Free S Irit of the Clarinet
Total Page：16
File Type：pdf, Size：1020Kb
They Called it Jazz FrankChace FreeS iritof theClarinet (This is the 69th in a series of legendary Baby Dodds and Lil Hardin biographies of great traditional jazz Armstrong). Two years later Chace musicians.) played a concert in Minneapolis with By Hal Smilh Doc Evans,later issuedon a SomaLP. President, AFCDJS One of Frank Chace's greatest Chicago pianist Oro "Tut" Soper performances was recorded in 1957, once said, "A Chicago Jazz musician when Marty Grosz organized a will always have to fight to keep a free, recordingsession for theR iversidelabel. wild heart." For over 60 years, The record, "Hooray For Bix," by the clarinetist Frank Chace fought for that Honoris Causa Jazz Band. featured same freedom. Chace on clarinet and bass sax. The Chace was born in Chicago on July other sidemenwere Carl Halen, cornet; 22, 1924 - over three yearsbefore the Bud Wilson, trombone; Bob Skiver, first classicrecordings thatwould defrne tenor saxand clarinet;Tut Soper,piano; the Windy City's musical style. As a Chuck Neilson, bass; and Bob youth he played flute, but did not stay Saltmarsh, drums. Bill Priestley, a with the instrument. In 1943, while longtime friend of Bix Beiderbecke, attending Yale University, he was played cornet and guitar on a few tunes. drafted by the U.S. Army. The Army is Wild Bill Davison at George Wein's Grosz played guitar, led the band and often castigated,justly, for its treatment Storyville Club in Boston. Two of the wrote thearrangements. His chartswere of musicians such as Lester Young. evenings with Davison were recorded based on the sound of Bud Freeman's Luckily for Frank Chace,his Army hitch and several tracks were issued on the Summa Cum Laude band (which was yielded a benefit - a posting to New Savoy label. also the inspiration for the band name). York, which resultedin an opportunity ln 1952, Chaceplayed at the Barrel Chace is in top form throughout the to hear Pee Wee Russell at Nick's. in St. Louis. The band included another record, but his first choruson "Sorry" is Chacewas instantly drawn to Russell's lifelong friend, pianist Don Ewell. Live the crown jewel of the session. After idiosyncraticsound. He tookup clarinet recordings made at the Barrel indicate the four-bar introduction by the horns andused Pee Wee Russell'smusic as a that althoughPee Wee Russellwas still and string bass, the horns play the templatefor his own playing. his main inspiration, Chace had also melody in tight harmony. Chace floats His first recordingswere made with listenedto Omer Simeon,JohnnyDodds, above the ensemble, j oyfully the"Cellar Boys" inNew York in 195l. Frank Teschemacher and Darnell deconstructing the melody in the best The personnelincluded threemusicians Howard. traditionofPee Wee Russell. His useof who becamelifetime friends of Chace: After the St. Louis job ended,Chace extended harmonics and rhythmic guitarist Marty Grosz, multi- established permanent residence in suspensionis as closeto "free jazz" as instrumentalistJohn Dengler and pianist Chicago. In 1955 he played with the one can get in a swing setting. This Dick Wellstood. (The great New Salty Dogs. He also recorded with breathtakingchorus is Chace'ssupreme Orleansbassist Pops Foster and Jelly pianist Dave Remington for theJubilee moment and one of the most inspired Roll Morton's drummer Tommy label and with Natty Dominique'sNew solos in the history of rccordedjazz! Orleans Hot Six for Windin' Ball. Benford also played on the records). Continued in the July-ArzguslRambler Later in 1951, Chace played with (Dominique's group also included the AMEBICA'SFINEST CITY DIXIELANDJAZZ SOOEry Post OfficeBox 880387 San Diego,Califonnia 921680387 RETURNSERVICE REOUESTED PAGE 12 MAY-JUNE 2OO8 IAZZ RAMBLER.