The first time I heard this tune was in 1993, on a recording made that year by Chris Tyle's Silver Leaf Jazz Band; and it made an impression on me. I entered it into my mini-filofax storage system. It is usually played in Ab, but I put it in the key of Bb, to suit my cornet - a transposing instrument.
C is the section on which to 'stick' for the purpose of solos. Improvising on it is easy because the chord sequence follows the Four-Leaf Clover chord progression.
It is interesting that when I went to New Orleans for The French Quarter Festival in April 2016, among the performers I heard were Tom Saunders, Lars Edegran, Steve Pistorius and Tom Fischer - all of whom played on that Silver Leaf Jazz Band CD 23 years earlier.
I like to play along with Tuba Skinny performing this tune on YouTube, though in this performance they use only the Bridge and Section C. They also play it in Bb, not Ab. Click here to watch and hear them.It is interesting that when I went to New Orleans for The French Quarter Festival in April 2016, among the performers I heard were Tom Saunders, Lars Edegran, Steve Pistorius and Tom Fischer - all of whom played on that Silver Leaf Jazz Band CD 23 years earlier.
Big Chief Battleaxe is a firm favourite in the traditional jazz repertoire.
For example, the influential Bunk Johnson recording may be heard BY CLICKING HERE.
Listen to the minor-key opening, and what do you think of? Possibly a scene from one of those black-and-white Cowboys-and-Indians movies of the 1940s. You picture a Big Chief, with feathered head-dress, long hair, and painted face, looking down from his horse at some settlers who pose a threat to his territory. In a curious pared-down version of English, he says firmly and with dignity to his tribesmen: 'White man need water. Give white man water.'
And then comes a brighter, jaunty melody in the major key. It perhaps makes you think of a happier moment when his tribespeople are enjoying a dance round the fire as the sun goes down.
Thomas S. Allen wrote the words for it as well as the melodies. Maybe you will be as surprised as I was to discover that it actually had words. And when I looked recently at the original sheet music, I was astonished to read those words and also discover what the composer had in mind. The 'Big Chief' was in fact just a painted wooden advertising sign outside a tobacconist's shop. Allen had the fanciful idea of this 'Big Chief' falling in love with an advertising sign across the road (a princess advertising stogies [cigars]). Eventually they went away together. Allen actually described the song as 'A Comic Indian Novelty'.
Listen to the bit of music Tuba Skinny plays between 51 seconds and 1 minute 9 seconds (the major-key theme) in the video indicated above. The words that go with it are:
Listen to the bit of music Tuba Skinny plays between 51 seconds and 1 minute 9 seconds (the major-key theme) in the video indicated above. The words that go with it are:
‘Big Chief Battleaxe loves yer true;
all day long I gaze at you.
I don't care for this job any more.
If you’ll say you’ll be my bride,
then we’ll take a good long ride
far away from this tobacco store.’
all day long I gaze at you.
I don't care for this job any more.
If you’ll say you’ll be my bride,
then we’ll take a good long ride
far away from this tobacco store.’
The words of the song in full are:
Upon a stand, with a tomahawk in his hand,
stood an Indian chief of the bold Comanche band.
Ten years or more he’d been standing at the door
as an advertising sign for an old tobacco store
He longed to meet the princess so sweet
who held a bunch of stogies out on the opposite side of the street.
When she inquired if his tomahawk arm was tired,
then he shook his little head and he answered back so sweet:
'Big Chief Battleaxe loves yer true;
all day long I gaze at you.
stood an Indian chief of the bold Comanche band.
Ten years or more he’d been standing at the door
as an advertising sign for an old tobacco store
He longed to meet the princess so sweet
who held a bunch of stogies out on the opposite side of the street.
When she inquired if his tomahawk arm was tired,
then he shook his little head and he answered back so sweet:
'Big Chief Battleaxe loves yer true;
all day long I gaze at you.
I don't care for this job any more.
If you’ll say you’ll be my bride,
then we’ll take a good long ride
far away from this tobacco store.’
Sad to relate was this Indian warrior’s fate,
for they threw him in the dump.
But the Big Chief said ‘You wait!’
One dreary night, when the moon was out of sight,
then he stole a hobby horse and he rode with all his might.
He looked around and the princess he found
Then they both jumped on the hobby horse
and they started off with a bound.
And now today they are hundreds of miles away
But they don’t forget the time when the Big Chief used to say:
‘Big Chief Battleaxe loves yer true;
all day long I gaze at you.
I don't care for this job any more.
If you’ll say you’ll be my bride,
then we’ll take a good long ride
far away from this tobacco store.’
On the front cover of the sheet music, you can see the advertising figure Allen imagined, for years looking across the street at the princess!
On the front cover of the sheet music, you can see the advertising figure Allen imagined, for years looking across the street at the princess!
I also happened to spot such a 'Big Chief' on a box outside a shop, used for advertising purposes, in the Buster Keaton film 'The Goat' (from 1921). So presumably this was a common practice at the time:
Musicians may be interested to note that Allen composed his piece in 2/4 time and in the key of Ab. I think most bands today play it in Bb.
Here is an extract:
Here is an extract:
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23 December 2015
Post 338: TUBA SKINNY SHOW US HOW TO PLAY TRADITIONAL JAZZ
As you probably know, Tuba Skinny occasionally spend a week in Italy. For the end-of-2013 trip, they had John Doyle on reeds. By then, I had come to the conclusion that he is one of the greatest clarinet players in the history of traditional jazz; and I am now even more convinced. His technique and inventiveness are amazing, and yet he subjects his talents (as do all players in this great band) to the Tuba Skinny house style, in which everyone puts teamwork first and there is no room for exhibitionists.
In these videos (we must be very grateful to a film-maker codenamed NewOrleansJS for presenting them to us), we can enjoy these performances:
Big Chief Battleaxe (Thomas S. Allen, 1907). This is a routine performance by Tuba Skinny standards, which means it is far better than most bands could produce. But it seems to be the first number in their programme. You sense they are 'loosening up' and perhaps slightly affected by some tiredness after the long journey from New Orleans. As usual, Shaye directs the operation with all those little signals she has developed.
Crazy 'Bout You (Big Bill Broonzy and the State Street Boys, 1935). This is a simple, catchy 16-bar tune. Shaye starts on cornet and then switches to piano, taking a solo that reminds us she is also one of the best New Orleans pianists at present. It's a very happy number and Erika has the audience clapping along with her spirited, rocking vocal.
Willie the Weeper (Walter Melrose, Marty Bloom and Grant Rymal, 1920). The band plays a 4-bar Introduction; and then they go into the second theme of Willie The Weeper. Barnabus and John contribute lustily throughout. There is fine ensemble work and great backed solos on the second theme, though Shaye alone takes a solo (one of her amazing arabesques) on the first (G minor) theme. Note Shaye's direction of the band again. She takes so much trouble before they start - to get the tempo exactly right. Also note the brilliant final few notes with which she chops the tune off at the end.
Weary Blues (Artie Matthews, Mort Greene and George Gates, 1915). Unfortunately this recording starts well into the tune, missing the opening themes (in F) but we still have the Bb theme, with plenty of amazing, exciting stuff, played at a cracking pace. One of the highlights occurs where Shaye plays a terrific solo against offbeats from all six of the other players.
Six Feet Down (Erika Lewis, 2009). Erika sings her own superb composition in F; and there is a great solo by John, against ensemble background. The ever-popular Robin Rapuzzi also struts his stuff on washboard.
How can you view these videos? Go to YouTube and type in 'Tuba Skinny Orvieto 2013'. That should bring them all up.
In these videos (we must be very grateful to a film-maker codenamed NewOrleansJS for presenting them to us), we can enjoy these performances:
Big Chief Battleaxe (Thomas S. Allen, 1907). This is a routine performance by Tuba Skinny standards, which means it is far better than most bands could produce. But it seems to be the first number in their programme. You sense they are 'loosening up' and perhaps slightly affected by some tiredness after the long journey from New Orleans. As usual, Shaye directs the operation with all those little signals she has developed.
Crazy 'Bout You (Big Bill Broonzy and the State Street Boys, 1935). This is a simple, catchy 16-bar tune. Shaye starts on cornet and then switches to piano, taking a solo that reminds us she is also one of the best New Orleans pianists at present. It's a very happy number and Erika has the audience clapping along with her spirited, rocking vocal.
Willie the Weeper (Walter Melrose, Marty Bloom and Grant Rymal, 1920). The band plays a 4-bar Introduction; and then they go into the second theme of Willie The Weeper. Barnabus and John contribute lustily throughout. There is fine ensemble work and great backed solos on the second theme, though Shaye alone takes a solo (one of her amazing arabesques) on the first (G minor) theme. Note Shaye's direction of the band again. She takes so much trouble before they start - to get the tempo exactly right. Also note the brilliant final few notes with which she chops the tune off at the end.
Weary Blues (Artie Matthews, Mort Greene and George Gates, 1915). Unfortunately this recording starts well into the tune, missing the opening themes (in F) but we still have the Bb theme, with plenty of amazing, exciting stuff, played at a cracking pace. One of the highlights occurs where Shaye plays a terrific solo against offbeats from all six of the other players.
Six Feet Down (Erika Lewis, 2009). Erika sings her own superb composition in F; and there is a great solo by John, against ensemble background. The ever-popular Robin Rapuzzi also struts his stuff on washboard.
How can you view these videos? Go to YouTube and type in 'Tuba Skinny Orvieto 2013'. That should bring them all up.
21 September 2014
Post 135: GOOD PLAYING (TUBA SKINNY'S 'BIG CHIEF BATTLEAXE') AND BAD PLAYING
But so many of these pub and club trad jazz performances are disappointing. I see elderly gentlemen with beer bellies looking smug or not particularly interested while wearily and mechanically playing the same old dreary, uninspired procession of 32-bar (or 64-bar) 'solo' choruses. Sometimes there is a pretty awful vocal too. The tunes drag on for six or seven minutes, long after the band has anything more to 'say' about them.
No wonder that - on the whole - very few young people are attracted to the music.
I may sound like a miserable old crabstick, but I felt I had to write something about this today.
Then this morning I listened again to the CD Pyramid Strut, made by Tuba Skinny, that great and energetic young band of New Orleans.
Straight away, my faith in the music, and its ability to thrill and excite, was restored.
Take the very first tune on the CD - Thomas Allen's Big Chief Battleaxe. For a start, the band obviously gave a lot of thought to how it would tackle the tune. (How many English pub bands do that?) They decided to use only two sections from the familiar four (omitting the less interesting). They kept the 16-bar Bridge (which they decided to treat as a kind of Verse) and the 16-bar Main Theme.
As you probably know, the Bridge is played in G minor and the Main Theme in the related key of Bb.
Having made that decision, they then worked out how to make the interpretation interesting. For example, they would play the Bridge as an Introduction and then the Main Theme eight times - but twice punctuated by the Bridge again. Each time, the Bridge and Main Theme would be given different treatments, with a variety of instruments taking the lead. But the focus - as usual with this band - would be on good ensemble playing. So you end up with a performance comprising 11 segments of 16 bars each, 176 bars in all.
There's so much of interest to enjoy. And yet it's all over in less than three and a half minutes.
If you want the detail, it goes like this. Try following this while you listen to it.
If you want the detail, it goes like this. Try following this while you listen to it.
16 Bars (1) BRIDGE. Clearly stated, with full ensemble.
16 Bars (2) THEME. Clearly stated, with full ensemble.
16 Bars (3) THEME. A more decorative statement of it. Note Jonathan Doyle's lovely fluid playing here and elsewhere.
16 Bars (4) BRIDGE. Full ensemble, differently stated this time, with more fluidity.
16 Bars (5) THEME. Trombone states it, with cornet and clarinet dropping out.
16 Bars (6) THEME. Trombone still leads but cornet and clarinet add sympathetic decorations in response.
16 Bars (7) THEME. Something very different: the Cornet improvises on the theme, accompanied only by the washboard and banjo. The re-entry at the end by the tuba dramatically leads us into:
16 Bars (8) THEME. The full ensemble frolicking around the simple chord progression, with lovely work from the clarinet.
16 Bars (9) BRIDGE. The best surprise in the performance. The TUBA plays a special improvisation on the Bridge, while the others support him with long crescendo-diminuendo notes.
16 Bars (10) THEME. Ensemble, with more bounciness and fluidity than ever, building to a climax. Robin uses his cymbals to exciting effect.
16 Bars (11) THEME. Ensemble. This is the climax. There's busy, free expression all round and yet they are all still listening to each other.
That's the way to do it!
Incidentally, on YouTube you can find several videos of Tuba Skinny playing this tune - in various settings. The pattern usually differs just a little from what's on the CD, but it is always interesting.
Incidentally, on YouTube you can find several videos of Tuba Skinny playing this tune - in various settings. The pattern usually differs just a little from what's on the CD, but it is always interesting.