Tag Archives: Leigh Barker

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!

JOHN SCURRY’S “REVERSE SWING”: THURSDAYS IN MARCH 2012

Here’s the good news — guitarist John Scurry has announced some regular gigs for his lively band REVERSE SWING (which also features my multi-instrumentalist friend Michael McQuaid, trumpeter Eugene Ball, string bassist Leigh Barker, and singer Heather Stewart.

I looked at my calendar in the kitchen and saw that Thursdays in March were fairly free.  Ten dollars is a bargain for two hours of creative improvised music, certainly.

So how am I to get there?

I decided to check out the possible directions through Google Maps . . . and was somewhat dismayed.  I read the first two of three stern warnings: “This route has tolls. This route includes a ferry.”  I could deal with those details.  But “This route crosses through Japan.” gave me pause, as did the distance: 16, 139 miles, and the proposed time: 56 days, 7 hours.

John, I might not make it in time.

But if any JAZZ LIVES readers are closer to Melbourne, I hope they will attend, fill the tip jar (or whatever they call it in Australia) lavishly, perhaps take a few neat videos, and report back.  I can attend vicariously.

THE HOT JAZZ ALLIANCE SWINGS OUT (April 20, 2011)

When my learned and hot Australian friend Michael McQuaid (clarinet, alto sax, cornet, and leader of the Late Hour Boys) told me sometime last year about a tour he and his colleagues intended to do, I badly wanted to join them as an aging roadie, carrying the cases and music stands, finding places to recharge my video camera’s batteries, recording every second for posterity.  I would have worn a cap and held the door open.

My idea was one whose time had not yet come.  But thanks to fellow reed wizard Jason Downes, we now have eighteen video performances to thrill us.  Michael and Jason on their own are — to quote the late Pee Wee Erwin, “hotter than a depot stove” (you could look it up) . . . and here they are joined by guitarist / banjoist John Scurry, bassist Leigh Barker, and two Americans whose names will be familiar to JAZZ LIVES: Andy Schumm on cornet and Josh Duffee on drums.  The results are nearly incendiary, and would be so even if the surroundings didn’t suggest Hades reborn as a speakeasy in color and decor.

I think I am performing a public service by alerting my readers of these clips.  See if you don’t agree.  And I can’t wait for the double CD-DVD set.  (Yes, one of the titles below is DON’T WAKE ME UP, LET ME DREAM, but any causal connection here is incidental, of course.)

Wow!  As we say in the States.

This session was recorded on April 20, 2011, in Club Cursley, Near Cobargo, NSW, Australia.  I was told that this lavish interior is inside a generous host’s country house . . . one with its own stage.  Some people know how to live.

How about a searing WILD MAN BLUES, styled after Johnny Dodds’ Black Bottom Stompers — and hear young Mister Schumm get into his 1927 Louis-regalia in the most convincing way:

Here is the aforementioned request (or command?), DON’T WAKE ME UP, LET ME DREAM (which has a chorus-ending tag that sounds like a thousand other tunes — I thought of WHY COULDN’T IT BE POOR LITTLE ME and GOOD LITTLE, BAD LITTLE YOU but might be mistaken in both counts).  From the title, I would have expected a snoozy sweet composition, so this romper is a delightful surprise.  The closing chorus is superheated:

And a slow-drag, almost melancholy BABY, WON’T YOU PLEASE COME HOME? (in keeping with the yearning lyrics):

And a nearly ominous reading of BLACK SNAKE BLUES:

I have purposely left the remaining fourteen videos unposted: visit “jasondownes” on YouTube and enjoy yourselves.  If you are measured in your enjoyment, that’s two weeks of joy at breakfast.  I still wish with all my heart that I had been along on this tour — maybe next year if I buy a cap that has THE HOT JAZZ ALLIANCE embroidered on it in gold braid, the fellows will make room for me in the band bus?

JOHN SCURRY’S “REVERSE SWING”

One of the most gratifying things about being a jazz listener is the possibility of meeting one’s heroes in the flesh.  I could lament that I never saw Django or Charlie Christian or Teddy Bunn, but I’m happy and proud to be able to write, “I’ve met John Scurry.”

I first heard John — guitarist, banjoist, composer, and not incidentally an artist — on several NifNuf CDs that came out of Bob Barnard’s Jazz Parties (a glorious series of celebrations running for a decade). 

I would put the CD into the player, most often in my car, and just listen, not knowing who the players were aside from Bob and one or two others.  But when I got to my destination or at a stoplight, I would look at the personnel to see exactly who that most impressive (unidentified) player was.  Sometimes it was Fred Parkes, other times Chris Taperell or George Washingmachine. 

But I came to know John Scurry’s work quickly: his ringing lines that didn’t go in familiar paths, his solid rhythm, his interesting voicings.  I then heard him on CDs with Allan Browne and Judy Carmichael and continued to be impressed.

And it would have stayed that way except for this summer’s trip to England and the long thrilling jazz weekend at the 2010 Whitley Bay International Jazz Festival. 

One night before the festival actually began, there was a concert devoted to the great British dance bands of the Thirties.  After we found seats on the little bus that was to take us to the hall, I recognized some people I’d met at the previous year’s festival — the multi-instrumentalist Michael McQuaid and his sweetheart Anna Lyttle. . . then Michael introduced me quickly to his colleagues, “there’s Jason, and John, and Ian.”  I’m not terribly good with names the first time I’m introduced, so I let the new bits of data wash over me.   (Eventually I came to meet and admire Jason Downes and Ian Smith.)

Later on, though, someone pointed out “John” and gave him his full title . . . and I went up to him and said, “You’re John Scurry?  I’ve been admiring your work for a long time . . . ” and on.  When he played with Michael’s Late Hour Boys, he was even better in person.  (I’ve posted a number of clips on YouTube that will bear me out.)

I’ve been listening John’s winding, curious compositions on some other CDs with Allan Browne recently.  I regret that he hasn’t yet had the opportunity to make a solo or duo CD.  In a world full of guitarists, he surely stands out.

I was both delighted and a bit puzzled by the portrait top left — even though I could understand that it is summer in Australia while we are worrying about the effects of the first frost on the plants . . . so I asked John to explain:

The band is a drumless quartet with Eugene Ball trumpet, Mike McQuaid
reeds, Leigh Barker bass, and myself on guitar.  We are unrehearsed and
playing standards, some of my so called originals and whatever comes
to mind in the balmy summer eve atmosphere of the lovely interior
spanish mission style courtyard of the Mission to Seafarers in
Melbourne, and old circa 1910 building.  The painting is by Antoine Watteau and I think it may be in the Met.  Jed Perl who writes for The New Republic did an article on it a few  years back. The painting if I remember correctly was recently rediscovered: I downloaded the image from his article, which was called  ‘A Big Surprise”.  A very beautiful work, don’t you think?  Sort of
encopasses everything really.

 As to “reverse swing”.  It’s a cricketing term, wherein the ball when
bowled swings the other way unexpectantly and contrary to Mr. Isaac
Newton’s expectations.  I like the name, I’m left-handed and happen to
play cricket…and I’m a bowler.  At this stage up until Christmas the gig is only for three weeks, however as  with all things we live in hope and joyful anticipation that more music may be had from the seafarers in the New Year.
I did this gig last year with Mike and Leigh, it’s a lot of fun
working with an acoustically based group without drums……it’s good
to  find one’s voice for better or worse without certain aural
encumbrances.

I only wish that New York was closer to Australia, or the reverse.  Perhaps someone will record REVERSE SWING with a video camera and share the results with us?  It won’t be the same, but it will tamp down my “Something wonderful is happening far away and I can’t get to it.” 

May John Scurry and his friends — not only in the Australian summer — prosper.