29 Fall 2005 - San Francisco Traditional Jazz Foundation

Frisco Cricket
Published by the San Francsico Traditional Jazz Foundation
Fall 2005
Katrina & Jazz
by William Carter
Because San Francisco traditional jazz has
umbilical links to the music as it was originally
played in New Orleans and Chicago, we feel a
special concern about recent events in the Crescent
City – and the consequences for musicians living
there.
Your Foundation has taken concrete action.
We placed full-page ads in the October issues of
the Mississippi Rag and the American Rag directing
potential donors to bona fide, New Orleans-based
agencies equipped to help musicians there recover
their assets and their jobs. On our website, http://
www.sftradjazz.org, we describe and link to one
group in particular, the New Orleans Musicians
Clinic, which you can visit at
www.savenolamusic.com.
Since the earliest days, the business cards of
New Orleans musicians have said “Music for All
Occasions.” Lest this statement be read as only a
pitch for work, it expresses the inner spirit of a
music that became the soundtrack for the American Century. Born to be played at every imaginable occasion, mourning the dead and celebrating
sensual pleasure, by every race and for every area
of society, at home and on the road, for dancing
and listening, in a town forever subject to floods
and such waterborne diseases as yellow fever -this music continues to exhibit flexibility and
survivability from deep within its DNA.
In an era of mass entertainment, of social
homogenization and of musical dilution, early jazz
retains its special force by remaining as spontaneous and close-up as your own breath. Plus, the
music has long since reseeded itself worldwide.
Each soil, each town where it was replanted, gave
the music its own flavor – including San Francisco.
The rip-roaring Barbary Coast trimmed out some
of the niceties and added others (you can read
about this in the Foundation book, Jazz on the
Barbary Coast – or hear it direct in our newest CD
featuring the Bay Area Stompers).
Even as Katrina and Wilma have disappeared from the headlines, their stories continue to
unfold. After World War I the well-known exodus
of jazz musicians from New Orleans spawned the
worldwide popularity of the music. Today’s
exodus may be less profound, but the numbers are
real and the stories wrenching. One ex-New
Orleans resident who has been keeping tabs on his
brethren is clarinetist Evan Christopher; you can
link to his and other web reports by going to
riverwalk.org and browsing the Jazz Me News
history (October) from the button at the bottom of
the left column on the home page.
We mourn the losses our fellow players
have suffered. But we can hope their well-honed
survival skills will help them recover from this
latest occasion. Our breath joins theirs in blowing
the blues on the way to the cemetery – and trumpeting the spirit’s release on the way home. e
Contents
Katrina & Jazz by William Carter
1
ober 1
6 by Phil Elwood
Tur
k Mur
ph
yT
ribut
e, Oct
urk
Murph
phy
Tr
ibute,
October
16
2
From the Editor by Scott Anthony
6
t II by Opalene and Frank Haggerty
Frank Hagg
er
ty - Rh
yt
hm Guit
ar
is
tP
ar
Hagger
erty
Rhyt
ythm
Guitar
aris
ist
Par
art
7
Membership Application and Product List
11
1
The Frisco Cricket
Fall 2005
Turk Murphy Tribute,
October 16
Phil Elwood
In their Musical Tribute to Turk Murphy, the eightpiece Bay City All Star Stompers let the good times (and
grand tunes) roll for more than four hours on the sunny
Sunday afternoon of October 16 at Bimbo's 365 club in San
Francisco's North Beach.
Much to the delight of the sponsoring San Francisco
Traditional Jazz Foundation the event was a sellout-plus
and, significantly (we hope) at least a third of the audience
members were too young to have heard – or even known
about – Turk, who died, age 71, in 1987.
Does this mean we're in for a re-birth of traditional
jazz enthusiasm on the part of a younger generation? Am I
going to be called a “moldy fig" again for appreciating Jelly
Roll Morton more than Cecil Taylor? (continued, p. 3)
The Frisco Cricket
Approaching the concert. Photo by Scott Anthony
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Issue No. 29
Published by the
SAN FRANCISCO TRADITIONAL
JAZZ FOUNDATION
41 Sutter Street, PMB 1870
San Francisco, California 94104
Phone: (415) 522-7417, FAX: (415) 922-6934
Website: www.sftradjazz.org
E-mail: [email protected]
In an effort to help defray the costs of
maintaining all the varied programs that SFTJF
supports, including The Frisco Cricket itself,
we’re going to begin providing limited advertising space here. We want to be fair to everyone, so
there are a few rules we’d like to follow:
• The advertiser should be in a music
related (preferably Traditional Jazz related)
business (band, club, cruise, radio station, etc.).
• No more than a total of 2 full pages will
be used in any single issue of the Cricket, so ads
will be accepted on a first-come, first-served
basis.
• We need to be able to maintain the right
to accept or reject advertisements at our discretion.
• Please send your ad to:
Publisher: William Carter
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Curator of the Archive : Clint Baker
Special Projects Consultant: Hal Smith
Office Manager: Bunch Schlosser
Directors
William Alhouse
Philip F. Elwood
John R. Browne III
Charles Huggins
Charles Campbell
John Matthews
William Carter
William Tooley
Jim Cullum
Leon Oakley
Cricket Editor
San Francisco Traditional Jazz Foundation
41 Sutter Street, PMB 1870
San Francisco, CA 94104
• Or (preferably) by email to:
[email protected]
Advertising Rates
Unless otherwise noted,
all contents copyright © 2005
San Francisco Traditional Jazz Foundation
per issue
1/8 Page $35, 1/4 Page $50, 1/2 Page $75
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The Frisco Cricket
Fall 2005
Let's hope so, but I doubt it; however, it
sure was fun to see couples in their 20s and 30s
fox-trotting to "The Girls Go Crazy," and feigning
a Lindy Hop to "Take Me To The Land of Jazz."
Of course, 91 year old Charles Campbell,
among Turk's oldest friends and business partners,
was out on the the good-sized dance floor for most
of the afternoon, bestowing badges that read "I
danced with Charles Campbell" to the lucky ladies
who were his one-tune partners – even when the
band struck up Lu Watters' hard-driving and
exhausting "Big Bear Stomp," or slowed down to
Louis Armstrong's "Alligator Crawl."
Campbell, by the way, is the subject of
Turk's song title, "Duff Campbell's Revenge," the
background story of which is almost as complex as
the tune itself; but not quite.
Four of the Bay City Stompers (Leon
Oakley, cornet; William Carter, clarinet; John
Gill,banjo/vocals, and intermission pianist Ray
Skjelbred) had tenures of varied lengths as members of one or more of Turk's bands. Cornetist Jim
Cullum, internationally known for his band's NPR
(Advertisement)
The Bay City Stompers, Bimbo’s 365 Club, October 16, 2005
Back row: Ray Cadd, Marty Eggers, Bill Carter, Tom Bartlett. Front row: Jim Cullum, Leon Oakley, John Gill, Clint Baker
Photo by Richard Ressman
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The Frisco Cricket
Fall 2005
broadcasts from San Antonio's Riverwalk, from boyhood was a Murphy fan;
he often jammed with Turk's band; with
his own group, he performed at Turk's
farewell concert in Carnegie Hall, January, 1987.
The dedicated Clint Baker (a man
of many instruments, and leader of
many bands) was the drummer at the
Bimbo's event; Marty Eggers was not
only the ensemble pianist, he also
Jim Goggin, founder of the San Francisco Traditional
Jazz Foundation, expressing his thanks at presentation
of plaque (see page back cover). Photo by Richard
Ressman
handled the solo stuff associated
with Turk's – and the Watters Band's
– keyboardist, Wally Rose. Veteran
Salty Dogs trombonist Tom Bartlett
was a perfect fit in the Stompers,
playing in Turk's powerful, percussive trombone manner on "Trombone
Rag" and often singing.
His "Kansas City Torch" was
especially well handled – a lot of
Turk, a touch of Clancy Hayes and a
bit of Monty Ballou in his style. As a
matter of fact, I think Turk learned
One of the major event sponsors, Chuck and
Donna Huggins. Photo by Richard Ressman
"The Torch" from Ballou, who was
famous for a number of things – his jokes,
banjo playing; singing with Portland's
Castle Jazz Band, and his discovery of
the only known copy of the 1923 King
Oliver Band's recording, "Zulu's Ball."
Although the typical Turk
Murphy Band at Earthquake McGoon's
included a single trumpet/cornet part,
the Stompers – with the inclusion of
Cullum – featured the classic two-trumpet (King Oliver/Louis Armstrong) lead
much of the time. The matching of
Ray Skjelbred performing an intermission.
Photo by Richard Ressman
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The Frisco Cricket
Fall 2005
Cullum with Oakley made this a particularly exciting band to hear.
During the intermissions at Bimbo's, the
incomparable Skjelbred wove his way through
various jazz piano classics, reminding many of us of
such occasional Murphy colleagues as Burt Bales,
Paul Lingle and Don Ewell. "An ideal intermission
pianist," commented S.F.Traditional Jazz
Foundation's Chairman, Bill Carter.
The afternoon was an informal few hours of
joyous playing of selections drawn from Turk's
songbook, as it were. Since the material was
familiar to the bandsmen, Gill – acting as commenPat Yankee and Phil Elwood enjoying the concert
Photo by Richard Ressman
tator and casual programmer – nicely
incorporated songs that ranged from
the old trad-jazz book of the 20s such
as "Papa Dip," from the New Orleans
Wanderers, and King Oliver's
"Chimes Blues" to Lu Watters' "Big
Bear Stomp," the old saloon song
"Ace In The Hole" (revived by Clancy
Hayes and the Lu Watters band) and
Turk's own "Bay City," his closing
theme. e
Charles “Duff” Campbell
Photo by Richard Ressman
These and many more photos
by
Dr. Richard
Ressman
of the
October 16
Bay City Stompers
Tribute to Turk Murphy at
Bimbo’s may be purchased online
at www.pictage.com
or
www.photosurgeon.net
The Bay City Stompers on stage.
Photo by Richard Ressman
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The Frisco Cricket
Fall 2005
From the Editor
Imagine this:
You go to the office one morning after having
worked on a project until well past midnight the night
before. You’ll be laboring in a relatively high-pressure
situation where each and every task you perform will be
monitored by a highly-paid technician who has connected
you to a complex maze of very expensive electronic equipment.
Moreover, your work product for the morning will
be recorded and analyzed down to its most minute detail by
the people who hired you. They may spend days at it.
If that’s not enough to make you nervous about the
entire experience, those people will eventually take your
work product from that morning and make it available for
public scrutiny as well.
And get this — some people will actually get paid
to write about the work you completed that one morning,
so that other people can better decide whether they want to
expose themselves to it.
But there’s more. When you arrived for work that
fateful morning, tired from having worked so late the night
before, the boss gives you only a general idea of what she
wants you to do, then tells you to just make up the specifics as you go along, depending on how the other workers do
their jobs!
Could you do your work under such conditions?
Could you do it so well that other people would want to
buy a recording of your efforts and listen to it over and over
again? That’s what the best of the jazz musicians do.
Perform by night; record by day. And we’re not talkin’ a
five-day week here, either. I’ve never heard a jazz musician
tell a promoter or agent, “Sorry, I take Tuesdays off.”
Then there’s the struggle it takes a good, working
jazz musician to achieve the required level of proficiency.
Years and years of practice. A load of talent. And significantly, a willingness to forego the security most people take
for granted in our society.
Nightclub gigs and record deals don’t come with
paid vacations, pension plans and medical insurance. Yet
despite all of these circumstances, great jazz is still being
played and recorded. An objective economist or workplace
scholar would conclude that it just doesn’t make sense.
What manner of person would take such risks and
endure such pressure for such small rewards? The answer is
deceptively simple. Jazz musicians are true artists. They do
what they do for love of the music and the creative process.
Watch them work and you can see it.
Listen to a good jazz record and you can hear it.
So next time you put on some jazz, whether it’s one of
those evenings where you hang on every note or one of those
afternoons when the music is just contextual,
give a mental nod to the folks who made it all possible –the
musicians.
They really deserve it.
In this issue we celebrate the wonderful
tribute to the Turk Murphy Jazz Band that was
held on October 16 at Bimbo’s 365 Club in San
Francisco. Also, in this issue we finish the excerpts
from the privately published book by Frank
Haggerty and his wife Opalene.
Partly by coincidence, a significant number
of pages in the second half of Frank and Opalene’s
book are devoted to Frank’s seven or so years as
Turk’s banjoist. Because of this coincidence, this
issue will concentrate on excerpts from the book
that deal with Frank’s time in San Francisco and
with Turk.
As a final, sad, actual coincidence, we have
to note the passing of Phil Howe, our friend and
wonderfully talented reed player who, also, was a
member of the Turk Murphy band for a number of
years in the sixties.
The closing of Earthquake McGoon’s in
1984 marked the beginning of the end of steady
work for traditional jazz musicians in San Francisco. The band continued with Turk at the helm
for another couple of years at the Fairmont Hotel
New Orleans Room, followed by another couple of
years with Don Neeley as leader in the same
location, but the handwriting was definitely on the
wall, so to speak.
When Earthquake McGoon’s closed, I, as
the then intermission performer, definitely needed
to find another way to make a living, and began
another career as a computer programmer. Most
other jazz musicians I know in the Bay Area also
need another source of income to successfully raise
a family, maintain a marriage, or to just survive, in
order to continue to be able to play their favorite
music. As far as I know, Jim Cullum’s (another
coincidence, he being a member of the Bay City
Stompers on October 16) band and club, The
Landing, in San Antonio, is one of the only other
places that has steady work for jazz musicians,
with the possible exception of Disneyland and
Disney World, although even these institutions
have been shifting away from jazz in recent years.
A few months ago I received the sidebar to
the right (original author unknown) in an email
that circulated around the music community. It
perfectly summarizes what it is like doing what we
love–performing this great music. e
Scott Anthony
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The Frisco Cricket
Fall 2005
Frank Hagg
er
ty - Looking Bac
kP
ar
t II
Hagger
erty
Back
Par
art
Ex
cer
pts F
rom a Pr
iv
at
e Book
Excer
cerp
Fr
Priv
ivat
ate
by Frank and Opalene Haggerty
Ellis Kimball & The Big Time
come for an audition...Getting this job was quite a
feather in my cap....
“When I took the studio job I was told it
wouldn't affect my other jobs, playing wherever I
wanted...Then Hackett started getting into the San
Francisco social set and getting really high calibre
jobs....
“Another time a very influential band leader
out of New York, Meyer Davis, sent me a letter
"I was in the bigtime!"
"We wore tuxedos at each engagement,
and because we usually didn't stay any length of
time at any one place, laundry became a problem
at times. We wore paper dickies that looked like
regular cloth ones...They had a wing paper collar
with a collar button, and looked for all the world
like regular shirts. When they became soiled, all
we had to do was take our eraser and erase the
soiled place....
"So after being on the road with Ellis
Kimball's Band, I was back in San Francisco-and
looking for work again. At least I now had a
reputation. Anyone good enough to play in a
band like Ellis Kimball's must be pretty good, so I
started meeting people - the right people....
“I never dreamed when I started out
playing music professionally at 15 years of age
that I would ever be a studio musician in San
Francisco, but one day I got a call from Ray
Hackett, musical director at what was then KQW
which was the outlet for CBS. He said they were
auditioning guitar players, and they wanted me to
‘Pla
yt
he melody! Pla
y
‘Play
the
Play
the melody!’ I said, ‘I don’t
ha
ve t
he melody
hav
the
melody..’
asking me to play...at the Fairmont Hotel. Meyer
Davis played the Presidential Balls and other influential events at the White House...I didn’t know
what to expect.
“I showed up at the Fairmont as instructed,
and was told to go to the big ballroom. I came
walking in with my accoustical guitar, and this
macho-man bass player who was Meyer Davis’
lieutenent that kept his players in line, walked up to
me and said, “what the Hell do you think you’re
going to do with that damned thing? Nobody will
know you are there. No one will even hear you.” So
I told him I had my electric guitar in the car and
went out and got it...I was just plugging in my
amplified guitar when the piano player came over
and said, “I just want to tell you not to pay any
attention to Meyer Davis. He’s nuts.” By then I was
feeling real good, and wondering what kind of
night this was going to be–the bass player was mad
at me, and the leader is nuts. What fun...!
“The job turned out to be a Philippino
affair...he started out playing the Philippine National Anthem, and all I had were chord symbols.
All of a sudden he whirled around and said, ‘Take
it!’ I don’t know how many people have ever heard
the Philippine National Anthem, but I had never
heard it before. All I could do was just run up and
down the chords, and he yelled, ‘Play the melody!
“This was taken aboard the Delta Queen (New Orleans)
when Turk Murphy’s band played the 1970 Super Bowl. Left
to right–Leon Oakley, me, Turk, and Pete Clute”
7
The Frisco Cricket
Fall 2005
Play the melody!’ I said, ‘I don’t have the melody.’
He came over and grabbed the music and threw it
down...I figured he hated me, and I’d never hear
from him again.
“About a week later I’m playing a job at the
Fairmont Hotel and Ernie Hechscher...comes over
and says, ‘All Meyer Davis could do was rave about
what a marvelous job you did for him....
Tur
k Mur
ph
y’
sT
wo-Beat Jazz
urk
Murph
phy’
y’s
Tw
“Reflecting on my life, the Depression years
of the 1930s were rough times–not the Good Old
Days...By the 1940s, swing bands were in full
swing...San Francisco was a classy town. Our
standard repertoire in clubs was a mix of the top 10
tunes, tangos, rumbas, waltzes, and polkas....
“Then by the 1950s and 1960s there were all
kinds of new sounds–be-bop, progressive jazz, rock
‘n roll, and so on, and good old trad jazz and swing
were in full retreat....
“Throughout all this upheaval, Turk
Murphy’s two-beat West Coast style band survived.
“One day Turk Murphy came to see me. He
said, ‘Frank, I’d like for you to come to work for me
Jazz Festival in Monterey
Turk, I don’t even own a banjo,’ and Turk said,
‘Come on over tonight and I’ll have a banjo there
for you....’
“I showed up and there were banjo players hanging from the ceiling. Turk had all these
guys there auditioning for this job. Some of those
guys were just tremendous–fast a greased lightning–and had all these solos worked out. All I
could think was, ‘what in the world am I doing
here?’ So, Turk said, ‘Come on up and play a
couple of tunes.’ I sat down and had the music in
front of me...I knew I was a big flop, and said,
‘Thanks, Turk. I’ll see you around,’ and started to
leave...he said, “I’d sure like for you to join the
band. Most of these guys here today can’t read
and the can’t keep time. You’re a good reader and
you’re a strong time-keeper and that’s what I
have to have....
“I said to him, ‘I’ll make a deal with you. If
you don’t like what I’m doing or you don’t like the
way I play, you’ll be up front and tell me. Let’s
not make a thing out of it, so there’ll be no hard
feelings. Also, if I don’t like the job, I’ll let you
know.’ So, I joined the band with this understanding, and worked for him for 7 years....
“Throughout all this
y’
s
uphea
val, T
ur
k Mur
ph
upheav
Tur
urk
Murph
phy’
y’s
tw
o-beat W
es
t Coas
t
two-beat
Wes
est
Coast
sty
le band sur
viv
ed.
”
tyle
surviv
vived.
ed.”
on banjo.” I said, ‘But Turk, I’m not a banjo player,
I’m a guitar player.’ Turk said, ‘But, I heard you
play good banjo.’ I said, ‘I don’t know where you
heard that.’ The only time I ever played banjo was
the time I worked for this guy name Ross Love. He
found a banjo someplace that only cost him $5, and
it was just an old wreck. Ross brought it on the job
for me to play, and I tuned it like the first four
strings on the guitar. I played tunes like Yessir,
That’s My Baby and Ain’t She Sweet and songs like
that. Of course, banjo is a tremendous fraud instrument, but it has a happy sound, and people love it.
You don’t have to be a very good musician to be a
banjo player–just make happy noises....
“So Turk said, ‘I’d still like you to come over
and play a few tunes with us tonight.’ I said, ‘Gee,
8
The Frisco Cricket
Fall 2005
From Obituary by Carol Feineman,
December 3, 2004
“Turk got some great jobs. One of them
was at the 1970 Super Bowl. Bristol Meyers hired
the band. They flew us to New Orleans–first
class...we played at Dixieland Corner and Preservation Hall....
“In the book Turk Murphy – Just For The
Record written by Jim Goggin, Turk’s comment
regarding me was, ‘Frank is somewhat a product
of the swing era. Plays big guitar. He did a lot of
studio work in Los Angeles for years and he just
happens to play banjo. He’s the kind of guy that
can play anything he picks up practically, and so
all these people are always talking about their
$1,000–$2,000 banjos, and Frank has one that cost
him $25. And, he sounds as good as anyone with
a $1,000 banjo. He was a studio musician and he
was a general musician like myself....’
“Turk, my long-time and dear friend, died
at 71 years of age on June 5, 1987. He was the
legend–the man–the musician–and always my
good friend throughout the years....
“Turk loved New Orleans two-beat jazz
and spiritiuals–and he loved San Francisco and its
gaudy history....” e
“If there was one word which had to summarize
Frank Haggerty's life, it would be music. It was an art
and an industry that put him side-by-side with Frank
Sinatra, Mel Torme and other icons of his generation.
Mrs. Haggerty quoted her husband as saying,
"For 70 years, I got paid for being a part of the music
business and I wouldn't change a thing. I loved the
music business and the part I played in it."
The former Lake Wildwood resident...worked as
Columbia Broadcasting System's staff guitarist for a
number of years and played most of the top shows, Mrs.
Haggerty said. That included working in the Frank
Sinatra shows at San Francisco, playing 10 times a day
to full houses at the Golden Gate Theatre, and in shows
featuring Jimmy Durante, Mel Torme and Andy Williams. Also working as a studio musician in San Francisco, Los Angeles and Hollywood, Mr. Haggerty
played on New Orleans' Kid Ory's Verve recording
sessions, which received a Time-Life jazz history award.
During that time, Mrs. Haggerty said, he was
on first-call or the No. 1 guitarist for Columbia Broadcasting System.”
Wild Bill Davison
Centennial Celebration
January 8, 2006 afternoon 2-6 PM
Freight and Salvage, Berkeley
Celebrate with West Coast greats:
Leon Oakley - cornet,
Richard Hadlock - reeds,
Ray Skjelbred - Piano,
Dan Barrett - Trombone
Clint Baker - bass
Katie Cavera - guitar
J. Hansen - drums
With special guests
“Fiddle” Ray Landsberg on violin and
Bob Mielke on trombone.
January 8th from 2-6 PM at the Freight and Salvage,
1111 Addison Street, Berkeley, CA 94702,
(510) 548-1761. For more information and tickets
online go to www.freightandsalvage.org and click on
tickets.
(Advertisement) (Photographer unknown)
9
The Frisco Cricket
KA
TRIN
A&Y
OUR CD’S
KATRIN
TRINA
YOUR
Members will recall that SFTJF is now
co-producing our CD’s with George Buck’s
GHB label in New Orleans. We are proud of
our first efforts in that line — the historic
Firehouse Five recording (beautifully produced
by Hal Smith), and our first ever “current”
recording, the Bay City Stompers, in live performance at last year’s big SFTJF “remembering
Lu Watters” party.
Fortunately, we received our initial
shipments of both titles just before Katrina
struck New Orleans. Like everyone, GHB had
to evacuate, so it became impossible for us to
contact them and order more. We apologize to
anyone unable to receive their copy in timely
fashion.
The good news is that GHB is on the
upper floors above the Palm Court Cafe, in the
French Quarter, where there was little permanent water damage. They are back in business,
their stock is safe, and post-Katrina orders are
ready to be shipped to you.
GGRM
Fall 2005
Guitars
Golden Gate Rhythm Machines
Custom Hand-built Guitars by Scott Anthony
Finishes, refinishing, and repairs by Bill Reinhart
All archtop models including 4-string Tenor, 4-string
Plectrum, and 6-string.
Call 415-826-6193 or email
[email protected] for more
info, prices, options.
Let me build one for you!
(Advertisement)
About the San Francisco Traditional Jazz Foundation
What is the Foundation?
Created in 1981 as an archive of several thousand items relating to the jazz revival begun in San Francisco about 1939,
the Foundation now seeks to enhance that collection and extend its uses. A wider aim is to help foster live, high quality
traditional jazz, regionally and worldwide.
What does the Foundation do?
Current activities include archival preservation, supporting live events and broadcasts, collaborating with other jazz
and educational institutions, and developing new products and media applications.
Although the Foundation lacks the funding to open its archive to the general public, other means are being found to
make its resources available. For example, historic recordings and documents are being made available to radio stations;
and consumer products such as posters, books and tapes are being publicly offered.
Who is involved?
You are. Membership is $25 per year and is dated on a calendar year basis. Benefits include this quarterly newsletter,
invitations to special events and availability of Foundation products (often at exceptionally low prices).
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 509(a)(2).
SF Jazz on the Web
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 www.sftradjazz.org.
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 Cricket. If you are
already a member, give the gift of Foundation membership to a friend! Memberships are dated on a calendar year basis.
Use the form at right.
10
The Frisco Cricket
Fall 2005
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oduct Or
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or
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) ____________________________
Compact Discs
($12.99 for members, $15.99 for non-members)
Quantity
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) ___
Turk Murphy Jazz Band—Euphonic Sounds ......................................................... (SFTJF CD-104) ___
Turk Murphy Jazz Band—Weary Blues ................................................................ (SFTJF CD-103) ___
Turk Murphy Jazz Band—In Hollywood ............................................................... (SFTJF CD-102) ___
Turk Murphy Jazz Band—Live at Carson Hot Springs ......................................... (SFTJF CD-101) ___
Turk Murphy Jazz Band—At The Italian Village, with Claire Austin ................. (MMRC CD-11) ___
Lu Watters Yerba Buena Jazz Band—At Hambone Kelly’s, 1949–1950 ........ (MMRC CD-10) ___
Bob Helm with the El Dorado Jazz Band—1955* ........................................... (SFTJF CD-110) ___
Amount
$ _______
$ _______
$ ______
$ ______
$ ______
$ ______
$ ______
$ ______
$ ______
$ ______
$ ______
$ ______
$ ______
$ ______
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*Specially priced two-CD set. Members: $15.99; non-members: $19.99.
Books
Members Non-mem.
Jazz on the Barbary Coast, by Tom Stoddard
$4
$5
___
$ ______
$12
$15
___
$ ______
$32
$40
___
$ ______
$10
$15
___
$ ______
$25
$33
___
$ ______
Pioneer jazzmen reminisce about old San Francisco and its role as a wellspring of jazz
Jazz West 2, by K.O. Ecklund, published by Donna Ewald
The A-to-Z guide to west coast jazz music; a unique source.
Preservation Hall, by William Carter
Lavish 315 pp. Softbound. Drew national rave reviews. Autographed on request.
The Great Jazz Revival, by Pete Clute & Jim Goggin
The story of the San Francisco jazz revival
Meet Me At McGoon’s, by Pete Clute & Jim Goggin
Another Jazz Scrapbook by the authors of The Great Jazz Revival
Complete the credit card information below,
or enclose check or money order for Total.
Send to:
San Francisco Traditional Jazz Foundation
41 Sutter Street, PMB 1870
San Francisco, CA 94104
Subtotal
California residents add 8.5% sales tax
Shipping: $2.00 per item
If outside U.S., Canada and Mexico: add $5.
‰New or ‰Renew SFTJF membership, add $25.
Donation*
Total
$
$
$
$
$
$
$
______
______
______
______
______
______
______
contributions to SFTJF, above the basic membership level, are tax deductible
Credit Card ‰MasterCard ‰Visa
‰American Express
Name (as appears on card) _______________________________________________________________
Account Number (16 digits) ___________________________________ Expiration Date (mo/yr) ________
Cardholder Signature ____________________________________________________________________
11
The Frisco Cricket
SAN FRANCISCO TRADITIONAL JAZZ FOUNDATION
41 Sutter Street, PMB 1870
San Francisco, California 94104
www.sftradjazz.org
NONPROFIT ORG.
U.S. POSTAGE PAID
SAN FRANCISCO,CA
PERMIT NO. 3981
Return Service Requested
Now’s A Great Time To Renew Your Membership!
The Frisco Cricket
Fall 2005
Jim Goggin Honor
ed On Oct
ober 1
6
Honored
October
16
Jim Goggin, founder of the San Francisco Traditional Jazz Foundation, was honored at the October
16 “Tribute to Turk Murphy” held at Bimbo’s 365 Club in San Francisco.
Your SFTJF has a founding story a little like that of Hewlett Packard, which started in a garage.
Something like forty years ago Jim Goggin started collecting all manner of jazz memorabilia, photos,
clippings, recordings, posters, and other items, mostly centered around Turk Murphy and Lu Watters, in
his house and garage. The plaque presented to Jim on October 16, 2005 said:
In grateful appreciation to
Jim Goggin,
who founded the
San Francisco Traditional Jazz Foundation
twenty five years ago today.
That date, 1981, was when he made it official by obtaining an IRS non-profit permit, by which
time the Foundation collection had grown to large proportions and formed the basis of our archive today.
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