28 Summer 2005 - San Francisco Traditional Jazz Foundation

Frisco Cricket
Published by the San Francsico Traditional Jazz Foundation
Summer2005
The Heart Of The Matter
by William Carter
Long on human capital (though
short on physical resources), your
Foundation has, at its heart, a cadre of
first-call jazzmen who are also committed historians, conservators and writers.
This issue of The Cricket highlights the
career of guitarist Frank Haggerty. In so
doing, we also point out the primacy of
the rhythm section in traditional jazz.
The inner workings of the
rhythm section is a subject too infrequently explored in the official histories
of the music. Understandably, nonmusician listeners and writers tend to
focus on the more spectacular front-line
soloists. Less well understood is the
degree to which their work depends on
the security of a rock-solid beat and
Frank Haggerty in the late 1990s Photo Chris Kaufman
accurate chords. The give-and-take
interplay among the rhythm players is much
wrong side of the tracks,” scratching a living out of
discussed among themselves — in private. Merely
a living considered “illegitimate.” In our era, that
mentioning it here feels akin to revealing a trade
situation has turned around, and your Foundation
secret.
is part of the process.
But to celebrate the life and work of a
Also today, when even a highly schooled
largely overlooked guitar man like Haggerty is at
and articulate traditional jazz band is added to an
the heart of what your Foundation is about. Tradiotherwise modernist curriculum at a college camtional jazz writing has tended to suffer from the
pus or faculty, the prevailing justification is to give
fact that the brilliant, quirky first and second
the students a kind of pre-historic background for
generation of jazz pioneers often came from “the
the kind of post be-bop music they are really
Contents
The Heart Of The Matter by William Carter
1
From the Editor by Scott Anthony
2
Frank Hagg
er
ty - Rh
yt
hm Guit
ar
is
t by Opalene and Frank Haggerty
Hagger
erty
Rhyt
ythm
Guitar
aris
ist
4
970 new CD Announcement
Fir
ehouse 5 Plus 2 A
t Ear
thq
uak
e McGoon
irehouse
At
Eart
hquak
uake
McGoon’’s 1
19
8
Membership Application and Product List
11
1
The Frisco Cricket
Summer 2005
of this issue of the Frisco Cricket.
How to go about doing this? The book
itself is some 110 pages, about 75 percent of
which is text, so it is obviously way too big for
reproducing in its entirety here. Therefore it
will be published in two parts and greatly
condensed. The results are a distillation of just a
very few of the hundreds of interesting stories
in the book, with pictures and photos scanned
from it and reproduced.
I did not know Frank personally, but
based on these reminiscences, he had an unbelievably unusual and interesting childhood. His
mother was married at least three times and
lived with a number of other men in between,
almost all of whom (except his real father) were
terrible drunks and treated her very badly.
Frank wound up with one stepfather who made
his living as a bootlegger during Prohibition. As
“just a kid” of 12 or 13, Frank helped “watch the
expected to be learning and playing. Our premise
is the opposite. The reason to study traditional
jazz is to play traditional jazz. And the reason to
celebrate great rhythm playing of any era is because that alone makes it possible for the whole
band to cook.
Thanks to the likes of Frank Haggerty. And
thanks to you for your continuing support. e
From the Editor
As a banjo player and budding guitarist,
I was very excited and interested when Leon
Oakley, one of your Board members, loaned me
a copy of the privately published autobiography of Frank Haggerty given to him by Frank
soon after it was finished in 2000. It is something
that would probably not be financially viable
enough to a commercial publisher to become a
product, but it is so well done and full of local
interest that I wanted to make it the main theme
The Frisco Cricket
Advertise in the Cricket!
Issue No. 28
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
Managing Editor and Layout: Scott Anthony
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
2
The Frisco Cricket
Summer 2005
still and watch the proof of the alcohol,”
capping beer bottles, and generally helping
out with his stepfather’s illegal business on
a ranch in the wilds of Nevada. Frank and
his mother moved constantly and lived in a
seemingly uncountable array of towns in
Nevada and around Marysville, CA. They
were almost always desperate for money
during the Depression, but he recounts his
childhood experiences with a dispassionate
candor, good humor, and sense of adventure.
From this wild and difficult upbringing he eventually became well known
locally and managed to make a living as a
steady full-time musician for most of his
early adult life, playing with some of the
“greats” and the not-so-greats. He was
certainly a man who loved performing and
playing the guitar. I think I would have
really liked him, and I hope you enjoy the
excerpts from this wonderful life story. e
Scott Anthony
(Advertisement)
(Advertisement)
3
Some Local Notes
Local jazz trombonist Rex Allen’s Big
Band will celebrate the100th Birthday Anniversary of Jazz trombone and vocal legend Jack
Teagarden, in a special concert “A Hundred
Years from Today,” at the Bay Area’s prestigious
jazz venue, The Bach Dancing & Dynamite
Society, Douglas Beach House, El Granada CA,
Sunday, August 21, 4:30-7:30.
Old news probably, but SFTJF Archivist
Clint Baker leads a regular band of musicians
including SFTJF Board member Leon Oakley
plus occasional sit-ins (almost) every Friday
night at Cafe Barrone, 1149 El Camino Real,
Menlo Park. Be sure to catch them.
And finally, be sure to get tickets for the
October 16 Bay City Stompers Concert at
Bimbo’s 365 Club in San Francisco. See the
details on page 12 (cover) of this issue and the
insert providing a handy ticket order form. e
The Frisco Cricket
Summer 2005
Frank Hagg
er
ty - Looking Bac
kP
ar
tI
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
Coffee Dan’s. It was a place where you ordered
coffee , and it was served in a cup and it had
whiskey in it....
“Clara Haggerty, my brother Bill’s wife,
said my mother wanted me to be in the entertainment world, and I had no say in it. As I look back,
trying to piece things together, she was right.
“Despite the new laws—dubbed The Noble
Experiment—more folks drank more than they
ever had before....And people were listening to a
new kind of music. It was called Jazz.
“I didn’t graduate from Northside Junior
High School (Reno, NV) because I flunked algebra
and Spanish. My eyes were so bad and I just
“I am now in the 80th year of a life that has
been filled with music—some good and some not so
good—and looking back, it’s all been fun....
“I have played all kinds of music, for almost
everyone of importance in the entertainment industry—and I played and heard it with my whole body
and soul. I had the good fortune to play with the
very best musicians.... I also played with the worst
musicians in the worst places, and sometimes only
for tips....
“My Mother” Frank’s
Mother, Mabel
Haggerty, ne Roosa
(Family photo)
“Then I sa
wt
his guit
ar
saw
this
guitar
ar..
It w
as called a
was
Stewar
t, and I
art
want
ed t
hat guit
ar
anted
that
guitar
in t
he w
or
st w
ay....
”
the
wor
ors
wa
....”
couldn’t see the blackboard. Our home life was
turbulent, and also, I would invariably hand in
blank sheets of paper whenever we had a test. So,
I didn’t graduate. I felt so bad about it.
“On graduation night I went to the schoolhouse anyway and stood outside and watched
through the window.... I didn’t have anything to
wear like the other kids....
“I decided right then and there that there
wasn’t much of a future for me in school....At an
early age I decided to become a vagabond.
Frank at about 10 years old
(Family photo)
“I was born in San Mateo, California, November 24, 1918, the youngest of my mother’s four
children.... Outside of a flashback of a ranch or
farm that we lived on, I can’t remember much
about my very early years. About the first memories
I have are of our home in San Francisco and my
Haggerty grandparents....
“...my folks had a nice home, nice furniture,
and my father always seemed to have a new car.
Cars were few and far between in those years....My
folks liked to take Sunday drives....
“Speakeasies were before my time in the
entertainment world, but I can well remember my
mother going to a speakeasy in San Francisco called
Fir
st Guit
ar
s and F
ir
st W
or
k
irs
Guitar
ars
Fir
irs
Wor
ork
“I was still getting free tap dancing lessons
and doing programs for Ruth Ryan’s dancing
class. Somehow I got a ukulele for Christmas one
year, and I loved banging away on that thing....
“Then I saw this guitar. It was called a
Stewart, and I wanted that guitar in the worst
way. I don’t know how in the world my mother
managed it, but she got that guitar for me. I
wanted to learn to play it, and there weren’t
many guitar teachers in those days....It came easy
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The Frisco Cricket
for me because I enjoyed it so much. I picked it up
really fast.
“So, between playing with the Cactus Boys
and playing with Leota’s dance band, the Darrell
Berry’s band, I was getting a fairly decent musical
education. I wasn’t very old—maybe 14 or 15
years old.
“I was all of 15 when Jimmie Dorsey and
his band came to Reno. The band’s rhythm guitarist fell ill, and I was hired to fill in for a few days.
It wasn’t that I was that good, but there just
weren’t any other guitarists available in Reno at
that time.
“This Hawaiian, Frank Kalani, came to
town and got in touch with me somehow. He
offered me a job in Grass Valley, California, for
$18 a week, and I just couldn’t imagine anyone
making that much money in one week. This was
when my mother and I were living at this little
place and really struggling to get by....
“I don’t remember just how I got acquainted with Stella Dooley, a piano player who
played at the Midway Tavern—everything in the
key of C. She was 24 years old and I was 15, and
on slow nights when there were no customers and
Summer 2005
The Cactus Boys, KOH Radio in Reno, NV, Frank on guitar
guitar just didn’t make enough noise.
“I guess I was one of the very first to play
electric guitar professionally. I know that I played
before Charlie Christian, although he got credit for
[it]....Anyway, he became famous....as one of the
first to play the electric guitar, and I didn’t.
“My brother, Bill, who was five years older
than me, had run away from home because of all
this stuff with the stepfathers. It was just too much
Bosses...w
ant
ed music
Bosses...want
anted
that made noise, and an
accous
tical guit
ar jus
t
accoustical
guitar
just
didn’t make enough
noise.
One thing to remember is
y
that t
her
ew
as ne
ver an
ther
here
was
nev
any
doubt in my whole life
about m
y mo
ther
ve
my
mot
her’’s lo
lov
as
for me...Her pr
oblem w
problem
was
that she jus
t lo
ved lif
e...
just
lov
life...
the boss was not there, she would come on to me,
and just scare me to death.
“It was when I was working with Stella
Dooley that David McCormick came to visit me.
He had an electrified guitar. I never knew there
was such a thing. It was called a Volutone and
David couldn’t handle it at all. A Volutone was a
thing you put inside the soundhole, threw a
switch, and it magnetized the strings. I put it on
my Martin, and if you didn’t turn the switch off, it
would get so hot you could fry eggs on it....With
this new gadget I began to really get serious about
music...now my guitar and I kinda fell in love
with each other, because it worked out great for
me and opened a lot of doors. Bosses in the clubs
wanted music that made noise, and an accoustical
for him. As for me, I was young enough that most
of the time I had no idea what was going on. One
thing to remember is that there was never any
doubt in my whole life about my mother’s love for
me....Her problem was that she just loved life....
Mar
ysville and Be
yond
Mary
Bey
“Then we got a job in Chico at Mack’s
Chicken Shack. We stayed there a few weeks. That
job came to an end, so we headed on down to
Marysville....[my partners] got a job that didn’t
include me, so I was out of a job again, and I was
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Summer 2005
and he was wearing a suit with blood stains on it.
He said he was a trumpet player and had been in
an automobile accident and had lost his trumpet.
He had his mouthpiece, but no horn. He said his
name was Jack Purvis, and after talking with him
awhile, the guys were convinced he could probably play. So, Satch called George Bagby, a local
black trumpet player, and had him bring his horn
to Mama’s Place. Like a movie script, he played
great—so they talked their boss into hiring
him....The night he was to join our group...he
didn’t show up. It turns out he was caught rifling
hotel rooms and was in jail....
looking for work.
“I was walking along D Street, which is the
main street in Marysville, and heard a band playing
in The Star Rendezvous, a combination night club
(Rendezvous) and restaurant (Star Grill)....
“There were several more bars in operation,
and prostitution was wide open. Marysville was
prospering due to the influx of dust bowl farmers
forced to work for very little pay, requiring entire
families to pick peaches and live in cars and tents to
survive....
“On C Street were two Chinese restaurantnight clubs—King Inn and Mama’s Place... Mama’s
Place had a three piece orchestra with shows and
dancing. This is where my new acquaintances,
Droops Earnhart and Satch Bianchi played for
dancing.
“My mother, somehow, took over running
the [Sequoia] Hotel....Any musician coming to
Marysville stayed at the Sequoia, and if they were
broke, she trusted them until payday....She understood the plight of musicians struggling to survive.
No one ever stiffed her, and greatly appreciated her
help.
Mount
ain House Melee
Mountain
“My friend, Satch Bianchi, made a contact
with someone and learned they wanted a band at
the Mountain House in McCloud. The Mountain
House Roadhouse was at the foot of Mt. Shasta,
“We were booked in
front of the Jimmy
Dorsey band
and just behind the
Ben Pollack band.
Iw
as in t
he bigtime!”
was
the
Jack Purvis
“One night a guy walks into Mama’s Place,
and out in the middle of nowhere. It was near the
Hearst Ranch....Hearst would fly in these big
Broadway Revues, and we had movie stars hanging around there all of the time when we
worked....We had Droops and Satch and me, and
we’re doing the best we can.
“Satch decided he wanted to get out of the
music business. He wanted to go to Medford
[Oregon].... Droops drove an old vintage car of
some kind, so we drove Satch and all his drums
up to Medford. We just drove him up there and
let him off, and then drove right back because we
had to work that night. When we drove in to the
Roadhouse, all our stuff was piled up in the parking lot. Another band had moved in while we
were gone. So here we were with no money, and
no job. I’m not a gutsy type guy, but I think that’s
about as mad as I’ve ever been. I went into the
club and took on this Greek boss, and just raised
Holy Hell....
Frank in San Francisco CBS Studio, 1941 (note Volutone
pickup on his Martin guitar).
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The Frisco Cricket
Summer 2005
“We rented a house on a hill above Talent,
Oregon, and life was just one laugh after
another....There was a little creek close by, so we
dammed it to make a little swimming hole....We
had all the record collections of Goodman,
Dorsey, Lunceford, etc., and music was being
played constantly....
“One of the interesting things about jazz is
when you least expect it, something you heard
will come out in your solos....I count my blessings,
living and playing music in a world where music
was good music and had memorable, heart-touching lyrics....
San Francisco
“My musician friends were saying that I
should go to San Francisco, because that’s where
the opportunities are.
“It was 1937 and times were hard. I was in
Marysville again—and looking for work. My
brother, Bill, was living in San Francisco. I knew
that if I was to do anything in the music business I
would have to get to San Francisco—somehow....
“I had no money and no work lined up, so
“One of the interesting
things about jazz
is when y
ou leas
te
xpect
you
least
expect
it, some
thing y
ou hear
d
somet
you
heard
will come out
our solos.
”
in y
your
solos.”
Publicity Photo of Frank c 1941. This photo is the cover of
the book described in this article. Note that Frank is playing a
Vega C-66
with us...and said the band was getting ready to go
on the road, and they were looking for a guitar
player. He didn’t know me at all, and he didn’t
even know if I could play. He gave me his address
and asked me to come to his house the next day and
he’d have Ellis and some of the guys over for a little
jam session. He said it would be like an audition for
me. It was a wonderful afternoon, and Ellis hired
me to go on the road with them. God! I was in
absolute seventh heaven....
“It was one of the greatest experiences I ever
had in my life, knowing people like Zolly and his
wife Edie.
“We travelled by bus and stayed in motels
when one was available....During the days when
we were traveling we played cards, talked, wrote
musical arrangements....Our tour took us from San
Francisco to the Canadian border, then on down to
the Mexican border....We were booked in front of
the Jimmy Dorsey band and just behind the Ben
Pollack band. I was in the bigtime! e
I got a ride in a bread truck to get to San Francisco. I had my guitar, amplifier, suitcase and all
my worldly possessions with me, and no idea
where I was going to stay....
“I found my brother Bill’s apartment, and
they told me I could sleep in the kitchen on the
floor at night...they were crowded. Clara, my
brother’s wife, was working as a beauty operator
and Bill was out of work at that time. Things were
pretty bleak.
“There was a wonderful band at Topsy’s
Roost—the Ellis Kimball Band....We scraped up
enough money for bus fare...and went out to
Topsy’s Roost. The piano player [Harold “Zolly”
Zollman] came over to our table and sat down
To be continued in t
he ne
xt issue...
the
next
7
The Frisco Cricket
Summer 2005
Announcing A New CD
The Firehouse 5 Plus 2
Liv
eA
t Ear
thq
uak
e McGoon
Live
At
Eart
hquak
uake
McGoon’’s
1970
A joint production of GHB Records and the San Francisco Traditional Jazz Foundation’s
Hal Smith, who is a GHB producer, great drummer, and the venerable SFTJF Special Projects Consultant, this CD is from material recorded live in April, 1970 by Leon Oakley when he was a member of
the Turk Murphy Jazz Band. Liner notes are by K.O. Eckland. The booklet is illustrated with photos by
Leon Oakley and Dan Eckland.
The Firehouse Five personnel that were at Earthquake McGoon’s when these recordings were
made were:
Ward Kimball (trombone, vocals, leader)
Danny Alguire (cornet, vocals)
George Probert (soprano sax)
K.O. Eckland (piano)
Billy Newman (banjo, vol)
Bob Short (tuba)
Eddie Forrest (drums)
(Bob Short was filling in for the FH5’s regular tubist, George Bruns. This is the only known
recording of him with the band.)
See P
ag
e1
1t
o Or
der!
Pag
age
11
to
Order!
8
The Frisco Cricket
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Summer 2005
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A sizable invited crowd filled Bimbo’s vintage San Francisco supper club to celebrate
the day before Charles “Duff” Campbell’s 90th Birthday. The Band Charles chose to provide
the “Real and Righteous” Jazz for his celebration was The Yerba Buena Stompers, the only
Jazz group in existence today that can bring back the exciting, dynamic 2 trumpet sound of
the original Lu Watters Yerba Buena Jazz Band. The Stompers didn’t let Charlie or the crowd
down. Each tune was carefully selected on this CD as it related to special events in Charlie’s
life, including the title tune, DUFF CAMPBELL’S REVENGE, which Leader John Gill provides a verbal history of Charlie’s involvement in the famously difficult Turk Murphy tune
and how it related to The Eddie Condon Band in the late 1950s.
The Yerba Buena Stomper’s pull off a crisp rare 2 trumpet version of this tune, as well
as 18 other hot jazz, rags, and even a tribute to Elvis Presley and his January birth date. The
Stomper’s lineup included former members of the Turk Murphy Jazz Band, Leon Oakley –
Trumpet; John Gill-Leader, Banjo, & vocals; along with Tom Bartlett-Turk’s favorite Trombone player; and five young professional musicians, Duke Heitger-Trumpet, Evan Christopher-Clarinet, Marty Eggers-piano, Clint Baker-drums, and Ray Cadd-Tuba.
Diamondstack Productions has provided a First Class professionally recorded and
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e-mail diamondstack @ msn.com
9
The Frisco Cricket
Summer 2005
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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
Summer 2005
Pr
oduct Or
der F
or
m & 2005 Member
ship/R
ene
wal Application
Product
Order
For
orm
Membership/R
ship/Rene
enew
Name __________________________________________________________________________
Address ________________________________________________________________________
E-mail _______________________________ Phone (
) ____________________________
Compact Discs
($12.99 for members, $15.99 for non-members)
Quantity
Firehouse 5 Plus 2 Live at Earthquake McGoon’s 1970 ....................................... (BCD-450) _____
William Warfield—Something Within Me ..................................................... (DELMARK DE-772) ___
Bob Mielke and his Bearcats ......................................................................................................... (SFCD-3) ___
The Legendary Russ Gilman ................................................................................ (SFTJF CD-109) ___
Clancy Hayes—Satchel of Song .................................................................................... (SFTJF CD-108) ___
Turk Murphy Jazz Band—Wild Man Blues .......................................................... (SFTJF CD-107) ___
Lu Watters Yerba Buena Jazz Band, Vol 2, 1946–1947 ................................... (SFTJF CD-106) ___
Lu Watters Yerba Buena Jazz Band, Vol 1, 1937–1943 ................................... (SFTJF CD-105) ___
Turk Murphy Jazz Band—Euphonic Sounds ......................................................... (SFTJF CD-104) ___
Turk Murphy Jazz Band—Weary Blues ................................................................ (SFTJF CD-103) ___
Turk Murphy Jazz Band—In Hollywood ............................................................... (SFTJF CD-102) ___
Turk Murphy Jazz Band—Live at Carson Hot Springs ......................................... (SFTJF CD-101) ___
Turk Murphy Jazz Band—At The Italian Village, with Claire Austin ................. (MMRC CD-11) ___
Lu Watters Yerba Buena Jazz Band—At Hambone Kelly’s, 1949–1950 ........ (MMRC CD-10) ___
Bob Helm with the El Dorado Jazz Band—1955* ........................................... (SFTJF CD-110) ___
Amount
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$ ______
$ ______
$ ______
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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
$5
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$ ______
$12
$15
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$ ______
$32
$40
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$ ______
$10
$15
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$ ______
$25
$33
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$ ______
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
$
$
$
$
$
$
$
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contributions to SFTJF, above the basic membership level, are tax deductible
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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
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The Frisco Cricket
Summer 2005
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