December Features
Continued: Debbie Arthurs
A relative newcomer to the ranks is reedman James Evans, a welcome addition not only because he's an excellent musician, but because he's a mere youngster. At music college, his course led him toward the work of Bill Evans and the Brecker brothers, but the Temperance Seven and Bix were in his parents' collection and in the end they proved the more durable influence. James Evans noticed something older jazz fans have felt for years, "The earlier styles seem more joyful to me." He certainly gets a joyful reception from audiences when he solos on tenor. Imagine a Harry Potter lookalike sounding like Coleman Hawkins around 1930.
As well as being a rare female in the masculine world of drums, there's another way in which Debbie Arthurs stands out: she stands up. "I stand to play drums because on some gigs I will play and sing at the same time and when you're singing you can't sit down. Some people can I suppose, but it's natural for me to stand.
"With a modern drummer you've got your bass drum and your high-hat, so you've got two pedals going and you need to be sitting down. I've worked out a way of playing the bass drum while keeping myself upright -- I must have got quite a strong back by now! I suppose it's kind of multi-tasking, thinking of the words and the expression of a song while drumming at the same time. I could always do it."
Hesitant at first about becoming leader, Debbie Arthurs now enjoys it. "It is more stressful, but all the chaps are very professional and helpful. We sometimes have to use deps, but generally have a fairly stable personnel, so if the sax section is not quite together for instance they will self-correct. There's no need for the discipline of the old days when drink and drugs were a problem. Everyone drives to gigs, so there's not much drinking."
When not leading the Chasers, Arthurs takes two other groups on the road. Her Hot Five has trumpet, reeds, piano, bass and drums, and Debbie Arthurs' Sweet Rhythm features her with varying accompaniment. If the gigs list has a gap, she goes back to her old job as a chef. "I enjoy that. Music is a chancy life and it's good to have something else up your sleeve.You can do a gig and then it can take a month to be paid."
So, what of the future for the Charleston Chasers?
While the prophets of doom foresee the end of their kind of music, Martin Wheatley takes encouragement from the demographics. "When I started doing this for a living, I'd look at the audience and think 'This isn't going to provide a living because these people aren't going to be around.'
"But there is a turnover. When succeeding generations get to 40 or 50 they realize there's more to music than what's pumped out on the radio, and some of them turn to the older styles. So I'd say the state of the business, while not exactly healthy, is not terminal either."
Debbie Arthurs has plans for developing the band's presentation, while remaining true to the spirit of 80-odd years ago. "I think we'll continue as we are. We did once talk about maybe doing something in a later style, but the 1920s seems to be what suits us. It's a never-ending question -- what can we do that's different? I know we can have more things going on within the band -- maybe revive the trio vocals idea, which has lapsed with Raina going. And get some dancers in -- I love tap, for instance."
It's good to know that after two decades of success, the Charleston Chasers are finding fresh ways to delight British audiences. With Debbie Arthurs and her band keeping the flame alive, the popular music of long ago heads confidently back to the future.
More information about Debbie Arthurs and the Charleston Chaser can be obtained from www.terrydash.co.uk and www.charlestonchasers.com.
December 2008 issue | © 2008 The Mississippi Rag
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