Tag Archives: The Cajun

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

This is the final part of my documentation of a jazz evening at a vanished New York City club / restaurant, The Cajun, run by Arlene Lichterman and Herb Maslin — a night that featured “Wild Reeds and Wicked Rhythm,” the energetic, playful small band led by Eddy Davis (banjo, vocals, originals).

Eddy Davis, “The Manhattan Minstrel”

With Eddy, two of the regulars were on hand this night, slightly over eleven years ago: Scott Robinson (C-melody saxophone) and Conal Fowkes (piano, vocal). The other regulars would have been Debbie Kennedy (string bass) and Orange Kellin (clarinet) but for this night their places were taken by Dmitri Kolesnikov on bass and Michael Hashim on alto and soprano saxophone.  Here is the earlier part of the evening, with Eddy’s invaluable commentary on his part in the scene.

SWING THAT MUSIC:

WHO WALKS IN WHEN I WALK OUT? / HAPPY BIRTHDAY / I’LL SEE YOU IN MY DREAMS:

This band was — without exaggeration — a doctoral seminar in ensemble playing and collective momentum.  It was an honor to be there, and a greater honor to be able to share these videos with you.

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!

“WILD REEDS AND WICKED RHYTHM” at The Ear Inn (June 5, 2011)

Last Sunday, June 5, 2011, was an unsual evening at that Soho mecca of swing, The Ear Inn (326 Spring Street, New York City) in that a band that wasn’t The EarRegulars was playing. 

It was a reunion of sorts for an inspired hot band of individualists that hadn’t played regularly for some time.  In 2005-6, this band had a regular Wednesday-night gig at The Cajun (a now-departed home for jazz in Chelsea).  The quartet was led by banjoist / singer / composer Eddy Davis, who called it WILD REEDS AND WICKED RHTYHM.  The title was more than accurate, and I miss those Wednesday nights.

Eddy’s compatriots were most often Scott Robinson on C-melody saxophone; Orange Kellin on clarinet; Conal Fowkes or Debbie Kennedy on string bass.  Sitters-in were made welcome (an extraordinary visitor was cornetist Bob Barnard) — but this little quartet didn’t need anyone else.  It swung hard and played rhapsodic melodies, as well as exploring Eddy’s own compositions (they had a down-home feel but the harmonies were never predictable).

At the Ear, this band came together once again — Eddy, Scott, Orange (up from New Orleans), and Conal (catch him singing Cole Porter in Woody Allen’s MIDNIGHT IN PARIS) — as well as second-set guests Dan Block and Pete Anderson on saxophones. 

Eddy had grown a fine bushy beard since the last time I saw him, but nothing else had changed — not the riotous joy the musicians took in egging each other on, the deep feeling, the intuitive ensemble cohesiveness, the startling solos . . .

Here’s a tune that all the musicians in the house love to jam!  No, not really — it’s a fairly obscure Washboard Rhythm Kings specialty circa 1931 that I’ve only heard done by the heroic / illustrious Reynolds Brothers.  It has a wonderful title — Eddy tried explaining it to a curious audience member when the performance had ended, with only mild success — FUTURISTIC JUNGLEISM:

Time for something pretty, suggested by Pete Anderson — MEMORIES OF YOU:

And a finale to end all finales — what began as a moody, building WILD MAN BLUES (running ten minutes) and then segued into a hilarious-then-serious romp on FINE AND DANDY . . . reed rapture plus hot strings! 

If that isn’t ecstatic to you, perhaps we should compare definitions of ecstasy?

THE GOLDEN EAR(A) (Dec. 12, 2010)

I’ve heard live jazz in many settings here and abroad.  In New York City, I can think of the last Eddie Condon’s, Jimmy Ryan’s, The Cajun, Smoke, Cleopatra’s Needle, Gregory’s, The Cookery, Arthur’s Tavern, Smoke, Iridium, Jazz Standard, The Garage, Bradley’s, The Half Note, The Onliest Place, Banjo Jim’s, Your Father’s Mustache, Bourbon Street, Sweet Rhythm, Smalls, Fat Cat, and many more. 

With all due respect to these clubs that have provided lasting memories from the early Seventies onward, I can’t over-estimate the joyous resonance of the Sunday night sessions at The Ear Inn (326 Spring Street, Soho, New York City) which have been going on for nearly three and a half years now.

The EarRegulars — co-led by Jon-Erik Kellso, trumpet, and Matt Munisteri, guitar — have offered serene / hot chamber jazz by a quartet staffed by a changing cast of characters . . . with expansion possibilities up to a dozen strolling players. 

But Sunday night, December 12, 2010, was a high point: two brass, two rhythm.  That combination might have been challenging with other players, but when the two others were Joel Forbes, bass, and Randy Reinhart, cornet, I knew great jazz was in store.  Joel and Matt are a wonderful team — as soloists and a wasteless, energetic but never noisy rhythm section.  Piano?  Drums?  Not missed.

Jon-Erik and Randy are pals (as you’ll hear) and although an evening featuring two other trumpeters — even though Randy plays cornet — might turn into a competitive display of ferocity, an old-time cutting contest, nothing of the sort happened here.  The two hornmen sounded for all the world like dear friends having a polite but involved conversation.  They soloed without interruption; their contrapuntal lines tumbled and soared; they created great hot ensembles, each one handing off the lead to the other.

Deep music and rollicking fun as well.

How about two tributes to the forever-young man from Davenport,  the dear boy Bix, compositions that have become hot jazz standards, ROYAL GARDEN BLUES and JAZZ ME BLUES? 

Written by Earl Hines, performed by Louis and Basie — some solid credentials for the song YOU CAN DEPEND ON ME:

What followed was a highlight of the evening — a deep, rocking exploration of DALLAS BLUES.  They’re on the right track!

Honesty counts, and candor is a great virtue.  So IT’S A SIN TO TELL A LIE, as Fats Waller told us:

Fidelity, even for a short period, is a great thing.  IF I COULD BE WITH YOU (ONE HOUR TONIGHT) is James P. Johnson’s wistful evocation of the desire for more than sixty minutes:

But everything in this life is mutable (root word: “muta”) and so THERE’LL BE SOME CHANGES MADE:

I’m so grateful that such music is being created where I and others can see and hear it!

TUESDAYS WITH CHARLIE (CARANICAS)

Charlie Caranicas, trumpet / fluegelhorn player by night, lawyer by day, is an often under-acknowledged New York jazz hero.  He can lead a “Dixieland” ensemble with power and grace, then turn around and play Monk with subtlety and deep feeling.  Or he can create jazz that both enhances the melody but doesn’t scare away the uninitiated.  I first heard him perhaps five years ago with Kevin Dorn’s band at the Cajun, and have delighted in his playing ever since.

New Yorkers have new opportunities to hear Charlie in low-key, intimate surroundings at two restaurants. 

One of them, Pane e Vino, is in Brooklyn (www.panevinony.com).  It’s located at 174 Smith Street, thirty seconds away from the F train’s Bergen Street stop.  The music begins at 8:30 PM and goes until 11, more or less.  Charlie appears there with his own trio — a guitarist and bassist, the latter often the admirable Kelly Friesen.  The trio will be there on Tuesday, May 4th, and on May 18th. 

I visited Pane e Vino a few weeks ago and was impressed by its quiet atmosphere (the trio plays near a small collection of overstuffed chairs and sofas) and cozy darkness.  (The darkness defeated every camera that I had with me, but it lent the music a lovely intimacy.)  With Charlie that night were Kelly on bass and the very fine guitarist Mark McCarron.  The trio must have felt like honoring Benny Carter, because they began their first set with a walking WHEN LIGHTS ARE LOW (Charlie played his solo into a red-and-white metal derby) that showed off McCarron’s subtle chording and Kelly’s fine flexible pulse.  After a version of DINAH that began medium-fast and then went into double-time, with Charlie bowing to Louis’s 1933 Copenhagen version, the trio returned to Carter with a yearning ONLY TRUST YOUR HEART, for which Charlie picked up his fluegelhorn, filling the room with his warm, cushiony sound.  A pulsing THESE FOOLISH THINGS made me think I had gone back in time to hear Harry Edison, George VanEps, and Ray Brown — names to conjure with!  Singer Lisa Hearns sat in for a trio of Basie-infused standards, APRIL IN PARIS, CAN’T WE BE FRIENDS, and OUR LOVE IS HERE TO STAY. 

Wednesday morning beckoned with its chill finger, so I stayed for only the first set, but it was convincing jazz — relaxed but focused swing.  I was amused to see that Charlie’s derby doubled as a tip jar, and some of the listeners seemed to know what it was for. 

I haven’t been to Charlie’s New York City gig, but he’ll be at BOOM on Tuesday, May 11th.  It’s a restaurant / lounge in Soho, also with a trio, 8:30 until 11:30.  BOOM is at 152 Spring St., just east of West Broadway (www.boomsoho.com).  Charlie’s website is www.charliejazz.com, and I’m sure he wouldn’t mind if you asked to be added to his email list.  He’s worth hearing!

OLD TIME MODERN, or HOT ECLECTICISM

I thought of “Old Time Modern” while watching a wonderful new concert DVD.  That title originally was from a Nat Pierce composition recorded for Vanguard in the Fifties, blending boppish harmonies with a Thirties Basie feel. 

Now it perfectly summons up the inspired pairing of Eddy Davis, banjo, vocals, and badinage, and Conal Fowkes, piano, vocals, and commentary.  This duo had a wonderful opportunity to appear in a Barcelona club for an extended run; they found a most hip Brazilian filmmaker, Arturo Querzoli, and the results are now available.

Most jazz videos (including mine) suffer from the demands of impromptu recording: poor lighting, people walking in front of the camera, extraneous noise.  Devoted types like Rae Ann Berry and myself grin and bear it and call the results “cinema verite.”  But how rewarding it is to see two completely relaxed musicians captured from every angle with beautiful sound in high-definition video.

And what musicians they are!  I know that some people get pale and anxious when they even hear the word “banjo” in a sentence, and I can hardly blame them.  Badly played, the banjo can provide hours of painful listening experiences.  Many banjo players seem to have modeled their approaches on power tools, giving their instruments a metallic twang.  Not Eddy Davis.  His approach is subtle but his rhythm propulsive, and although he doesn’t look the part of a Thirties romantic hero, he has a deep sentimental streak.  Eddy writes his own appealing tunes and digs out those you’d forgotten or never heard.  Where Eddy looks much like a small-town pharmacist with a decided FDR image, Conal could pass as a multi-lingual European statesman.  A diplomat, perhaps, or even the head of a large bank.  But beneath that sedate exterior there is a fine, stomping Jelly Roll Morton – Joe Sullivan – Fats Waller pianist, a singer both hilarious and tender, and a wonderful accompanist to Eddy.  In fact, one of the great pleasures of this duo is watching two fine soloists who are also splendid accompanists.  This duo isn’t a cutting contest; it’s a friendly conversation, with one egging the other on. 

By the way, I first saw (and met) Conal and Eddy sometime in 2005 when Eddy’s multi-named small group (eventually called WILD REEDS AND WICKED RHYTHM) had the Wednesday-night spot at the now-vanished Cajun.  Most nights, Debbie Kennedy was on string bass and occasional vocal; Scott Robinson and Orange Kellin were the hot winds, and the group rocked as few others I’ve ever heard have done.  If you weren’t sitting near me to hear this group, you definitely need this DVD.  And if you were at one of the front tables, you won’t need any convincing.

And (for me) the best part — including the musical intimacy, the beautiful recording, the fine camerawork — is the amazingly broad repertoire.  Most groups limit themselves: the Fowkes-Davis collective is happy playing Morton, Ory, Oliver, Eubie Blake, Morton, Ellington, Henderson — but these musicians have a deep streak of sentiment, so you’ll also hear I FALL IN LOVE TOO EASILY, LA VIE EN ROSE (with a tender reading of the original French lyrics by Conal), and MY FOOLISH HEART, crooned in a near-whisper by Eddy.

And here’s some brilliant musical and visual evidence from the DVD:

Here are WILD MAN BLUES and MEMORIES OF YOU:

WHAT A DIFFERENCE A DAY MAKES and DINAH:

SNAKE RAG and I FALL IN LOVE TOO EASILY:

Henderson’s THE STAMPEDE:

ORY’S CREOLE TROMBONE and MY FOOLISH HEART, surely a surprising pair:

LA VIE EN ROSE and HANG OUT THE STARS IN INDIANA:

Finally, there’s CRY ME A RIVER:

Now. that’s a generous helping of music for free.  But there’s more!  The DVD includes a dozen selections (some of them lengthy medleys) and one bonus track with an appearance by A Famous Mystery Guest.  You can find out how to buy this at www.davisfowkes.com (a little Barelona bird told me that the price is $20.00 plus shipping, certainly cheaper than the round-trip flight).  It’s a consistent pleasure.