Strolling Groups

In the real world, working conditions are spelled out as "job descriptions." However, when there are so many variables the situation for e.g. strolling gigs can be open to abuse. It then becomes the responsibility of the bandleader to give a "reasonable" service" for a reasonable set of circumstances.

 I'm talking about strolling gigs at fairs and entertainment venues eg. Western Fair here in London, local fall fairs like Kitchener, Simcoe and Ontario Place and the Canadian National Exhibition in Toronto. (It should be noted that there are about 150 Fall Fairs in Ontario each year.)

Disneyland in Florida has a tradition of roving groups e.g. Clown bands, Dixieland groups and occasionally a spectacular like a 16 piece Marching Ensemble.

In Florida I saw this 16-piece group that was a smaller version of a Drum and Bugle ensemble and they were absolutely world-class. The two lead trumpet soloists (playing G trumpets - two valved instruments) - did Maynard Ferguson lifts and were absolutely sensational.  

The Band's show was 20 to 25 minutes of powerhouse playing and then they took a 40-minute rest period.  The show was so demanding that this seemed a reasonable amount of time to refresh the "chops." The Canadian venues I previously mentioned don't have the budget or the audience to support such a high-profile presentation.

The Western Fair in London borrowed this strolling idea (strolling groups) from other places and it was (and still is) a great entertainment idea for a Fair.   However I heard some feedback on one bandleader at a local Fair (Kitchener) that tried to provide music "literally" to the 10-minute break per hour as a schedule. It turned out to be non-stop music by the pound.
  
In a four to eight hour period the musicians (if they were still standing) would be ready for the "funny farm." I heard that this over achieving leader adhered to this slave-driving schedule until his teeth ached. It was only then that he reluctantly cut back on the playing time.

His schedule wasn't expected or even noticed by the management. In my way of thinking he didn't understand the purpose of such a job.  He was just putting in excessive time and unfortunately killing his sidemen in the process.

For all intents and purposes, managements of Fairs want bands that entertain. The guy I just mentioned didn't even take time to take requests or even say hello to anyone.  He no doubt thought he was doing a good job by providing this continuous "live" Muzak. (A musical version of digging a ditch.) My sympathy to those musicians.

Frank Ewanski had a Dixieland group called the Labatt Blues at London's Western Fair.  This was an appropriate name as most of the musicians in his group were strong supporters of that company's product.  

Frank had a winning personality and reputation.   He just took his time and mingled with the audience and socialized at a leisurely pace.   When it came time to play the group put on a terrific show.   They then went back to mingling with his fans (socializing) and of course having a taste of his sponsor's product.

Frank understood the job and made up his own "reasonable" job description. The fair was happy. Labatt's was happy. The musicians were happy and the audience's felt thoroughly entertained.   He had a great Dixieland group and he knew the value of entertainment.    It was always a treat to hear and it was hard not to feel the bands enthusiasm and energy.   It was a real feel good "show.".

In Toronto at Ontario Place a regular at that establishment was another bandleader with his own peculiar job description.   Jack Mooney (not his real name) went out of his way to take it easy.   He also wasn't above padding the Dixieland group with members of his own family e.g. brother-in-law on maracas and a nephew on tambourine. (for a Dixieland band?) Jack was always hired year after year to do this "strolling" engagement regardless of his absurd mannerisms.

Now Ontario Place is spread out over about 100 acres and it was easy for Jack and his troops to hide.   Since it was a strolling gig, he made sure that he was moving around a lot. (Not playing mind you but moving from location to location.)  When on rare occasions his schedule was monitored by the management he had a ready answer.  "We've just finished a set and are now going to the "high density" area.  It should be noted that it was a wet gloomy day and there were only about 30 people there, that is if you could find them. So much for "high density."    Year after year Jack was hired and the Ontario Place management were always satisfied.

I'm told (from his band members) that he set a record for the shortest playing on a similar four-hour gig.   Jack and his group gabbed a lot and drank lots of coffee and managed to set a record of playing just a couple of tunes in all of this four hour time frame.    I heard that one day, he didn't play a single number. I'm not suggesting that he is a role model but he still got hired year after year. Guys that I know that worked for him said it was more boring sitting around than if they had played.

We have two extremes here, where one leader worked himself and his musicians to the "bone" and another one that hid behind the bushes and hardly played at all.

Frank Ewanski had the right idea and was a frequent presentation for the yearly Western Fair. It's not how much you play but how you communicate what you play to your audience.  I doubt very few people remember the Dixieland group slugging away playing to passing patrons or the other "travelling" ensemble at Ontario Place. But a lot of people remember and miss Frank, and his band (The Labatt Blues) and his infectious enthusiasm.  He had a lot of fans.

He was a real "honest" guy that lived in his "real" world. His group made you feel good. When you think of it, that’s a great product to sell.

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