Love’s Dream – a Listening Post

Pam’s Pictorama Post: This sheet music wandered into my collection recently via an eBay seller in Tasmania! I believe it is British in origin, but does have a Sydney, Australia copyright within. The photo on the front sports the Porter & Higgenbotham’s Danse Band, all six gents lined up in their rooty tooty suits with their hands in pockets, in order of size, instruments lined up.

Of course it has come to me because these fellows were cool enough to have a nice Felix, fully credited, on the front of their drum. An excellent indication for any orchestra and I would have followed them for that alone back in the day.

This sheet music also included are the little known tunes, All I Want is a Stay-at-Home Girl, The Rose of Flanders and a page of Dream House on the back as an advertisement. For better or worse I cannot easily find samples for your listening pleasure. Tasma Ockenden (?) has written his or her name on the top and it was stamped by Cawthornes Ltd. Music Warehouse.

I went searching for a version of Love’s Dream to share and came up with the one below. Give it a listen and let me know what you think. Hang in there for it to start to swing!

Liebestraume or Love’s Dream on Youtube available at the time of posting.

This recording is sort of in the sweet spot of my musical inclination left to my own devices, although I definitely like a good vocal too. Working for the Jazz at Lincoln Center Orchestra has broaden my musical jazz tastes a bit as well of course.

I like to say that when Phil Schaap (music historian, producer and DJ extraordinaire) was alive he helped bring me into the forties, the latter part of the Swing era, as I used to say my musical inclination ended in 1939, although Bebop and its kissin’ cousins still elude me. (I have written about the start of this musical journey in a post about the wonderful Rich Conaty which can be found here.) But of course now I listen to the orchestra’s new compositions, some of them beloved to me, and arrangements and am reminded that indeed, all jazz is alive and modern.

I am partial to Wynton Marsalis’s Swing Symphony, (you can listen and download here) and I run to it frequently. I often think that when I hear it next in a concert hall I won’t be able to stay in my seat so strong the inclination will be to increase speed on what tends to be the last third of my run.

Recently I wrote about our season opening (here), a fall ritual I was viscerally pleased to return to this year for the first time since 2019. Wynton’s Shanghai Suite was on the bill and it sent me back to thinking about my early trip to that city for work, (I wrote about that rocky and wild trip here), but also how different it feels more than five years later. I also considered how being back to a program of listening to live music has returned me to my endeavor of learning to listen more actively. I am privileged to live in a world of rehearsals, concerts and sets at our jazz club. I return to it with ears still responding anew to live performance.

My pandemic music listening, aside from my job and what I listened to online for it, revolved largely around what I programmed for my runs once I started running in the November of ’20. Working in one room with my husband Kim at my side (happy 22nd anniversary Kim!) didn’t allow for a lot of music playing. My chatter on the phone was distracting enough for him poor man! Occasionally I would play some early jazz or dance band music when I needed serious mood enhancing, but mostly I would curl up on the couch and home renovation television, like eating junk food, to relieve stress.

Beethoven String Quartet Op. 135 in F Major, on Youtube at the time of posting.

Oddly, I mostly do not like jazz when I run however. Although I went through a long Billie Holiday phase, I generally listen to a sloppy compendium of classical and rock and roll from my childhood. (Yes, some Bruce Springsteen in there – cannot take the Jersey entirely out of the girl I guess.) This fall it has turned to Beethoven and there is something just right about the symphonies for the yellowing light of an east coast fall, temperatures rising and falling the way they do about now. Yesterday at my request Wynton suggested a Beethoven string quartet, opus 135, for my run which is slated for today. I am looking forward to it and will let you know how that goes.

Has Anybody Seen My Cat

Pam’s Pictorama Post: I’ve seen this sheet music come and go and I finally grabbed it up. It occasionally turns up in my cat searches and I finally landed on this copy earlier this week. There’s another version with an equally good cover, but very different cover which I will still snatch up given the opportunity.

Pictured on the front between these two great black cats is, I assume, Emma Carus. Emma was a vaudeville performer who was the face and voice for putting this song over. According to the American Vaudeville Museum site (University of Arizona, here) although she was pleasing looking, she generally opened her act with the line, I’m not pretty but I’m good to my parents. However, her songs were incredibly popular and she sold reams of sheet music. She hit the big time as a performer in 1900 so when this sheet music (copyright 1922, but more about that in a moment) she was a well established star and money maker.

This Black Cat Hosiery Cat of the same period at seems to be a kissin’ cousin of the ones on the sheet music.

Emma gets the top credit, followed by Dan Blanco (of whom I find no real tracks) and then J. Walter Leopold. I am not sure I see real evidence of her actual song writing as I read her bio. J. Walter Leopold has numerous song credits, but was also a performer and he and Carus teamed up in 1918 and worked vaudeville until the end of that particular line. He drifts to radio and then manages some bands. She lived hard starting in her teems, has two failed marriages before she is 25, and dies in failing health at 48.

Emma Carus in all her glory in an undated photo, on Ziegfieldfolliesgirls.com

Sadly I cannot find a recording of her singing this song, nor can I find a recording of her singing at all.

While credit is given as above on the front of this sheet music, the internet reveals that the original song was song was British and was written and composed by TW Connor in 1899 for George Beauchamp – probably as a sequel to an earlier successful song Puss, Puss Puss (1897). A 1901 recording of the song can be found here with the slightly different name of Has Anybody Seen Our Cat, but virtually the same lyrics. There are recorded versions going back to 1897 under this name so I don’t know how to make that jibe with the claim of the 1899 authorship above – was it acquired and reacquired multiple times?

The copyright page tells us that Dan Blanco acquired the rights in 1916 and they were transferred to Emma Carus in 1922. So maybe Dan’s only claim to fame is acquiring these rights and selling them.

Children’s Book which claims to have roots in one of the versions of this song.

The song goes on to inspire a Tex Ritter tune, Has Anyone Seen My Kitty, (listen to it here) and eventually a recent children book, Anybody Seen Our Cat by Kenneth Griffin, illustrated by Brandon Weiner.

Below are the lyrics which bear their British roots and age, but produce a chuckle. Enjoy!

I'm upset now; let me tell you why,
Our old tom cat has been and done a guy (run away)
My old gal declares that it's a sign
Somebody's number's up and two to one it's mine
I've been wondering why I am to blame
For sneaking the bacon and the brawn
And the young man lodger's two-eyed steaks (bloater)
When they're missing on a Sunday morn.

Chorus: Has anybody seen our cat?
Has anybody seen our cat?
He's got a bit of black on the end of his tail
And the skin's all off where he's been fighting
Last Sunday morning we missed him from the mat
Puss! Puss! Puss! Meat! Meat! Meat!
Has anybody seen our cat?

How we loved that cat nobody knows
Put butter on his feet and pepper on his nose
When he caught cold gave myself a job
When the toothache troubled him so bad
And I found little Tommy couldn't eat
I tied up his face, put baccy in his ear
And got another cat to chew his meat.

Chorus:

I never thought he'd leave his happy home
Though after the gals he often used to roam
I've sent tripe hounds out upon his track
I'm doing everything to try and get him back
Got two cods heads stuck up on a pole
And nailed up a kipper on the door
And written underneath it ‘Welcome home'
And a promise not to kick him any more.

Chorus:

Musical Interlude

Pam’s Pictorama Post: It is a snowy sleety March day here at Deitch Studio and I have been rummaging around in the flat files, looking for some hidden gems in the line of sheet music, which I had a vague memory of tucking away. I was not disappointed as this splendid item jumped out at me. I know I purchased it on eBay,  but I have no memory of when or the specifics around it. I showed it in one of my first posts, Meow! Kitty Sing-a-long three years ago. Hotsy-totsy kitty illustrated here, doing his dance to a rollicking piano rag! I especially like his big tongue lolling out and the little lines of electric energy around him. That cat is taking off!

Strangely, if you search Youtube you pretty much find a pile of videos about cats on hot bricks. I didn’t watch any, despite the descriptions as hilarious. There were also several options for learning English, odd. Lastly there was just this one rendition of what we will assume this piece actually is and it does not really come across as my idea of rollicking, but you can make up your own mind if you wish here – Cat on Hot Bricks. Give a shout out if you can find a publication date and/or a better rendition!

Not surprisingly, the expression cat on hot bricks is akin to like a cat on a hot tin roof, meaning skittish, restless or anxious. Our friend Mr. Google also reveals an even earlier rendition of the expression, like a cat on a hot bake-stone (nope, doesn’t roll off the tongue, I agree) which evidently dates back to John Ray’s proverbs of 1678. Poor kitties! Cat on a hot tin roof is an expression I use frequently, but not without an unpleasant image coming to mind.

Ezra Read, the person who is credited with penning this ditty, lived from 1862 until 1922. He was born into “humble circumstances” to a master lock maker who had him and his brothers apprenticed to a blacksmith, which evidently was considered a step up. Ezra and his brothers, James, John Colley and Eber, also worked in the lock shop. However, their father found the money for piano lessons for John who in turn taught Ezra to play. John became an organist of note. Ezra married Beatrice Ida Hampton (known as Ida) who played piano and violin, and together they composed over 4000 pieces under a pile of pen names. Their biggest hit seems to be something called Cinderella Waltz (1910). How popular is questionable as I cannot find a recording of it despite the sheet music having sold millions of copies. (Although, in all fairness, this may be due to the popularity of Cinderella theme music in general.) Ezra and Ida led a somewhat itinerant life until Ida’s death in 1912 at age 45. He eventually settled in Derbyshire where he played for silent films at a local theater. At his death it is said that barrow loads of music were taken from his house. (We collectors all have visions that are a variation on this in our future!)

This fine piece is officially getting dusted off and, along with a few other gems, such as this one below featured in Felix – Here He is Again, will be framed up and brought to my new office at Jazz at Lincoln Center!

Felix sheet music

Felix sheet music, my collection, Pams-Pictorama.com

 

Musical Meow!

Au ChatMeowBlack Cat Dance

Pam’s Pictorama Post: Welcome to my second installment of cat related sheet music.  As some of you know, early on I shared some of my sheet music collection in Meow Kitty Sing-a-Long, but I uncovered some great pieces when searching for the art to our wedding invitation recently. The Black Cat Dance is just a great image and sort of fun. I am afraid that the names of that and Au Chat! are not distinctive enough to find them on the internet – or much information about them.

I am fortunate to own two copies of the Me-ow music, one is on the wall. The second, the one pictured here, may have been a gift – or I found it some place and it was too inexpensive to resist. Always good to have a spare. It is the only one I was able to find a link to on Youtube and I have included it below.

I had hoped I would find a way to play the Felix the Cat fox trot by Sam Fox; sadly to date I cannot.  However, I did find an interesting 1928 snippet from the Music Trade Review on the International Arcade Museum website. This brief article says that Fred Waring introduced the song in Paris and that he cabled Sam Fox that he believed it would be a hit for him. It also refers to the speed with which Europe gets American dance numbers today, scarcely a month after their initial release. Felix was excellent at selling sheet music and therefore some wonderful images have proliferated on especially British sheet music. I have at least one more example I plan to share in a future cat music post.

Hope this put some spring in your step!

Here is the link to the pdf article from the Music Trade Journal should you be curious: mtr.arcade-museum.com/MTR-1928-86-22/MTR-1928-86-22-18.pdf