Jeff Barnhart: Hal, this month we’re examining the output of the remarkably polished Halfway House Orchestra, a white dance band that had a residency at the Halfway House roadhouse/supper club, so named for its location midway between New Orleans and Lake Pontchartrain. While there may be some debate as to how much “jazz” they created—what with their pure tones and straightforward arrangements—they could and did play hot and the phrasing of leader Albert “Abbie” Brunies’ cornet is undeniably punchy and jazzy. The club flourished from 1914 to 1930, with Brunies leading the house band from 1919 to 1928. Between the years 1925 and 1928, the band recorded 22 sides across eight sessions in the studio. You’ve been looking forward to this one, Hal, so lead on!
Hal Smith: Jeff, the Halfway House Orchestra is one of my favorite groups among those who did not wind up in Chicago. The rocking ensemble sound on “Pussy Cat Rag” is a great illustration of just how hot this band could play. There is a terrific strummed banjo chorus by Bill Eastwood and the legendary Leon Roppolo playing the lead on alto sax. On the out-chorus, I can just picture the dancers one-stepping across the floor of the Halfway House. Abbie Brunies’ growling cornet, Joe Loyacano’s “Mister Joe” trombone break and Leo Adde’s energetic afterbeats on the tom-tom wrap up the proceedings nicely.
