Frisco Cricket - San Francisco Traditional Jazz Foundation



Frisco Cricket - San Francisco Traditional Jazz Foundation
Frisco Cricket
Winter 2011
Published by the San Francsico Traditional Jazz Foundation
by William Carter
1949 was a vintage year for vintage jazz in
the San Francisco Bay Area, just as it was for that
now legendary magazine, The Record Changer.
Turk Murphy had
issued his first recordings, and Bob Scobey
had gone his own way
-- although the Lu
Watters band had not
yet finally dissolved.
That both the
West Coast musicians
and the New York
based magazine were
in the vanguard of
the worldwide traditional jazz revival
was evidenced on
the masthead and in
the lineup of articles
in the February issue
alone. Among names
that would continue
to resonate: Editor and
Publisher: Bill Grauer,
Jr.; Managing Editor:
Orin Keepnews; Art
Covers: Gene Deitch;
West Coast Representative: Jack Lewerke;
with authors the likes of Roy Carew, Rudi Blesh,
Gene Deitch, Albert J. McCarthy, Dick Oxtot, Bucklin Moon, George Avakian.
Oxtot was just launching a long career as a
banjoist, vocalist and
bandleader in San Francisco’s East Bay scene.
Over a decade later,
yours truly would sometimes perform with him
at such venues as Burp
Hollow in San Francisco
and The Point in Point
Richmond. Oxtot’s
article dealt insightfully
with the musical and
professional parting of
the ways of Lu Watters
and Bob Scobey.
But for visual dazzle,
we know of no jazz magazine that ever equaled
the punch of those
Record Changers in their
heyday. Here are some
examples on the following pages. 
Cover artwork by Ward Kimball
Vintage 1949 by William Carter
Fred Higuera - Swingin’ On The Golden Gate by Hal Smith
Message From Our Website Contact Page
Humorous Historical Note - New Theory on the Origins of Jazz by Jean Elliot
from Melody Maker Mag
Membership Application and Product List
The Frisco Cricket
Winter 2011
The Frisco Cricket
Winter 2011
The Frisco
Issue No. 50
Published by the
3130 Alpine Road, Suite 288 PMB 187
Portola Valley, CA 94028
Phone: (415) 522-7417, FAX: (415) 922-6934
E-mail: [email protected]
Publisher: William Carter
Editor, Layout, Webmaster: Scott Anthony
Curator of the Archive : Clint Baker
Special Projects Consultant: Hal Smith
Office Manager: Karen Brooks
Board of Directors
John R. Browne, III
William Carter
Jim Cullum
Charles Huggins
Gregg Keeling
John Matthews
Terry O’Reilly
William Tooley
Honorary Directors
William Alhouse,
Charles Campbell, Leon Oakley
Board of Advisors
Philip Hudner, Michael Keller, Paul Mehling,
Bunch Schlosser, Bud Spangler
Unless otherwise noted, all contents copyright © 2010
San Francisco Traditional Jazz Foundation
The Frisco Cricket
Winter 2011
Fred Higuera - Swingin’ On The
Golden Gate
by Hal Smith
resulting in an elastic rhythm. Other devices Higuera
Some time ago, jazz trumpeter and recording
used to good advantage included: rolls and syncopaengineer Bryan Shaw was preparing to master a live
tions on the closed hi-hats, with punctuations on the
recording by Bob Scobey’s Frisco Band, from 1950. He
bass drum; heavily accented press rolls on the snare
threaded the ancient reel onto a tape deck, adjusted the
drum; ‘tap dancing’ patterns on the woodblock and
computerized sound board, punched the ‘play’ button
snare drum rim; and playing choke cymbal with fills
and leaned back in his chair to listen. The performance
between measures. He was fond of ‘building up’
had scarcely begun before Bryan launched forward out
the final turnaround of a song, starting a bar or so
of his chair, shouting ‘Wow! Who’s that drummer?’
before the spot where such a device might normally
Over the years, that scene has been played out more
start. A crisply-played pattern on the snare led to a
times than I can count. Upon hearing records by the
thunderous walloping of
classic Bob Scobey band
tthe mounted tom-tom,
of the early ‘50s, the
lleaving no doubt that the
response is invariable.
band was moving into
Drummers, other instrutthe rideout chorus. The
mentalists and jazz fans
final bar of a song usually
have all asked, ‘Who’s
rreceived a Higuera’s sigthat drummer?’
nature ending: Two quick
The answer: Fred
hits on the mounted tomHiguera. His glorious,
ttom and a cymbal crash
swaggering beat enlivo
on the third beat.
ened dozens of Scobey
His drumming talent
records. In defiance of
was genetic. Fernando
the usual stylistic dogma
Floyd “Fred” Higuera
affecting San Francisco
was born in Oakland,
drummers (‘felt, not
California on 25 May,
heard’), Higuera ‘aimed
1909. His father Albert
for the bottom head’. His
llisted his occupation
firm but swinging rhythm
aas “trap drummer and
that gave the Scobey band
ccandy and ice cream
a springy feel that was not
maker” on his WWI draft
heard in any other Bay
ccard. Many years later,
Area group.
Fred was hired to play an
He was the perfect
evening with Lu Watters’
drummer for Scobey,
Yerba Buena Jazz Band. A
who wanted an entirely
ffriend asked if Fred could
different rhythmic feel
play the right kind of
than what he experid
drumming for the YBJB.
enced in the Yerba Buena
Fred Higuera with Alexander’s Jazz Band. Victor & Roxie’s,
Higuera responded, ‘My
Jazz Band. Higuera’s time
Oakland, CA. 1952. Photo courtesy Hal Smith.
dad was a ragtime drumwas impeccable as was his
to play that style!’
technique—which showcased well-developed indepenWhile in his teens, the younger Higuera surely
dence between hands and feet. His musical colleague
picked up the basics of drumming from his father.
George Probert once said that ‘Freddie could walk in
During the 1920s he learned about jazz drumming
one rhythm and play a different rhythm in each hand
by listening to recordings by Vic Berton (‘my first
while snapping his fingers’. Behind the ensembles and
influence’), Gene Krupa, Ben Pollack, Zutty Singleton
horn solos, he used a large ride cymbal as the main
and Baby Dodds. Eventually he also became an expert
percussion device, but played a variety of rhythms on
Latin percussionist—able to play timbales and variit besides the normal “ride” pattern. He often played a
ous other instruments with sticks and hands. In the
‘Charleston’ beat in unison with banjoist Clancy Hayes,
The Frisco Cricket
Winter 2011
Alexander’s Jazz Band. Victor & Roxie’s, Oakland, CA. 1952. Bob Scobey - trumpet, leader; Jack Buck - piano; Clancy
Hayes - banjo; Gene Mayl - tuba; (unknown sit-in - trumpet); Fred Higuera - drums; Bill Napier - clarinet.
Photo courtesy Hal Smith
and some of his own style’. In 1948, pianist Johnny Wittwer—temporarily replacing Wally Rose in the Watters
band—made several wire recordings of the YBJB. On a
couple of sessions, Fred is the drummer. His ‘ragtime
drummer’ genes enabled him to play exactly the right
thing at the right time with Watters. (For a high fidelity
example of Higuera’s ‘San Francisco Style’ drumming,
hear Bob Scobey’s record of ‘South’ on Good Time Jazz).
His association with Scobey dated back at least
to 1939, when both musicians played in Lu Watters’
orchestra at Sweet’s Ballroom in Oakland. A few recordings made at the orchestra’s rehearsals demonstrate that
Higuera had been listening closely to Gene Krupa. Surely the drumming made a positive impression upon the
rhythm-conscious Scobey. When he finally tired of the
strict 2/4 rhythm of the Yerba Buenans and formed his
own band, Scobey was quick to recruit Higuera for the
drum chair. The drummer appears on many of Scobey’s
recordings for Good Time Jazz, Verve and Down Home
made between 1951 and 1958. Such tracks as ‘Big Butter
and Egg Man’, ‘Long Gone’, ‘Peoria’ and ‘Ostrich Walk’
show just how much the drummer added to the Scobey
sound. ‘Panama’ illustrates Higuera’s creativity, as he
played multiple solo choruses on brushes instead of the
usual sticks. The astounding mambo version of ‘Hin-
late 1930s he was offered the drum slot with Jimmy
Dorsey’s Orchestra. Had he taken the job, it is possible that Higuera might have become a Swing Era
superstar. However, for unknown reasons, he did not
join the orchestra. Rather, his playing was confined to
groups based in the Bay Area, plus occasional work
with with bands such as Seger Ellis’ ill-fated Choirs of
Sometime during the 1930s he married Barbara Furney. In 1943 he enlisted in the U.S. Army, where
he was a private, a drummer and a cook. Following
the war, the Higueras lived and worked briefly in
Reno, Nevada.
In the 1940s Higuera listened to records featuring Buddy Rich, Shelly Manne, Don Lamond and
Max Roach. These contemporary sounds, together
with the previous diverse influences, produced a
singular and unique drumming style. He used this
considerable talent with a variety of jazz and dance
bands, small combos and Latin groups throughout
the ‘40s. Even though his musical interests went in the
opposite direction from Lu Watters’, he substituted
for Bill Dart with the Yerba Buena Jazz Band. Cornetist Ken Smith remembers hearing Higuera with the
YBJB. Ken recalled, ‘He played some of Watters’ style
The Frisco Cricket
Winter 2011
La Honda Bandits. Sacramento Jubilee - May, 1978. Bob Strellitz - piano; Slim Hood - guitar, leader; Fred Higuera drums. Others unidentified. Photo courtesy Hal Smith.
Band and with Slim Hood and the La Honda Bandits
at the Iron Works in Palo Alto. During this period,
Fred and Barbara Higuera helped to raise their
grandchildren—Desiree, Heather and Hans. Desiree
recalls that Fred refused to drive, after being ticketed
one time for driving on the freeway at 9 miles per
hour! Afterwards he would either take a bus, the
BART subway system, or depend on his wife to drive
him to work. Desiree remembers going to the Iron
Works with Barbara to pick up Fred, going inside and
getting caught in the ‘conga line’ as Slim Hood played
‘The Saints’ as the final number of the evening.
She also described Grandfather Fred waiting for dinner to be served and amusing himself by
drumming with knife and fork on ‘every glass, plate
and dish on the table.’ Grandmother Barbara was not
pleased with the performance and she shocked the
children by saying ‘Up your brown, Fred’ while flipping him ‘the bird’! Heather wrote, ‘My grandma’s
car had a dent in the dash from [Fred] playing drums
with his hands while we were driving’. She also recalls that the neighbors referred to her Grandfather as
‘Silver Stix’.
In 1977, Wingy Manone was the guest artist at
a concert of the New Orleans Jazz Club of Northern
California. The all-star band backing him up included
Bob Mielke, trombone; Burt Bales, piano; Dick Oxtot,
banjo—and Fred Higuera on drums. All through the
‘70s he played a variety of musical styles at Bay Area
dustan’ sounds like there are at least two world-class
Latin percussionists at work. Years after the recordings
were made, mere mention of Higuera always resulted
in a smile and a compliment from Scobey bandmates
such as Bill Napier, Burt Bales and Bob Mielke. Pianist
Wally Rose, who frequently played with Scobey, called
Higuera ‘The best drummer I ever played with.’ In a
late-‘70s conversation with Scobey bassist Squire Girsback, this writer mentioned hearing Higuera at a club
and remarking ‘he still has it.’ Girsback, whose speech
was badly slurred following a severe stroke, responded
with unmistakable clarity: ‘You’re Goddamn right’!!!
However, despite the synergy between Scobey
and Higuera, the latter did not stay with the band for
long periods of time. Between 1950 and 1958 he was in
and out of the band, often playing other types of music
on engagements which paid better than Scobey’s.
In 1962 Higuera worked with a commercial
band—Joe Marcellino’s Orchestra—at A. Sabella’s Capri Room in San Francisco. Several of the performances
were broadcast for KCBS and the surviving playlists
illustrate the type of music Higuera played on such occasions: Medleys (waltzes, Hawaiian songs, pop tunes
of the ‘20s and ‘30s); current hits (‘Peppermint Twist’,
‘Never On Sunday’) and—probably because an expert
Latin percussionist was aboard—a variety of cha-chas,
rhumbas, boleros and mambos. Higuera continued to
play these types of jobs for many years.
In the 1970s he played with the Euphonic Jazz
The Frisco Cricket
Winter 2011
venues such as the Sinaloa, Pinky’s and the Velvet Turtle.
He also played with the Circus Vargas orchestra. Trumpeter Charlie Fardella, a Circus Vargas veteran, told the
writer that the high wire acts loved to work with Higuera
because he could play a steady roll on the snare drum—
with no accents—for as long as the performers walked the
While this writer heard Fred Higuera live in 1970
and again in 1978, we were not introduced until 1979. At
that time he was playing in the ‘Basin Street Trio’ with
clarinetist Phil Howe and pianist Devon Harkins at the
Leamington Hotel in Oakland. My wife June accompanied me to the Leamington as soon as I heard that Fred
was drumming there. We were transfixed by the relentless drive from the drums. Never once did the level of
excitement waver! Finally, during an intermission, I met
Fred and immediately we started ‘talking shop’. I mentioned my regular Sunday brunch job in Petaluma with
the Golden State Jazz Band. He expressed an interest
in hearing the band, which included his old friends Bill
Napier and Bob Mielke. We agreed that I would pick him
up at the Leamington the next morning and he would
ride to the job with me.
I called his number Sunday morning, but there
was no answer. I tried again, but then it was time to leave
our house in Oakland for the long drive to Petaluma. I
was dejected after envisioning the opportunity to spend
a day with one of my idols. While setting up the drums, I
happened to look out the back window of the restaurant.
A car resembling my wife’s Mustang drove into the back
lot. The passenger door opened…and out stepped Fred
Higuera! (He called the house just after I left. June immediately offered to drive him to Petaluma). Fred took a seat
in the front row, right in front of the drums. After the first
set, I asked if he would like to sit in. He responded ‘No,
man. I came to hear you’. On the next set, I was still flying high after that comment. Then leader Ev Farey called
our quasi-Latin number: ‘Isle of Capri’. As we played, I
became more intimidated with each succeeding bar. After
all, the man seated directly in front of the drums, watching my every move, had recorded the Latin tour-de-force
version of ‘Hindustan’. By the time the song ended, I was
pouring sweat. I looked at Fred and said, ‘That’s my Latin
style’. Without hesitation he responded, ‘Yeah. That’s
what we call the gringo beat’.
Though it was an honor to play for him, the best
part of the day was the long drive back to Oakland, where
he was staying at the hotel. We talked about drums and
drummers, and he spoke enthusiastically of his love for
the Chicago Style music of Teschemacher, Spanier, Sullivan and Condon. The conversation trailed off as we
slowed for a stoplight. As the car idled, I saw a far-away
expression on his face. He shook his head slowly and said
‘Nobody plays stop-and-gos anymore’.
Fred Higuera with Alexander’s Jazz Band. Victor & Roxie’s,
Oakland, CA. circa 1951. George Probert - soprano sax.
Photo courtesy Hal Smith.
Soon after this encounter, he played another
concert for the New Orleans Jazz Club of Northern
California, with the Basin Street Trio. From all accounts, his drumming was the highlight of the concert. To my everlasting regret, I missed the concert
and never had another opportunity to hear—or talk
Soon after playing a New Year’s Eve job, he
suffered a stroke that paralyzed his left side. Desiree
remembers her Grandfather ‘forcing his drum stick
in his left hand and making himself hold it and
move it’. Sadly, he never played again. He passed
away in San Mateo, California on 24 January, 1983.
Fortunately, he left a treasure chest full of
recordings from his years with Bob Scobey. And a
recent release—GHB CD-285—contains previouslyunreleased live recordings, alternate and unissued takes by the Frisco Band, with well-recorded
Higuera, playing in absolute top form.
Whenever you see a recording that lists Fred
Higuera on drums, give it a listen. You will hear
exactly what it means to be ‘Swingin’ on the Golden
Gate’! 
The Frisco Cricket
Winter 2011
Website Contact Page
Humorous Historical Note
New Theory Of The
Origins Of Jazz
Firehouse Five Plus Two
by Jean Elliot from Melody Maker Magazine
circa 1970s
When my wife and I were on our honeymoon
in May of 1969, we stopped for a few days at Disneyland. We happened upon a Dixieland group playing.
Having played piano with a group in junior college,
we stayed and listened. After twenty minutes, the
trombone player (later found out to be Ward Kimball)
asked if there were any requests. The first piece that
came to mind was the first ragtime piece I learned on
the piano,”12th St. Rag.” They looked at each other,
mumbled a few things and absolutely tore into it with
complete abandonment.
When they finished their set I asked when
and where they might play again. They told us. At
the appointed time, we were there. They played for
twenty minutes or so when the trombonist pointed
me out in the crowd and shouted, “12th Street Rag.”
Everyone looked at me in wonderment, and away they
went. Again, when they finished their set, I inquired
as to where and when they would once again play.
And, again, we were there. And, again, after twenty
minutes, Ward pointed at us and shouted, “12th Street
Rag!” And, again, they played it with such enthusiasm
as if it were the very first time ever.
It wasn’t until 1973 that I ran across some recordings of the F5+2 and quickly garnered copies of the
three reels. It wasn’t that they were the best, they just
seemed to have the most fun doing what they were doing. A few more years went by before I saw a couple of
photos of the group and connected the dots. The group
we saw on our honeymoon was indeed the group I had
enjoyed and shared for the past several years. Their
music has given me so many hours of enjoyment and
inspiration. We now have all their CD’s. I’ll never
forget Ward Kimball pointing at us and shouting, “12th
Street Rag!!” Thank you for your information and comments. Dave Cissna 
My Poppadam tol’ me
Although jazz has thrown up an abundance of controversies over the years, the one element on which there has hitherto been universal
agreement is that concerning the origins of the
It has long been accepted that jazz
evolved from a combination of African music,
introduced into America by the slaves, and European dance music.
Now, however, comes a remarkable book,
“Jazz Is Where You Sikh It”, by P. Vencatachellum,
which threatens to cause a gigantic upheaval in
jazz circles by claiming that jazz had its origins
in India in the middle of the 19th century.
In a fully documented survey of the
beginnings of jazz, Venatachellum traces its
origins to an eating house in New Delhi where
the specialities were particular spicy jhals. The
resident musicians led by Ali Zanda, specialized
in syncopated improvised music which quickly
became associated with the food being served. It
became known locally as “hot jhals” music and,
as the musicians played the “l” out of it, this became corrupted to “hot jhas”. From there it was a
short step to hot jazz or jazz.
If this were all the evidence that Vencatachellum was able to provide, it would be derisory indeed. But he goes on to trace the spread of
the music to other towns in India where, during
the days of prohibition, musicians would get together for what were known as chutney sessions
in the local Sikheasies.
Meanwhile the original New Delhi band
was gaining a wide following among the Sikhs
who derived, it is said, great élan from the music.
As a result of this the band became known as
the Original Sikhs Elan Jhas Band and the leader
achieved additional fame when he wrote Ali
Zander’s Raga Time Band.
Hand in hand with the evolution of jazz
in New Delhi was a secondary movement emanating from a member of the British Raj in the
northern state of Nepal. He assembled around
Firehouse Five Plus 2. Photo courtesy John Smith
The Frisco Cricket
Winter 2011
bers of the aristocracy known as Shorty Rajahs, the
bebop movement introduced by a number of seers
who transformed the standard Whispering into Guruvin’ High and the rock ‘n’ roll style pioneered by
Chuck Ber-Beri, who found fame with RagaBeating
Boogie and Sweet Little Sikhs Teen.
The Author is particularly interesting when
he gives the stories behind such jazz standards as
Low Down Dhoti Shame Blues, Poppadam Allow No
Music Played In Here and You Korma Long Way From
New Delhi. He also refers at length to the introduction of the electric sitar by Charlie Hindu and the
contributions made by such Indian jazz greats as
Vindaloo Donaldson, Rajah kellaway, Rupee Braff,
and singers like Delhi Rice and Chappatti page. He
also recalls the pioneering work of the dark-hued
trombonist from the south known as “Tanned” Ory.
Vencatachellum is convincing when he
explains how Indian jazz evolved into rhythm and
blues through the efforts of the Tabla Motown label.
And he is most persuasive when he talks about
the bosa nova influence from the former Portugese
region, led by the talented Domengo Chutney. Domengo, he explains, is nicknamed “Mango” by his
followers, and since he comes from the former Portugese region, is often referred to as “Goa Mango” –
an appellation familier to jazz lovers throughout the
However the author is on rather more
treacherous ground when he sets out to prove that
most of the American jazz standards are, in fact,
based on original Indian tunes.
He quotes the case, for example, of an Indian
potentate who commissioned a song from a local
composer. The composer completed the work and,
to make an impression, rode to the palace sitting on
the ear of an elephant and singing, Caliph, On Ear
I Come. He has other far-fetched explanations for
titles like Ghee Baby Ain’t I Good To You, Whose Sari
Now, DIG Urdu Urdu and I Call My Sugar Ghandi.
Vencatachellum has written a recourceful
and fascinating book, but I am bound to say that if
you are a serious student of jazz, in the Brian Oxide
class, you may find that Jazz Is Where You Sikh It,
instead of helping you, tends to India.
This article is reprinted from Melody Maker
and is attributed by that magazine to “the almost totally
unknown authority on Indian culture, Jean Elliot, who
has made a bit of chutney in her time and once visited
Southall” 
himself a large orchestra of British and Indian
musicians which became known as the Nepal
White Man Band.
Also contributing to the mainstream of
jazz development was religious music and a
number of gopal (gospel) singers were emerging,
using jazz rhythms in conjunction with traditional
hymns like “We Pilau The Fields And Scatter”. And
from the workers in the cotton fields came the
blues form, later taken up with some success by a
titled woman in the Punjab known only as Maharanee (later corrupted by Western writers to Ma
But perhaps the blues movement, says
Vencatachellum, came from the fakirs (including
some elderly female ones known as mother fakirs)
who roamed Bombay moaning laments as they
walked through hot coals.
Their wailing became so distracting that
the authorities banished them to the municipal
toilets where a special section was put aside for
them. The lavatory seats each had a dozen spikes
sticking up and the wailing that echoed through
the place naturally became universally known as
the music of the 12-barb loos – perhaps the most
fundamental form of Indian jazz.
Vencatachellum traces the development
of various forms of jazz – that of the West Coast
stream evolved by a group of diminutive mem9
The Frisco Cricket
Winter 2011
In Memory
Lu Watters
and his
VR10 Navy
Dance Band
[Paid advertisement]
About Your New
San Francisco Traditional Jazz Foundation
Created as a non-profit in 1981, the San Francisco Traditional Jazz Foundation stated, as its primary mission, the archival preservation of thousands of items related to the West Coast Jazz Revival that began in San Francisco about 1939.
In 2009 SFTJF completed the transfer of the main body of those materials to the Stanford University’s Music Library.
Thereupon, your Foundation’s Archive was closed; possible donors of jazz materials should now contact Stanford or
other public repositories.
SFTJF’s wider, ongoing aim is to help foster high-quality traditional jazz, regionally and worldwide. That mission
is now carried out primarily via electronic media. The Foundation’s main window on the world is our website -- www. -- where visitors are invited to become members at $25 per year.
Benefits of membership include insider information and discounts to special events and products, and a subscription to our lively newsletter, the Cricket, now available electronically. Those wishing to continue receiving the Cricket
on paper in the mail should please contact the SFTJF office manager.
Thank you for your generous support over the years. Contributions in categories beyond the basic membership
level are tax deductible, and the names of those contributors are published annually (unless a contributor specifies
Donations welcomed
The San Francisco Traditional Jazz Foundation accepts gifts and grants in many forms, including historical items
which shed further light on the history of traditional jazz on the West Coast, such as recordings, music, newspaper
clippings, photographs and correspondence. Contributions of materials or funds are tax-deductible under IRS ruling
status 501(c)(3).
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The San Francisco Traditional Jazz Foundation has an ever-expanding web site. The site includes sound files and
photos of many San Francisco (and other) jazz figures from the 1930s to the present. Please visit us at Join (or rejoin) the San Francisco Traditional Jazz Foundation today to begin taking advantage of
reservations to special events, discounts on selected jazz books and recordings, and a year’s subscription to The Frisco
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Winter 2011
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Compact Discs
($13 for members, $16 for non-members)
El Dorado Jazz Band Live At Mr. Fatfingers.....................................................(BCD-510)_____ $______
The Sunset Music Company —Live in Dusseldorf, 1979.................................(BSR-009) _____$ ______
The Unheard Bob Scobey and his Frisco Jazz Band 1950-1957............................ (BCD-285) _____ $ _______
A Musical Tribute to Lu Watters—The Bay City Stompers ................................................. (BCD-280) _____ $ _______
Firehouse 5 Plus 2 Live at Earthquake McGoon’s 1970 ............................................ (BCD-450) _____ $ _______
William Warfield—Something Within Me ............................................ (DELMARK DE-772) _____ $ ______
Bob Mielke and his Bearcats ........................................................................................................ (SFCD-3) _____ $ ______
The Legendary Russ Gilman ................................................................................ (SFTJF CD-109) ____ $ ______
Clancy Hayes—Satchel of Song ...................................................................... (SFTJF CD-108) _____ $ ______
Turk Murphy Jazz Band—Wild Man Blues ................................................. (SFTJF CD-107) _____ $ ______
Lu Watters Yerba Buena Jazz Band, Vol 2, 1946–1947 .............................. (SFTJF CD-106) _____ $ ______
Lu Watters Yerba Buena Jazz Band, Vol 1, 1937–1943 .............................. (SFTJF CD-105) _____ $ ______
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If outside U.S., Canada and Mexico, add $5 per order. $ ______
New or Renew SFTJF membership, add $25. $
Donation* $ ______
Total $ ______
*contributions to SFTJF, above the basic membership level, are tax deductible
Credit Card
American Express
Name (as appears on card) _______________________________________________________________
Account Number (16 digits) ___________________________________ Expiration Date (mo/yr) ________
Cardholder Signature ____________________________________________________________________
3130 Alpine Road, Suite 288 PMB 187
Portola Valley, CA 94028
The Frisco Cricket
Please note our mailing address has changed!
3130 Alpine Road, Suite 288 PMB 187
Portola Valley, CA 94028
We apologize for any mail that has been returned with
This is in error - we are still very much in business!
Send an email to:
[email protected]
or register online at
The Frisco Cricket
Winter 2011