Tag Archives: Chauncey Morehouse

“YOU CAN GO AS FAR AS YOU LIKE WITH ME”: STILL MORE FROM A VISIT TO CHAMBERSBURG, PENNSYLVANIA: JULY 22, 2015 — JOSH DUFFEE’S GRAYSTONE MONARCHS (ANDY SCHUMM, MIKE DAVIS, JIM FRYER, MICHAEL McQUAID, JASON DOWNES, JAY RATTMAN, TOM ROBERTS, JOHN SCURRY, LEIGH BARKER, JOSH DUFFEE)

This post is part three of three.  I wish it were part three of ten, but one can’t be greedy.  Here’s part one, and part two.  And here is the 1927 Oldsmobile.

And now . . . . four classic performances that we all associate with Jean Goldkette, Bill Challis, Bix Beiderbecke, and Frank Trumbauer, music conceived in 1927 and revisited for enthusiasm, style, and expertise in 2015.

I’M COMIN’ VIRGINIA:

IN MY MERRY OLDSMOBILE (the 4 / 4 version), with Mike Davis blowing a scorching chorus where the vocal once was:

CLEMENTINE (From New Orleans), the last side this band recorded for Victor:

MY PRETTY GIRL:

It was an honor to be there, and it is a privilege to share these dozen performances with you.  Blessings on the musicians, on Chauncey Morehouse’s friends and family, and, as before, this post is dedicated to Susan Anne Atherton.

May your happiness increase!

“IDOLIZING”: MORE FROM A VISIT TO CHAMBERSBURG, PENNSYLVANIA: JULY 22, 2015 — JOSH DUFFEE’S GRAYSTONE MONARCHS (ANDY SCHUMM, MIKE DAVIS, JIM FRYER, MICHAEL McQUAID, JASON DOWNES, JAY RATTMAN, TOM ROBERTS, JOHN SCURRY, LEIGH BARKER, JOSH DUFFEE)

Here‘s the first part of my trip to the Capitol Theater in Chambersburg, Pennsylvania — Chauncey Morehouse’s home town — including performances of I’M GONNA MEET MY SWEETIE NOW, SLOW RIVER, DINAH, and MIDNIGHT OIL by Josh Duffee’s Graystone Monarchs, a wonderful orchestra of musicians from New York, Iowa, and Australia.  And, yes, that gun is loaded.

Here are the next four delightful performances.

THE PANIC (a musical satire on the unwise rush to get married):

CONGOLAND, a Morehouse composition, whose title Josh explains:

And back to the Goldkette book, with the ODJB’s OSTRICH WALK:

And the hot-romantic IDOLIZING (which is all that seems worthwhile):

This post, as are the others in this series, is dedicated to Susan Anne Atherton.

May your happiness increase!

A VISIT TO CHAMBERSBURG, PENNSYLVANIA (Part One): JULY 22, 2015 — JOSH DUFFEE’S GRAYSTONE MONARCHS (ANDY SCHUMM, MIKE DAVIS, JIM FRYER, MICHAEL McQUAID, JASON DOWNES, JAY RATTMAN, TOM ROBERTS, JOHN SCURRY, LEIGH BARKER, JOSH DUFFEE)

I hadn’t heard of Chambersburg, Pennsylvania before the summer of 2015, when drummer-percussionist-archivist Josh Duffee announced his intention of giving a concert with his ten-piece Graystone Monarchs to celebrate the appearance of the Jean Goldkette Orchestra at the Capitol Theater on May 4, 1927, which was a triumphant evening, made even more so because Chambersburg was legendary drummer Chauncey Morehouse’s home town.

As you will see, the modern evening was triumphant also.  And a fact that says something about Josh’s devotion to the jazz heritage — the 2015 concert was free to the public (I am sure the 1927 one wasn’t).

Of course, I asked Josh if he needed a videographer, and he did, so you can see highlights of that concert here.  The band — expert and hot — was Josh on drums; Leigh Barker, string bass; John Scurry, banjo / guitar; Tom Roberts, piano; Jason Downes, Michael McQuaid, Jay Rattman, reeds; Jim Fryer, trombone; Andy Schumm, Mike Davis, trumpets.

Twelve performances from this evening have been approved for you to enjoy, and I have taken the perhaps unusual step in presenting them in three portions, as if you’d bought two new records from the local Victor dealer and would have weeks or more to savor them.  But eight more performances will follow.

An exuberant start:

SLOW RIVER, arranged by Bill Challis, who told Phil Schaap he hated the limp melody and tried to bury and sabotage it:

DINAH, harking back to the 1926 version featuring Steve Brown:

And the fourth “side,” from Chauncey’s days with the 1935 Russ Morgan orchestra:

More lovely music to come.

May your happiness increase!

A MUSICAL LANDSCAPE: MARCH 13, 1951

LANDSCAPE WITH BUSHES, Ivana Falconi Allen, 2020.  In a private collection.

The little world we know as jazz has moved so quickly in its hundred-plus years that sometimes it seems precariously balanced between the beloved Living and the heroic Dead.  I can go out in New York City to hear people I admire tremendously blow breath through horns and out of mouths, to make music right in front of me.  But at times jazz seems like a well-tended graveyard, with death announcements hitting me between the eyes every morning, adding to the great graveyard where Buster, Bessie, Billie, Bean, Brownie, Blanton, Ben, Bix, Big Sid, and Bunny are buried.

Where the music I am about to present — thanks to our great friend “Davey Tough” — fits in this formulation is a large charming paradox.  I do not think any of the players on this transcription disc, recorded before my birth, are alive in 2020.  But their music is resoundingly alive, and their ability to make a shining personal statement in sixteen bars, a time span of under thirty seconds, is marvelous.  Their names are announced, and you can read more on the label.

What’s the moral?

Emulate our great heroes, by doing something so well that when our bodies have said, “All right, that’s enough!” our selves live on.

And like “Davey Tough,” share your joys generously.

And a postscript: if you don’t know the artwork of the endearingly imaginative Ivana Falconi Allen, you are missing work as sharply realized and as delightful as any jazz solo you cherish.  Here is her website, full of sweet shocks.

May your happiness increase!

SHE’S SWEET. SHE’S FROM SAVANNAH.

savannah

Fats Waller, Andy Razaf, and Shelton Brooks wrote this song in 1929 for the revue CONNIE’S HOT CHOCOLATES.  I’ve read that Fats sold the rights to this and nearly 20 other songs to Irving Mills for $500 — a fortune in those days, but nothing compared to the money Mills made from that bundle.  Alas.

But back to the theme. To some, it’s not the most memorable composition — melody, rhythm, or lyrics — but I love it ardently because of the music its inspired, and because I always imagine a line of nimble chorus girls dancing to it. Like many of Fats’ most memorable tunes, it relies greatly on repeated melodic phrases moved around over the harmonies — simple to annotate but not as simple to create.

Here are four recordings from 1929, in chronological order, and a later masterpiece.  Consider the delightful possibilities.

The first ever: Louis Armstrong And His Orchestra: Louis Armstrong, trumpet, vocal; Homer Hobson, trumpet; Fred Robinson, trombone; Jimmy Strong, clarinet; Bert Curry, Crawford Wethington, alto saxophone; Carroll Dickerson, violin, conductor; Gene Anderson, piano; Mancy Carr, banjo; Pete Briggs, tuba; Zutty Singleton, drums.  New York, July 22, 1929.  (I think the intuitive relationship between Louis and Zutty — the latter on bock-a-de-bock cymbals and solidly thudding accents) foreshadows that of Louis and Big Sid. July 22, 1929:

Irving Mills’ Hotsy Totsy Gang.  Mannie Klein, Phil Napoleon, trumpet; Miff Mole, trombone; possibly Arnold Brilhart, clarinet, alto; Larry Binyon, tenor saxophone; possibly Arthur Schutt, piano; unknown banjo, guitar; Joe Tarto, tuba; Chauncey Morehouse, drums; Lilian Morton, vocal.  July 31, 1929:

I wonder what else can be known about Lilian Morton, aside from the two sides she made for Parlophone, THAT’S MY MAMMY and AFTER MY LAUGHTER CAME TEARS (accompaniment unknown) and that in 1926, she was praised in a tiny notice in The Scranton Republican from Scranton, Pennsylvania, as “Broadway’s well known singing comedienne … a peppery singer of the original type,” with “a splendid voice.”  She sounds very good on this recording.

Here’s the non-vocal version (made for the European market) with Miss Morton’s place taken by a duet for Arthur Schutt (perhaps?) and wonderful drumming by Chauncey Morehouse.  Praise to Larry Binyon, too:

And for the Lilian Morton completists in the viewing audience, the other Fats song — a good one! — from the same score, with Miss Morton’s vocal:

The originator, Fats Waller, at the piano, August 2, 1929:

And an utterly remarkable recording of SUE by Fess Williams and his Royal Flush Orchestra, September 20, 1929.  The Louis and Mills recordings seem to use the same stock arrangement, but this recording is notable for a slap-tongue clarinet solo after the last eight bars, completely satisfying vaudeville singing from the leader, wondrous piano by Hank Duncan, and delightful trumpet work from either Temple or Brown.  Fess Williams, clarinet, alto, vocal, leader; George Temple, trumpet; John Brown, trumpet, vocal; David “Jelly” James, trombone; Ralph Brown, Felix Gregory, alto saxophone; Perry Smith, clarinet, tenor, vocal; Henry “Hank” Duncan, piano; Ollie Blackwell or Andy Pendleton, banjo; Emanuel Casamore, tuba; Ralph Bedell, drums, vocal:

and one of the most endearing recordings I know — in its own way evoking Louis and Fats together in the persons of Ruby Braff, cornet; Dick Hyman, piano; July 2, 1994:

May your happiness increase!

A HALLEY’S COMET OF HOT (July 20, 2015: Dizzy’s Club Coca-Cola)

Halleys Comet

I know that even the most devoted jazz fans get complacent.  “Oh, we have to go to my sister-in-law’s that night.  We can always see that band.”  Or “She’ll be coming back to [insert your city or favorite jazz club] in a few months.  I’m tired.  I have a headache.  It’s raining.”  I’ve done it myself.  But I think — in what I admit is a rather gloomy way — what if someone had said, “Oh, we can always hear Bix / Charlie Christian / Jimmie Blanton / Sidney Catlett / Clifford Brown,” and then woke up to the newspapers a few days later.

Now, here is a band portrait.  Each of these gentlemen has many decades to go, to spread joy, to fill the air with beautiful sounds.  So I am not writing a morbid post.

If you don’t recognize them, they are known as THE HOT JAZZ ALLIANCE, which is an accurate name.

HJA picture

BUT.  This band — an Australian-US conglomeration of the highest order — is not a group that you can see every Monday and Thursday, wherever you live. Two of its members, Andy Schumm, cornet and miscellaneous instruments; Josh Duffee, drums, come from the United States.  Yes, I’ve seen them in the UK, but not as part of this group.  The other four luminaries hail from Australia, and although I’ve met Michael McQuaid, reeds; Jason Downes, reeds, and John Scurry, banjo / guitar, also in the UK (I apologize to Leigh Barker, string and brass bass, for not having bowed low before him.  Yet.) this group took a good amount of will-power and diligence to assemble.

So they are playing three shows in the United States, unless my information is faulty.  One is Josh’s July 22 tribute to Chauncey Morehouse in PoPa’s home town of Chambersburg, Pennsylvania — details here — I wonder how many Hot devotees in the tri-state New York area have plans to attend the HJA’s delicious two-show offering at Dizzy’s Club Coca-Cola?  One night, July 20.  Two shows, at 7:30 and 9:30.  You can read about the event here and you can purchase tickets (which I suggest you do while they are still available) here.

Now, it is possible that someone reading this post is already impatient.  “What? Does Michael think I am made of money?  The kids need braces; Mama needs to finish her post-doc in Spenser, and our ancient Toyota is falling apart as I sit here.”  I apologize.  I have a mortgage and an ancient car, and the orthodonture my parents paid for in my childhood has not stayed where it was put.  I understand other people’s bills.  But this is a once-in-a-who-knows-how-long event.

I’ll be at Dizzy’s . . . but without video camera.  Draw whatever conclusions you like, but if you are depending on me to be the Frank Buck of Hot (you could look it up) it won’t happen.  My apologies.

On another note.  “Michael, why should I go to hear a band I don’t know, when I can hear the Elastic Snappers any time I want?”  Good question.  Valid objection. But take an aural sniff of this:

Frank Melrose’s FORTY AND TIGHT:

CHICAGO RHYTHM:

TEXAS MOANER BLUES:

What I hear here is intense, passionate, “clean” and dirty all at once, expert and casual.  The HJA harks back to the beloved Ancestors but they aren’t in the business of reproducing old discs right in front of us.  They enliven and cheer.

And — just for a thrill — here is the cover photo, the gents all spiffy! — of their debut CD.  I’ve heard it and the glasses in the kitchen cabinet are still rocking. The CD will be on sale at Dizzy’s too, so you can take home a souvenir.

HJA CD coverEnough loving bullying for one post, one month, perhaps for ever.

But I think of a line from a late-Forties Mildred Bailey blues: “If you miss me / you’ll be missing that Acme Fast Freight.”  I am not a connoisseur of Forties freight shipping . . . but obviously the AFF was something special, perhaps the FedEx of 1947:

Acme Fast FreightI quietly suggest that the HJA is even more special, its New York appearance even more a rarity . . . who cares if there is not yet a special Hot Jazz Alliance matchbook?

I hope to see you at Dizzy’s!

May your happiness increase!

 

GET ON THE BUS! (July 22, Chambersburg, Pennsylvania; July 20, New York City)

Goldkette bus

 

It’s a familiar sight.  But now it’s re-emerged for an even more exciting reason. Josh Duffee, drummer and bandleader who loves the hot / dance music of this period, especially admires drummer multi-instrumentalist Chauncey Morehouse.  And rightly so.

Josh’s dreams are substantial, and he energetically makes them take shape.  His newest venture will please up to 800 people on the evening of Wednesday, July 22, 2015, at the Capitol Theater in Chambersburg, Pennsylvania.

CAPITOL THEATRE

Chambersburg isn’t one of the most famous stops on the Official Jazz History tour, but it was the home town of Chauncey and of Jean Goldkette trumpeter Fuzzy Farrar.  In 1927, the Goldkette orchestra played a concert in this beautiful theatre; on July 22, a reconstituted tentet of some of the finest hot musicians worldwide will honor Chauncey and his music.  And it’s free.

Goldkette ad

 

 

 

 

 

 

 

 

You can find out much more about the concert here and, should you be so inclined, you can make a donation to cover the expenses.

I asked Josh for more details about the music and the musicians.  First off, this ten-piece band will be primarily made up of the brilliant Hot Jazz Alliance, a sextet that is four-sixths Australian and two-sixths North American and six-sixths brilliant: From Oz, Michael McQuaid, reeds; Jason Downes, reeds; John Scurry, banjo / guitar; Leigh Barker, string bass.  From the US: Andy Schumm, cornet; Josh Duffee, drums.  Joining them for this concert will be Jay Rattman, reeds; Mike Davis, trumpet; David Sager, trombone; Tom Roberts, piano.
If you’ve heard nothing of the Hot Jazz Alliance, feast your ears here:

GIVE ME YOUR TELEPHONE NUMBER:

MILENBURG JOYS:

The second performance is particularly significant because it comes from the HJA’s debut CD — which is now issued, in gorgeous sound, ready for the eager multitudes.

But back to the Capitol Theatre concert.

The tentet will be playing a variety of songs that Chauncey played throughout his career. Josh says, “We’ll play the closest Goldkette recording to the date they played in 1927, Slow River. We’ll also be playing Congoland, which Chauncey co-wrote with Frank Guarente when they were with the Paul Specht Orchestra.  Audience members will hear music from the bands Chauncey played in throughout his career, like Paul Specht, Jean Goldkette, Russ Morgan, Frank Trumbauer, Bix Beiderbecke, Howard Lanin’s Benjamin Franklin Dance Orchestra, Irving Mills’ Hotsy-Totsy Gang, and others.  This will be the very first time this music will have been heard in this acoustic form in this theatre! Here are some of the songs we’ll be playing: Slow River; Harvey; My Pretty Girl; Midnight Oil; Clarinet Marmalade; Don’t Wake Me Up, Let Me Dream; Stampede; Dinah; Idolizing; Three Blind Mice; Congoland; 
Singin’ The Blues . . . .”

I don’t like being in the car for more than ninety minutes at a time, but I’m driving out to Chambersburg for this one.

And two days earlier / closer to home in New York City, the Hot Jazz Alliance will be performing two shows on Monday, July 20, at Dizzy’s Club Coca Cola in Jazz at Lincoln Center:  details here.

As I write these words, it is ninety degrees and humid both inside and out.  But even more Hot — of the best sort — is coming.

May your happiness increase!