even in 2017, the Deacon is still waggling his bony finger at us, and even when the lyrics to AUNT HAGAR’S BLUES aren’t sung, you can hear Aunt’s triumph.  A convincing example took place downstairs at Fat Cat (75 Christopher Street, Greenwich Village, New York) on Sunday, January 29, 2017, when Terry Waldo’s Gotham City Band played the song.  The hot philosophers sending the message are Terry, Jon-Erik Kellso, John Gill, Brian Nalepka, Jay Lepley, Jim Fryer, Evan Arntzen:

The message is clear.  When faced with those who would preach denial of life, always choose joy, no matter who tries to direct your course.  I’m with Aunt Hagar.

May your happiness increase!

“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!

PIPING HOT, EXPERTLY PREPARED: TERRY WALDO, JON-ERIK KELLSO, JIM FRYER, EVAN ARNTZEN, JOHN GILL, BRIAN NALEPKA, JAY LEPLEY at FAT CAT (January 29, 2017)

WEARY BLUES was written in 1915 by Artie Matthews as a ragtime piece, and the earliest recording we have (I believe) is this quite warm and well-seasoned  1919 rendition by the Louisiana Five:

Then it was recorded by many people — it’s terribly catchy with many breaks and it has a natural momentum.  I will only offer this piece of history, because my feeling everyone should know this hot record by heart:

But this blog isn’t about archaeology; rather, it’s about gratifying music performed NOW.  Down in the basement of Fat Cat (75 Christopher Street, Greenwich Village, New York City) on Sunday, January 29, 2017, Terry Waldo and his Gotham City Band created something beautiful and blazing hot out of WEARY BLUES.  The cooks were Terry, piano; Jon-Erik Kellso, trumpet; Jim Fryer, trombone; Evan Arntzen, reeds; John Gill, banjo; Brian Nalepka, string bass; Jay Lepley, drums.

The savory dish, herewith:

Why do I live in New York?  Many reasons, but the possibility of wandering down the stairs on a late Sunday afternoon, making my way through young people focused on beer, ping pong, billiards, conversation, and hearing THAT is one of the chief reasons to be here and stay here.

For my readers: may the most heavy WEARY BLUES you ever feel be just this light upon your heart.

May your happiness increase!

“FOX TROT, VOCAL CHORUS”: JIM FRYER, EVAN ARNTZEN, BRIAN NALEPKA with TERRY WALDO, JAY LEPLEY, JOHN GILL, JON-ERIK KELLSO at FAT CAT (Jan. 29, 2017)

Even if they don’t have trained voices, the instrumental soloists I know tend to be really convincing singers, often with a loose, sleeves-rolled up approach to the song, which, by its casualness, conceals a real understanding of melody, rhythm, and how to “sell a song.”  (And sometimes the most under-documented singers are the most affecting: Basie, muttering his way through HARVARD BLUES, Hawkins emoting on LOVE CRIES, Carter wooing us with SYNTHETIC LOVE.)

Musicians know that bursting into song delights an audience (if it’s not offered on every performance) and it rests tired lips and hands. Here are three wonderful examples from a Sunday afternoon session by Terry Waldo, Jon-Erik Kellso, Jim Fryer, Evan Arntzen, Brian Nalepka, John Gill, and Jay Lepley — January 29, 2017).  I will point out that everyone in this band has been known to warble a chorus, but today I am concentrating on Messrs. Fryer, Arntzen, and Nalepka — all of whom have sung in performance and the recording studio.

And since so much of American pop music of the last century and more takes romance as its subject, here are three very different love songs: the first a chronicle of deprivation (“I’d love to join the fun but they bar me.”) the second a narrative of how serendipity made for great love (“I kept buying china / Until the crowd got wise.”) and the last a happy description of mutual adoration (“My baby don’t care who knows it.”)

Jim Fryer chronicles romantic woes, Lombardo / Louis style on SWEETHEARTS ON PARADE:

Evan Arntzen reminds us of Bing, 1931, incidentally, with I FOUND A MILLION DOLLAR BABY (IN A FIVE-AND-TEN CENT STORE):

and Brian Nalepka tells the truth (ask Mary Shaughnessy), MY BABY JUST CARES FOR ME:

These frolics happen most Sunday afternoons at Fat Cat, 75 Christopher Street, Greenwich Village, New York City (take the #1 train to Christopher Street / Sheridan Square).

May your happiness increase!