The Firehouse 5+2: When ‘Goes South’ is a GOOD Thing!

Hal Smith:  Jeff, This month’s column was intended to be the first in a series of articles about the New Black Eagle Jazz Band; a collaboration between you and the Eagles’ trombonist Stan Vincent. However, you’ve mentioned it will be such a large project your schedule doesn’t allow meeting this month’s deadline and you’ll pick it up with Stan later this Spring.

Jeff Barnhart: That’s right, Hal! Stan and I will be covering over 50 years of music and I don’t want to rush that!

HS: To keep the column going, you suggested we talk about the Firehouse Five Plus Two’s “concept albums.” I say “let’s get started!”

Around 1954, Good Time Jazz reissued all of the FH5+2’s 78 sides on 10-inch LPs. GTJ’s Lester Koenig then came up with the idea of having the band record “concept albums.” Between 1954 and 1969, the band recorded eight of them.

Some of those records are a little heavy on novelty songs and sound effects, but a couple of them are outstanding examples of West Coast traditional jazz. Though it doesn’t fall chronologically in catalog order, one of those albums is Firehouse Five Plus Two Goes South on Good Time Jazz 12018.  (It was recorded before Plays For Lovers—GTJ 12014).

The program starts with a rip-roaring treatment of “Alabama Jubilee.” After the “Hail, hail, the gang’s all here” intro, the full ensemble tears into the chorus and follows up with a verse.

George Probert takes a blazing soprano sax solo, followed by leader Ward Kimball on trombone, then pianist Frank Thomas—accompanied by slapstick, tambourine, handclaps, shouted encouragement, whistles and a gang vocal on the “Hail, hail” phrase. However, none of that hokum detracts from the spirited ensemble chorus that follows. The final break is split between Harper Goff’s banjo and the trademark siren, then the band brings it home.

“Alabama Jubilee” was a staple in the band’s repertoire at live engagements, as was the next song: “Swanee River.” Following the banjo and woodblock intro, George Probert plays the melody and then some hot variations on the ocarina. Banjoist Dick Roberts (filling in for Harper Goff) and Frank Thomas split a chorus, followed by Kimball and cornetist Danny Alguire playing a brass duet with Probert (now on soprano sax) on the bridge. He continues improvising on soprano, with the brass underneath. On the final ensemble chorus, I think Alguire’s lead playing is especially effective.

(Note: This album was recorded in three sessions, with banjoists Harper Goff and Dick Roberts alternating as well as drummers Jim McDonald and Monte Mountjoy).

Next up is the warhorse “Basin Street Blues.” Ward Kimball plays an abbreviated version of the traditional trombone opening, followed by a very laid-back ensemble chorus. George Probert plays an inspired chorus—as usual—with Ed Penner playing a subtle counterpoint on tuba. Next, Frank Thomas switches to celeste with some excellent banjo strumming by Roberts underneath. Alguire plays a mellow cornet solo, followed by leader Kimball on trombone. Mountjoy’s cymbals are well-recorded and they add a lot to the overall sound. The last full band chorus is relaxed, however it sounds anything but tired! A soprano sax coda brings the performance to a close, rather than a return to the traditional trombone part.

I need to take a pause! Jeff, you can probably tell that I could write several full-length articles all by myself about the band that originally inspired me to listen to (and eventually play) jazz. What are you hearing on these first three songs?

JB: Hal, by the time I bought this album as a teenager, I was playing ragtime and ragtime-era music in CT, and my version of “Alabama Jubilee” was “tempo de tear-ass.” I was floored both by the stomping tempo the band lays down for this song and by their inclusion of the verse, which at that point I didn’t know! It took me about a half-dozen listenings to move onto the second tune! So much variety is packed into just over three minutes. “Alabama Jubilee” is the perfect number to introduce someone who’s never heard the FH5+2, because it’s got everything that makes this band unique and simply wonderful.

You beautifully outlined the format of the side, so I’ll just throw in a couple of observations. The harmonies the band use in the “Hail, Hail” intro are different from the correct ones they use when playing the entire chorus, and I wonder why? It doesn’t diminish the excitement, but it’s puzzling. Probert’s strongly rhythmic solo and Kimball’s trademark exuberant smearing trombone still knock me out! After the band interrupts Frank Thomas’ pianistics with hoots, hollers, and giddy shouting, the final chorus is a wall of exciting sound, Probert cavorting above Alguire’s powerful lead and Ward pausing on his blaring trombone only to sound the siren! As a teen, I was in heaven listening to what I then could only describe as the punk rockers of the Traditional Jazz scene. Heavy Metal Dixieland!!

For me, the hokum, hilarity, and FUN the FH5+2 put into their music was such a big part of why the band was so popular and made jazz fans out of huge numbers of people who otherwise might not have ever become followers of the music. Sure, some self-appointed “cogniscenti” might scoff, but the FH5+2’s live performances were most often for the uninitiated, casual listener or dancer, whether during their stage shows at Disneyland, their television appearances, or the private parties they were hired to play. The members of FH5+2 were ambassadors of HAPPY jazz (Good Time Jazz works too!!).

“Swanee River” was the side that made the teenage me start analyzing how they were putting their arrangements together. Probert sticks to the melody on his ocarina, but when Ed Penner plays the melody on the 8-bar bridge, Probert improvises over the top and then doesn’t return to the melody for the final eight bars. I also loved how the band made the most of the limited time they had by having a different instrument play the bridge on each solo chorus. OR, as in the case of muted trombone playing melody while muted trumpet plays hot counterpoint, sharing the first half of the chorus. After Probert’s surprise appearance on the bridge of that chorus, he solos on the first half of the penultimate chorus with the ferocity of a dog chewing a bone! And how effective Danny Alguire’s playing the melody in the second half down the octave is before the band stomps out a final ensemble! A nice surprise is them eschewing the typical “double ending” for a two-bar banjo tag.

It’s effective on “Basin Street Blues” for tubist Ed Penner to double Kimball’s trombone on the verse (as you point out, only one half is played). The first chorus stands out to me for many reasons, (fire)chief among them Probert’s lovely lines around Danny Alguire’s sweet lead, Frank Thomas’ delightful fills behind the ensemble, and the slooooowww tempo the band plays. From the torrid soprano sax solo, to the caressing celeste feature to the tremolo banjo (accompanied by members of the band quietly singing “Aahhh) to the murmuring, soft-wind blowing of the cornet, to the solid trombone, to a final chorus that starts as a whisper and comes up in volume just enough to “wake us up,” this is one of most sincere, pure, and simple versions of this classic one could ever ask for.

Don’t keep me in suspense, Hal: what’s next??

HS: Next up is one that was probably never played on the gigs; just on the recording session.  (Don Kinch told me that on some of the “theme” albums, the band didn’t know what was going to be recorded until they showed up at the studio and Lester Koenig said, “Well, boys…here’s what we’re going to record today!”)

“Birmingham Papa (Your Memphis Mama’s Comin’ To Town)” was originally recorded in 1925 by vocalist Al Bernard—who also composed it—and pianist J. Russell Robinson. The first chorus showcases Danny Alguire’s beautiful, relaxed “Southwestern” lead, with George Probert’s decorative triplets and leader Kimball’s understated smears. Next, Frank Thomas plays the verse, followed by a split chorus between Kimball and Probert. The full ensemble returns for a bouncy outchorus with that wonderful laid-back cornet leading the way and the rhythm section locked in underneath. Jim McDonald’s tom-tom fills in for the cowbell on the ending.

Banjoist Dick Roberts has plenty to do on “Tuck Me To Sleep In My Old ’Tucky Home”, including an intro (based on Stephen Foster’s “My Old Kentucky Home”—of course) and the bridge of the first chorus. I love those neat snare drum and cowbell fills by Monte Mountjoy! To echo what you said earlier, this track really sounds “happy” to me. I don’t know how you could hear it and not crack a smile! The band makes the most of the short playing time, with one solo chorus split between soprano sax, trombone and piano before the band returns to take it out. And, wouldn’t you know it –? Ward Kimball and Ed Penner quote Stephen Foster’s song once again on the outro. Too bad Mr. Foster was not around long enough to collect some royalties on this!

What stands out for you on these two sides, Jeff?

JB:  Several aspects of both are special, but I wanted to take a sec to thank you for that great insight. I had always thought the band chose the repertoire for these albums. It makes their playing on “Birmingham Papa” all that more impressive as most likely not everyone was familiar with the tune! Second, the entire series included a great mix of obscure numbers and familiar “fan” favorites: another key to the success of both the band and the sales of their “concept” albums!

And now to the tunes!! Adding to your perceptive observations to “Birmingham Papa,” the first thing I noticed is that fantastic tempo. Just right! It’s a song, and though this is an instrumental, the tempo would allow for a great vocal. The second thing that struck me was the sonorous tuba of Ed Penner, and the loooowwwww notes he’s hitting. Our old friend Mike Walbridge would also “dig in” and play proper brass bass notes, staying out of the trombone register. Since I mentioned trombone, Ward’s two-bar break leading George into his half-chorus is a great one: very Oryesque! Finally, the chord sequence keeps the interest up: no surprise with composer/vocalist Al Bernard also having been a fantastic pianist!

The CT-based band I played in during the 1990’s, the Hot Cat Jazz Band, used to do the FH5+2 version of “‘Tucky Home” on nearly every concert. The group vocal; the banjo being featured; the tight arrangement:  it always got the audience cheering. And the way the FH5+2 chugs along on the final chorus from the bridge out is a lesson in how NOT to overplay and let the groove lead the way. I was smiling all the way through this one!

Hal, I’ll venture into the next couple of tunes. This was the first recorded version of “Milneburg Joys” I’d ever heard. My local band (and still one of my all-time favorite) The Galvanized Jazz Band played it often, so I actually knew this one as a youngster and loved the FH5+2 rendition! Listening to it now, my ardor has not diminished, but I’m questioning my ears. Is that a 2nd trumpet there, or is soprano saxophonist George Probert so amazingly facile he’s assaying an accompanying “2nd trumpet” line while filling in with his customarily exciting noodling? Needless to say, the intro, section A and the first ensemble chorus are densely rich and wonderful!

The band stays in the same key (Bb) for the chorus strain instead of the customary move to Eb. A judicious choice of solo order after 75 seconds of ensemble finds Frank Thomas joyously pounding out some ragtime piano and Dick Roberts strumming through the second half of the chorus.  “Tailgate” Kimball blares in for the first half of the next chorus, with Danny Alguire’s trumpet hitting on all cylinders to round out the chorus. Probert starts bubbling away on his soprano sax, letting his two bar break unleash all of his technique and heat in an exhilirating conclusion to his full-length chorus! All that can happen after that is an ensemble out chorus, but not before a surprise return to the interlude leading into it!

THEN one of my favorite-ever tunes dances in! I first heard “I’m Gonna Charleston Back to Charleston” on a Smith St. Society Jazz Band release that had cornetist Ernie Carson as a guest. I wore that LP out! In my view, nobody could do that tune better, until I heard the FH5+2’s romp! The Charleston rhythm is built into the tune itself, and musicians always give an inspired improv on the awesome chord progression in the last eight bars! By now, this is the third song featuring a unison vocal and, while none of these hot players was an accomplished vocalist, their exuberance carries the day! They even got Harper Goff’s name in there, and he obliges with a banjo tremolo. Coming out of the vocal, it’s Frank Thomas thumping some barrelhouse piano, giving way to Danny Alguire’s forceful solo. Harper’s banjo exuberantly struts into Probert’s slammin’ solo! I seem to remember Probert was often the final soloist before the ensemble wrap-up:  after all, who would want to follow him?? We finish with an ensemble leading to a Charleston tag giving Monte Mountjoy the final say with his choke cymbal. The (19)20’s rule!

HS: Let me backtrack for just a minute, regarding “Birmingham Papa.”.. One reason that the FH5 tempos were so good was because of Danny Alguire’s influence. When Danny played with Bob Wills and the Texas Playboys, he carefully studied Wills’ choice of tempos. He said that he imparted that wisdom to the Firehouse Five and it sounds like they took Danny’s advice! Also, you mentioned the “Oryesque” trombone by Ward. You might be interested to know that in 1955, when Kid Ory was temporarily sidelined by an injury to his ribs, he called on Ward Kimball to substitute for him!

Now, to “Milneburg Joys”: “Milneburg” is the correct spelling of the resort area in New Orleans, but it has been misspelled and mispronounced as often as the song has been played! This must have been one of Ward Kimball’s favorite numbers to play, as the FH5+2 is heard—and seen—playing it on an episode of the Mickey Mouse Club in 1956 and also on a 1957 episode of Bobby Troup’s Stars Of Jazz. That performance of the song is a killer, with Don Kinch added on cornet! Don began playing “second cornet” with the band on special occasions as early as 1955. I’m surprised that there isn’t at least one commercial recording of the FH5 with Don as a guest, prior to their last album.

However, even with one cornet, this is a fantastic recording of “Milneburg!” That is George Probert playing close harmony to the cornet. In 1956, George was a regular with the FH5+2. On the earlier sessions, he was brought in to make the records while he was still a sideman with Kid Ory! The band used Joe Darensbourg, Bob McCracken, Pud Brown and other reedmen before George went to work at Disney in 1955 and thence became the soprano saxophonist with the FH5+2. He already knew how to play with the band based on those 1954 sessions.

By the time “Milneburg” was recorded, he sounded like he had played with the band for a lot longer than two years! Dick Roberts had also become the regular banjoist. His strong beat, combined with those of Frank Thomas and Ed Penner, really made the Firehouse rhythm section rock-solid—no matter who happened to be on drums.

I won’t repeat your description of the routine. I will just say that the only recording of “Milneburg” that I like better than this is Kid Ory’s 1953 red hot version for Good Time Jazz—with an iconic piano solo by Don Ewell.

Danny Alguire may have heard the Coon-Sanders Nighthawks play “I’m Gonna Charleston Back To Charleston” on one of his trips to Kansas City. Or maybe Lester Koenig plucked this title out of a catalog for use on this theme album. Either way, it is one of the highlights of the record. I’m going to disagree with you regarding your statement that none of the musicians were accomplished vocalists. Danny Alguire was! You can hear how well he sang on the record of “Home In San Antone” with Bob Wills and the Texas Playboys.

I have also heard Danny sing by himself on some early tapes of the FH5. For some reason, until the “Disneyland” live recording, he always sang duets with Ward Kimball. They sang the melody in unison, but you can pick out Danny’s voice by the Southern accent! In any case, this is a pretty roaring rendition of the song. I can picture Lucille Ball, Kirk Douglas, Ginger Rogers and Burt Lancaster doing the Charleston on the dance floor, just as they were at the Mocambo when the band played for “Charleston Night” in 1950.

“At A Georgia Camp Meeting” is next. This was another staple in the band’s repertoire. It was performed frequently at Disneyland and there is also a live version from a later appearance on “Stars Of Jazz.” (The song also appears on Good Time Jazz recordings by Lu Watters, Kid Ory and the Castle Jazz Band). Once again, the tempo is just right and the band really stomps this one from beginning to end. And—they play all three parts! The last four bars of the verse serve as an introduction. There is a trombone and tuba duet break on the first chorus and a solo tuba break on the repeat. The ensemble plays the chorus once before turning it over to George Probert for a solo. Ward Kimball plays another verse, Dick Roberts solos on the chorus and the full band plays another go-round on the verse. Frank Thomas plays the third strain, followed by a whimsical transition back to an ensemble chorus. There are two outchoruses and an abrupt ending. (I remember hearing the intro as an outro when they played it at Disneyland).

“Tishomingo Blues” begins with Frank Thomas and the rhythm section playing the verse, then leader Kimball plays a muted improvisation on the chorus with cornet and soprano underneath. After an ensemble break, the full band finishes the chorus. Probert plays an energetic solo, with the brass playing a figure underneath. After a triplet-filled soprano break, Alguire plays the second half. Thomas returns for a half-chorus, then a soprano sax break brings the full band back in. The second half of the chorus rocks along nicely with the rhythm section digging in and Jim McDonald laying down some nice afterbeat rimshots right up to the ritard ending.

The final track is “Original Dixieland One Step.” For me, this is a bit of a letdown. It’s a workmanlike version of the tune, but I miss the heat that we heard on almost all of the previous tracks.

Jeff, I’ll ask you to add your comments on the last three songs. After that, I will mention my own preference for a closer and a couple of theories on why it may not have been included on this album.

JB: My favorite Cakewalk played at the perfect tempo: “At a Georgia Camp Meeting!” This version has a unique structure to it. The form of this performance (in Bb throughout) is: Intro; A section ensemble; A section ensemble (with tuba taking the break!); B section ensemble; B section soprano sax solo; A section (trombone melody); B section banjo solo; A section ensemble; piano solo on the Trio (without the customary key change to Eb); piano/trombone/tuba interlude; B section ensemble 2x out. My interest was held from start to finish, and that final chorus is some of the hottest, most joyous band ragtime I’ve heard!

I love Frank Thomas’ “saloon piano” verse that starts “Tishomingo Blues,” one of my all-time favorite tunes. Unusual as well is the soulfulness that Ward Kimball puts into his muted playing of the first half of the pretty chorus. The other horns join in the second half, Alguire’s trumpet sounding as pretty as I’ve ever heard while Probert refrains from anything other than harmonizing the melody so Ward can keep up his mournful counterpoint. Probert gets his chance in the first half of the next chorus, wailing his heart out as the brass provide him rhythmic backing. His sax break leading us to Alguire’s powerful open-horn solo made my heart race: just beautiful! The band is truly rocking behind Alguire!

More raggy piano from Thomas takes us to another great Probert break and a half-chorus ensemble to round out, with that front line killing it. I’ve used the word “soulful” earlier in this description, but, man, I’ve never had the FH5+2 move me so much. Especially successful (and thoughtful) are the crescendo-ing four-beat hits they all play during the first three of the final 8 bars and, in the fourth bar, the on-beat drum hit followed by the thundering band entrance on the second beat! This is some of the best playing I’ve heard from any band on any tune, ever. And I’m currently sober.

I think you said all that needs to be said about “Original Dixieland One-Step.” This anti-climactic rendition of the old war-horse does nothing to diminish the effect of the previous sides, and the entire album in general!

HS: My preferred closing tune would have been Danny Alguire’s composition “Southern Comfort.”That songand “Lovin’ Sam” (The Sheik Of Alabam) were recorded in January and March of 1954—same as the other songs which were released on the original Goes South 10-inch LP. They might have been included on the 12-inch version, but I think that Good Time Jazz needed two more numbers for additional playing time on the final volume of The Firehouse Five Story when it was re-released in 12-inch format. The Oct. 11, 1956 session (“Milneburg,” “Swanee River,” “Birmingham Papa,” and Tishomingo”) yielded enough material for the 12” version of “Goes South.”

Still, it’s a shame that “Southern Comfort” was not chosen for the last tune on this record. It has great ensemble playing, hot solos AND the trademark siren break on the last chorus!

JB: Failing to include “Southern Comfort,” it’s curious Koenig didn’t swap “ODOS” and “Alabama Jubilee” as the latter is a great rendition AND the siren is there! Oh, well…no one asked us…LOL!

There was sometimes an imbalance regarding the themed albums of the FH5+2, but they all yielded some treasures. Let’s concentrate on a trio of them, highlighting the jazziest sides, next month!