32 Summer 2006 - San Francisco Traditional Jazz Foundation

Frisco Cricket
Published by the San Francsico Traditional Jazz Foundation
Summer 2006
All Jazz Is Local – and Universal
by William Carter
The rousing success of your Foundation’s
last two events – both sold out – highlights the
continuing vitality of top-rated traditional jazz.
On Memorial Day we were happy to snag trumpeter Bob Schulz’ “first team” for Eulipia, that
lovely restaurant in San Jose. Coming up on
October 22: maybe the best two-trumpet Stompers
ever, at the classic, incomparable Bimbo’s in San
Francisco. Members who want to be sure of
admission should get their tickets now, before
general public sales begin (see enclosure).
Style and setting are important. Amid
consolidation on the Festival circuit, good players
are still busy, and they travel widely, as they have
from the music’s earliest days. We try to provide
jewel-box conditions for players and listeners alike;
thanks for your feedback forms from last October,
which were overwhelmingly positive.
Honoring the future along with the past
and present: as announced in your last Cricket,
SFTJF recently established a Philip Elwood Jazz
Education Fund. We welcome contributions
earmarked for this endowment. Our very first
such teaching effort will be a free lecture-concert
featuring our own archivist, bandleader, educator,
and general jazz genius, Clint Baker. Details to
come, but if interested save the evening of May 10,
2007. The event will be the last in the year’s season
of free concerts at beautiful Tateuchi Hall in the
Finn Center at the Community School of Music
and Arts in Mountain View. Your Foundation will
sponsor Clint as lecturer with a seven piece band.
CSMA’s teaching mission is “Arts for All Ages:
Outreach Programs that Connect the Community.” Another sure sell-out.
All jazz is local – and international. Simultaneously. And relational. At this writing several
of our Bay Area players are performing in
Edinburgh, Scotland. I myself recently played a
lovely gig with Herbert Christ’s fine German band
in a barn and beer garden at the town festival of
Bad Soden, outside Frankfurt. As the business
cards of most of the old New Orleans musicians
said, ours remains “Music for All Occasions.” e
Contents
All Jazz Is Local–And Universal by William Carter
1
Philip Elw
ood Memor
ial Concer
t at Eulipia R
es
taur
ant A R
ousing Success
Elwood
Memorial
Concert
Res
est
aurant
Rousing
2
From the Editor by Scott Anthony
3
New Board Member, Bud Spangler
4
eleases by Hal Smith
Upcoming SFT
JF CD R
SFTJF
Releases
6
Memories of Daphne King by various contributors
7
An Afternoon Of San Francisco Style Jazz
9
Membership Application and Product List
1
11
The Frisco Cricket
Summer 2006
Philip Elw
ood Memor
ial Concer
t at Eulipia
Elwood
Memorial
Concert
Res
taur
ant A R
ousing Success
Rousing
est
aurant
On Monday afternoon, May 29,
Memorial Day, the streets of San Jose
were relatively empty, but inside
Eulipia Restaurant it was crowded and
jumping with Traditional Jazz Fans of
all ages listening (and dancing) to the
Bob Schulz Frisco Jazz Band. The
occasion was a memorial tribute to our
late board member and longtime writer
and jazz critic, Phil Elwood. e
Bob Shulz Frisco Jazz Band left to right Doug Finke,
Kim Cusak, Jim Maihack, Bob Schulz, Scott Anthony,
Ray Skjelbred, Chris Tyle
Photo by Richard Ressman
The Frisco Cricket
Advertise in the Cricket!
Issue No. 32
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
Charles Huggins
John R. Browne III
John Matthews
Charles Campbell
William Tooley
William Carter
Leon Oakley
Jim Cullum
Terry O’Reilly
Bud Spangler
Unless otherwise noted,
all contents copyright © 2006
San Francisco Traditional Jazz Foundation
Cricket Editor
San Francisco Traditional Jazz Foundation
41 Sutter Street, PMB 1870
San Francisco, CA 94104
• Or (preferably) by email to:
[email protected] or
[email protected]
Advertising Rates
per issue
1/8 Page $35, 1/4 Page $50, 1/2 Page $75
2
The Frisco Cricket
Summer 2006
From the Editor
I was at your Archive the other day to
gather some tapes (at this point just cassettes) of
SFTJF interviews together to begin digitizing them
partly for publishing here and partly for preservation. None of the audio tape media types are
permanent—not only are they are very likely to
literally disintegrate after awhile, but they can
easily become demagnetized or otherwise unusable. So, digitizing the Archive’s audio to preserve
it either on hard-disks or archival quality CDs is
important.
The audio digitizing process is pretty simple
for all you computer-phobes out there. You just
feed the audio from whatever source (reel-to-reel
tape, cassette, LP, etc.) into the line-input of a
computer that has a software program running to
convert it from the analog source to a digital
record of the signal. Most (probably all) recent
desktop and laptop computers already have the
hardware built-in to do this and the software is
either cheap or free. Of course the software to
record multiple tracks of an entire band is relatively more expensive, but we don’t need this kind
of sophistication to record mono- or stereo. I am
able to sit here typing this column while not only
listening to the tape interview of Bob Mielke by
Dave Radlauer in 1993, but recording it in the
background and saving it onto a hard-drive connected to my computer. The biggest problem with
doing the audio digitizing is finding tape machines
The band (Chris Tyle and Ray Skjelbred hidden) photo Richard
Ressman
Chuck Huggins, Donna Huggins, and Josh Elwood, one of Phil’s sons.
Photo Richard Ressman
Ray Skjelbred at the piano photo Richard Ressman
All photographs of the event are courtesy of
Richard Ressman
and are available for purchase by contacting him at
[email protected]
or visiting
http://www.photosurgeon.net/photoworld/index.htm
Shelves of Turk Murphy binders in chronological order.
3
The Frisco Cricket
Summer 2006
New Board Member
Bud Spangler
that will play the various media types that are in
the Archive. Reel-to-reel tape machines and their
repair people (and parts) are getting rarer and rarer
all the time.
While the process is simple, the project is
monumental. There are virtually thousands of
hours of tape, both interviews and performances,
both band and individual, that sit on shelves in the
Archive waiting to be preserved.
While I was rummaging (don’t worry Clint)
around looking at all the items in the Archive, it
occurred to me that most SFTJF members have no
idea what the Archive actually looks like. So, I
pulled my digital camera (there is a theme here)
from my pocket and took some shots to give you
some idea of the monumental task your current
Archivist, Clint Baker, and previous Archivists have
had to deal with. It is pretty amazing how much
Jim Goggin collected and organized in his garage,
material that made up the original material for the
Archive, and how much has been added since then.
There are photographs and posters, music, both
original manuscripts and sheet music, musical
instruments owned and played by some of our own
legendary musicians, and much, much more. We
are hoping to digitize all flat material (photos,
manuscripts, etc.) someday as well as the audio
mentioned before, beginning with original music
manuscripts of Turk Murphy.
There definitely is a lot of work to do, and
there’s no better time to start than right now!
Scott Anthony e
Bud Spangler’s life has been devoted to
performing, presenting and producing jazz. From
traditional jazz to the sounds of today, his love
affair with this music has never waned or wavered.
Bud began playing drums in dance bands
when he was in the seventh grade. Having been
raised on the music of Bob Crosby’s Bobcats and
Louis Armstrong’s All Stars, his interest in the
music continued to expand every time he heard
another evolutionary step in the history of jazz.
His older brother introduced him to Benny
Goodman’s 1938 Carnegie Hall recordings and
Swing became his passion. Later, a new friend
introduced him to the inventions of Charlie Parker
and he immersed himself in Bebop and modern
jazz of all kinds, but he never lost his love and
respect for the earlier styles.
Besides performing the music, his immense
passion for it made him want to spread the gospel
of jazz to everyone. At the age of 18, he became
the house drummer on a Saturday Morning TV
variety show from Michigan State University,
where he was studying communications. When
the MC suddenly left the show, Bud took over the
90 minute weekly program as host. He also hired
a swinging Quintet and performed with them as
well.
At 18, he began producing two weekly
jazz radio shows out of WKAR in East Lansing.
The station had a powerful signal and reached
most of Central Michigan, including Grand
Rapids, Jackson, Battle Creek and Flint. He was
finally getting the opportunity to spread the jazz
gospel and soon had a large and devoted following.
At the same time, he produced weekly jam
sessions and annual concerts on the campus.
After graduation, he worked as a TV producerdirector in Jacksonville and Orlando, Florida.
He also served as the regional drummer for the
Ralph Flanagan Big Band.
He returned to the Detroit area in 1966
and performed with many of the city’s top players, including many who were on staff at Motown
Records. In 1970, he became the program director
of WDET, Detroit’s public radio station, where he
Large items, including photos, posters, and memorabilia
4
The Frisco Cricket
had produced several weekly jazz shows
since ’66. In this capacity, he produced
fund-raising jazz and soul concerts from
various venues around the city, and also
began to produce records for two small
independent jazz labels something else he
had always wanted to do.
In 1972, he produced NPR’s firstever live coast-to-coast jazz broadcast
which originated from the three day Ann
Arbor Blues and Jazz Festival.
Still seeking a wider audience, he
moved to the San Francisco Bay Area in
1976. This was the era of large promotional budgets for the major record labels.
Consequently, he was able to hone his
skills as a live broadcast producer, mixing
live broadcasts of famous artists for both
radio stations KRE and KJAZ. He also did
weekly air slots for both stations.
In 1981, He produced “The First
Annual San Francisco Jazz Festival”. It
ran three days and was the first jazz
event held in the new Davies Symphony
Hall, with afternoon concerts at The
Herbst Theater. It boasted the first live
jazz concert broadcast live on TV to
Japan.
In 1982, while serving as the
program director of KJAZ, See’s Candies
approached the station with a proposal
to present a weekly recorded broadcast
by the renowned Turk Murphy San
Francisco Jazz Band. Bud served as the
producer and engineer of these broadcasts for a year, and then once again,
when the original MC moved to another
area, Turk tapped him to MC the broadcasts. It was an honor that culminated in
Bud’s serving as the Master of Ceremonies for Turk’s Carnegie Hall concert in
January of 1987. In May of that year,
Turk succumbed to cancer and the
broadcasts came to an end.
However, thanks to the commitment to jazz of the President of See’s
Candies, Charles N. Huggins, a new
series called “See’s Sunday Night” took
its place in October of ’87. This series
featured jazz from across the spectrum of
the music, all recorded in a wide variety
Summer 2006
of venues around the Bay Area. It continued as “Sunday
Night Suites” on KCSM, San Mateo until June 25th, 2006
when the successor to Charles Huggins (who retired at the
end of 2005), opted not to renew the series.
Also thanks to See’s, Bud has had the honor of
producing and hosting the “Jazz at Filoli” series from
Woodside, Ca. Since 1991, this highly successful series of
six concerts every summer has presented a wide variety of
styles and some of the greatest artists in jazz.
Now, more active than ever as a drummer and as
the producer of festivals, concerts and also a Grammy
nominated producer of CDs, Bud Spangler is truly living
his dream. e
Bud Spangler at Filoli on the drums. Photo unknown
5
The Frisco Cricket
Summer 2006
GREA
T TRAD J
AZZ WILL
GREAT
JAZZ
BE HEARD
ON UPC
OMIN
G SFT
JF CD
UPCOMIN
OMING
SFTJF
RELEASES
by Hal Smith
Several years ago, John Gill produced a
series of CDs for the GHB label, featuring live
recordings of Lu Watters’Yerba Buena Jazz Band at
Hambone Kelly’s. The material on those CDs came
from the late Bob Helm’s tape collection. While John
was the Curator of Archives for SFTJF, he located
enough additional material in the archives for three
more Watters CDs, plus six by Turk Murphy. All
these discs were released on the Foundation’s own
label. When Turk’s widow Harriett donated the
Murphy tape collection to the Foundation, John
supervised the transfer to CDs. Thanks to his
efforts, many hours of previously-unheard live
performances are available for possible issue on CD.
When John left the Foundation, I became the
“Special Projects Coordinator”—with the goal of
continuing the CD reissue program. One of my first
projects was the two-disc set of the El Dorado Jazz
Band with Bob Helm. Next, a CD of the Firehouse
Five Plus Two, live at Earthquake McGoon’s in 1970.
Originally taped by Turk Murphy cornetist/SFTJF
Board Member Leon Oakley, it is the first live recording of the band since Good Time Jazz issued
“The Firehouse Five Plus Two at Disneyland” in
1962. It is also the first joint production by the San
Francisco Traditional Jazz Foundation and GHB
Records.
Currently, I am working on three CDs to be
issued jointly by the Foundation and GHB:
·
The Unheard Bob Scobey. The program,
recorded between 1950 and 1954, includes 13 live
tracks, plus three alternate and two unissued studio
tracks. Besides trumpeter Scobey, musicians featured on the CD are: Darnell Howard, Bob Helm,
Bill Napier, George Probert (reeds), Jack Buck, Bob
Mielke, Marshall Nichols (trombone), Burt Bales,
Wally Rose (piano), Clancy Hayes (banjo and vocals), Squire Girsback, Dick Lammi (bass), Bob Short
(tuba) and Fred Higuera (drums).
·
Bob Mielke’s Bearcats – 1957. This session
was recorded live at the Pioneer Village by recording engineer Oscar Anderson. Personnel: Bob
6
Mielke, trombone and leader; P.T. Stanton, cornet;
Bunky Colman, clarinet; Dick Oxtot, banjo and
vocals; and Peter Allen, bass.
·
El Dorado Jazz Band – 1960s. This is the
Southern California version of the EDJB, with
Papa Ray Ronnei, cornet and vocals; Al Crowne,
trombone and vocals; Mike Baird, clarinet; Dan
Ruedger, banjo and vocals; Mike Fay, bass; and
Bob Raggio, washboard. The EDJB was an institution in the Southern California jazz scene, with a
sound unlike any other band before or since. The
late William Miskell recorded the band for his own
Epitaph and Item 1 labels, but at the present time
there are no recordings of the El Dorado band on
CD.
In addition to the discs mentioned above, CDs
which may be issued in the near future are:
·
A live recording from 1970 of Turk
Murphy’s Jazz Band, at the Wilshire-Ebell Theater
in Los Angeles.
·
A session by Lu Watters’ Yerba Buena Jazz
Band at Hambone Kelly’s in 1950.
Within the collection of tapes that were donated to the Foundation by William Miskell, there
are several non-West Coast-style recordings that
we will audition for possible release. Here is a
sampling:
·
Jess Stacy – live solo piano at the Garden of
Allah, early 1950s.
·
Nappy Lamare and his Orchestra at the
Rendezvous Ballroom in Santa Monica, 1947.
·
1951 benefit concerts for clarinetist Pee
Wee Russell, featuring Bay Area musicians.
Also, remember the live Club Hangover
sessions mentioned by SFTJF Chairman William
Carter in the Spring, 2006 Cricket! Hopefully,
some of those sessions will be suitable for CD
issue. Meanwhile, be sure to keep your subscription to the Frisco Cricket current and don’t forget
to check the Foundation website
(www.sftradjazz.org) for the latest news on our
CD releases. e
Drummer-bandleader-writer Hal Smith was a Board Member
and the former Curator of Archives for the San Francisco
Traditional Jazz Foundation. Currently he serves as Special
Projects Coordinator, developing CD releases and researching
book and DVD projects for the Foundation.
The Frisco Cricket
Summer 2006
Some Memories of Daphne King
by Scott Anthony and Others
few stanzas of the tune to her, she broke in and said
(in really a very kind way actually), “That son-of-a#%$&*, he stole my children’s song, The Cricket and
changed the lyrics!” Thus the connection with this
Cricket.
Here are some memories of Daphne in the
words of Robbie Rhodes, pianist for the South Frisco
Jazz Band, Titanic Jazz Band, and others:
“South Frisco Jazz Band recorded the song,
“Broken Promises”, for Stomp Off Records in 1987. In
the CD album text leader Vince Saunders (banjo)
credited Clancy Hayes as the composer. A few months
later I received a note from the researcher Dick Baker, of
the Potomac River Jazz Club (Mayland), who was
helping to verify all the song titles and composers in the
Stomp Off catalog.
Well, all the West Coast jazz musicians learned
the song from the record by Clancy Hayes, recorded
around 1950. No composer credit is given on the old
record label. So we asked the surviving musicians of the
1950 session.
Wally Rose, piano, said, “Heck, Clancy just
passed out a lead sheet at the recording session. I don’t
know who wrote it.”
Bob Helm, clarinet, said, “Maybe he wrote it,
but maybe he learned it from all the old music at the
radio broadcast station where he worked in San Francisco.”
Hmmm. Now we’re getting worried. The song
is in Clancy’s style, and he certainly might have written
the music. But we couldn’t be sure. So Vince and I
advised Baker to put in the Stomp Off catalog “composer unknown”. Thank God we said that!
In the summer of 1995 SFJB played at a jazz
fest somewhere in the Pacific Northwest (Washington or
Oregon, I don’t remember exactly) and this elderly (but
still good-looking) blonde lady comes up to the bandstand and says, “Would you play ‘Broken Promises’ for
my friends, please? I’m the composer.”
Vince damn near fainted! He stammered,
“Sure, we’ll play it for you, and I want to talk with you
later, please.”
So Daphne King explained that she was
Clancy’s girlfriend then. (Maybe she was about 20
years old.) In 1949 she was writing Country & Western songs, without much luck persuading bands to play
them. One day she and Clancy were argueing as they
were driving back to San Francisco from a gig. She told
I’m sure the name Daphne King is unfamiliar to most members of the San Francisco
Traditional Jazz Foundation. Indeed, to many
performers, she was almost unknown until fairly
recently even though she co-wrote with Clancy
Hayes a number of tunes we on the West Coast
know and perform. She was a wonderfully kind
and generous fan of and contributor to traditional
jazz. She collaborated with Clancy on “Traveling Shoes”, “Broken Promises”, “Swingin’ Doors”,
and “In New Orleans.”
Daphne passed away on March 13 of this
year. A number of us got to know her about 1994
or 1995 at the Southcoast Clambake Jazz Festival
in Coos Bay, Oregon.
After I got to know her a bit, I asked her
one time during one of the Coos Bay Clambakes
about a song I heard Clancy sing on a tape of an
airshot given to me by Bob Helm. The airshot was
probably one of Clancy’s “Tuneful Termites
(Boring from within)” shows in the late ‘40s. It
was entitled “A Miracle” and has some pretty
risque’ (at least for the time) lyrics about a hermit
covering himself with his hat during his yearly
bath in a lake when “...his vision some fair females met.” (see sidebar, next page) When I sang a
Daphne King in the 1960s (?) with one of her Afghans.
7
The Frisco Cricket
Summer 2006
Clancy, “You broke your promise to me.”
Clancy just pushed his hat back farther on his
head and said, rather nonchalently, “Un-huh, and just
what are you going to do about it?”
Daphne pouted a moment and then announced,
“I guess I’ll write a song.”
Since Wally Rose and Bob Helm both said the
song was new to them at the recording session, I guess
Clancy had not sung it before in public. Anyway, the
recording was a minor “hit” in California.
Vince suggested that Daphne contact the
producer of Stomp Off Records, Mr. Bob Erdos...
Bob was cautious, and waited for Daphne to say
what she wanted. Fortunately for all, Daphne wasn’t
interested in royalty payments from the Stomp Off
recording by SFJB — she just wanted credit as composer. Vince and I explained the “tradition” of publishing firms, that many times the promoter of the song also
received composer credit. We asked if she would be
happy if the Stomp Off catalog (next edition) said
“composed by Clancy Hayes & Daphne King”. She
agreeed that would be okay. Whew!!
That autumn she and a friend made lead sheets,
so that once again she could try to interest bands in
Daphne King (left) with Chuck and Alice McKay, longtime friends and travelling companions, leaving on a jazz
cruise, 2002
8
playing her song, and she also put on the music
sheets, “Copyright 1995 by Daphne King”. That’s
okay; I’m sure Clancy Hayes never registered a song
copyright, and she is welcome to have the honour if
she wants it.” e
Many thanks to Daphne’s friends Betty and Ken
Robertson, Chuck and Alice McKay, Carol and Frank
Turner, Bob Eckstein, Robbie Rhodes, and Vince
Saunders for the time, information and documents
they provided me for this short tribute.
A Miracle
Music by Daphne King, Lyrics (changed) by Clancy Hayes
A hermit once lived in a beautiful dell, no
legend or myth to this story I tell, for my
Father declared that he new him quite well, ---this hermit.
He lived all alone in a cave by a lake, and
pre-scriptions of herbs for his health he would make
And never of meat would this good man partake --- On Friday.
He lived all alone on a path by the rose, and
Once a year he would wash body and clothes,
And how the lake stood it, God only knows --- He's not tellin'
One year as he rose all dripping and wet, his
Horrified vision some fair females met, and this
Vision of wo-m-en caused him to fret -- And he blushed.
He picked up his hat where it lay on the
beach, and Covered up all that its broad brim would
reach, and Called to the girls in a horrified screech -- Go Way!
But the girls they just laughed at his pitiful
plight, and Gave the old hermit a terrible fright, for
they Asked him to show them the "wonderful sight" --- My Word!
Now I come to the point of this little tale, the
Hermit grew red, and then he grew pale, so he
Started to pray, for prayers never fail --- So 'tis said.
And just at that moment, an infamous gnat
made the Hermit forget just where he was at, and he
Let go the hat and struck at the gnat --- Good Heavens!
Now the truth of this story there's no doubt at
all, the Lord heard his prayer and answered his call,
tho he Let go the hat, the hat didn't fall ---------------A Mir-a-cle!
The Frisco Cricket
Summer 2006
An Afternoon Of San
Francisco Style Jazz *
Sunday, October 22, 2006, 3 to 7 PM
Bimbo’s 365 Club, 1025 Columbus, at Chestnut,
in San Francisco
We are giving SFTJF members first crack at these
tickets and prices:
- Limit of 2 tickets per member at $25 each
- Limited number of “Sponsor” tickets at $60 each,
- additional general admission tickets at $35 each.
Encourage your friends to join the Foundation
The Bay City Stompers (featuring trad jazz and take advantage of these attractive prices, before
greats listed on page 12) are performing their third we ask the City Box Office to sell $35 tickets to the
October Concert put on by your Foundation. The general public.
last two were sold out. With Leon and Duke’s
trumpet duets this year, we expect another sell out
Send your October 22 Concert Ticket Order
crowd. So order your tickets now using the Con- Form directly to:
cert Ticket Order Form insert in this Cricket, since
San Francisco Traditional Jazz Foundation
we can sell only up to 400 tickets, the Bimbo’s 365
41 Sutter Street, PMB 1870,
Club capacity.
San Francisco , CA 94104
Seating is on the first come, first choice
If you have questions, do not call Bimbo’s. Rather,
basis, with priority seating to those with “Sponsor” contact the Foundation by
tickets. So come early. The “no-host” bar starts
voice mail: 415-522-7417, fax: 415-922-6934, or
serving when the doors open at 2 PM.
e-mail at: [email protected]. e
See you at the October 22 Concert!
* Made possible by O’Reilly & Danko, Trial Lawyers;
the Alafi Family Foundation; and others.
Announcing A New Jazz Scrapbook
Earl Watkins
The Life of a Jazz
Drummer
by Jim Goggin
Trafford Publishing
Victoria, BC, Canada
250-383-6804
www.trafford.com
[email protected]
9
The Frisco Cricket
GGRM
New From Dick Karner
TradJazz Productions
Summer 2006
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.
Dick Karner Tradjazz Productions
* 2121 S. 6th
* Lafayette, IN 47905
* 765-474-3356
* [email protected]
* http://tradjazzproductions.com
Let me build one for you!
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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. 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 501(c)(3).
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! Use the form at right.
10
The Frisco Cricket
Summer 2006
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($13 for members, $16 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: $16; non-members: $20.
Books
Members Non-mem.
Jazz on the Barbary Coast, by Tom Stoddard
$4
$5
___
$ ______
$12
$15
___
$ ______
$35
$50
___
$ ______
$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
The Frisco Cricket
Summer 2006
Be sure to buy your tickets for
AN AFTERNOON OF SAN FRANCISCO STYLE JAZZ *
Sunday, October 22, 2006, 3 to 7 PM
Bimbo’s 365 Club, 1025 Columbus, at Chestnut, in San Francisco
A Classy, Brassy Affair to Remember with the
BAY CITY STOMPERS
trombone- TOM BARTLETT
piano- MARTY EGGERS
tuba- ALAN ADAMS
drums- CLINT BAKER
leader, banjo, vocals- JOHN GILL
trumpet- LEON OAKLEY
trumpet- DUKE HEITGER
clarinet- BILL CARTER
See the article on page 9 for more details. Then use the
Concert Ticket Order Form insert to purchase your tickets now.
* Made possible by O’Reilly & Danko, Trial Lawyers;
the Alafi Family Foundation; and others.
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