All Jazz Is Local – and Universal - sftradjazz.org · Published by the San Francsico Traditional...

Frisco CricketPublished by the San Francsico Traditional Jazz Foundation Summer 2006

All Jazz Is Local – and UniversalAll Jazz Is Local – and UniversalAll Jazz Is Local – and UniversalAll Jazz Is Local – and UniversalAll Jazz Is Local – and Universal

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Contents

by William Carter

The rousing success of your Foundation’slast two events – both sold out – highlights thecontinuing vitality of top-rated traditional jazz.On Memorial Day we were happy to snag trum-peter Bob Schulz’ “first team” for Eulipia, thatlovely restaurant in San Jose. Coming up onOctober 22: maybe the best two-trumpet Stompersever, at the classic, incomparable Bimbo’s in SanFrancisco. Members who want to be sure ofadmission should get their tickets now, beforegeneral public sales begin (see enclosure).

Style and setting are important. Amidconsolidation on the Festival circuit, good playersare still busy, and they travel widely, as they havefrom the music’s earliest days. We try to providejewel-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 pastand present: as announced in your last Cricket,SFTJF recently established a Philip Elwood JazzEducation Fund. We welcome contributions

earmarked for this endowment. Our very firstsuch teaching effort will be a free lecture-concertfeaturing our own archivist, bandleader, educator,and general jazz genius, Clint Baker. Details tocome, but if interested save the evening of May 10,2007. The event will be the last in the year’s seasonof free concerts at beautiful Tateuchi Hall in theFinn Center at the Community School of Musicand Arts in Mountain View. Your Foundation willsponsor Clint as lecturer with a seven piece band.CSMA’s teaching mission is “Arts for All Ages:Outreach Programs that Connect the Commu-nity.” Another sure sell-out.

All jazz is local – and international. Simul-taneously. And relational. At this writing severalof our Bay Area players are performing inEdinburgh, Scotland. I myself recently played alovely gig with Herbert Christ’s fine German bandin a barn and beer garden at the town festival ofBad Soden, outside Frankfurt. As the businesscards of most of the old New Orleans musicianssaid, ours remains “Music for All Occasions.” e

All Jazz Is Local–And UniversalAll Jazz Is Local–And UniversalAll Jazz Is Local–And UniversalAll Jazz Is Local–And UniversalAll Jazz Is Local–And Universal by William Carter 1Philip ElwPhilip ElwPhilip ElwPhilip ElwPhilip Elwood Memorood Memorood Memorood Memorood Memorial Concerial Concerial Concerial Concerial Concert at Eulipia Rt at Eulipia Rt at Eulipia Rt at Eulipia Rt at Eulipia Resesesesestttttaurauraurauraurant A Rant A Rant A Rant A Rant A Rousing Successousing Successousing Successousing Successousing Success 2From the EditorFrom the EditorFrom the EditorFrom the EditorFrom the Editor by Scott Anthony 3New Board Member, Bud SpanglerNew Board Member, Bud SpanglerNew Board Member, Bud SpanglerNew Board Member, Bud SpanglerNew Board Member, Bud Spangler 4UUUUUpcoming SFTpcoming SFTpcoming SFTpcoming SFTpcoming SFTJF CD RJF CD RJF CD RJF CD RJF CD Releaseseleaseseleaseseleaseseleases by Hal Smith 6Memories of Daphne KingMemories of Daphne KingMemories of Daphne KingMemories of Daphne KingMemories of Daphne King by various contributors 7An Afternoon Of San Francisco Style JazzAn Afternoon Of San Francisco Style JazzAn Afternoon Of San Francisco Style JazzAn Afternoon Of San Francisco Style JazzAn Afternoon Of San Francisco Style Jazz 9Membership Application and Product ListMembership Application and Product ListMembership Application and Product ListMembership Application and Product ListMembership Application and Product List 11

The Frisco Cricket Summer 2006

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The Frisco CricketIssue No. 32

Published by theSAN FRANCISCO TRADITIONAL

JAZZ FOUNDATION41 Sutter Street, PMB 1870

San Francisco, California 94104Phone: (415) 522-7417, FAX: (415) 922-6934

Website: www.sftradjazz.orgE-mail: [email protected]

Publisher: William CarterManaging Editor and Layout: Scott Anthony

Curator of the Archive : Clint BakerSpecial Projects Consultant: Hal Smith

Office Manager: Bunch SchlosserDirectors

Bud SpanglerUnless otherwise noted,

all contents copyright © 2006San Francisco Traditional Jazz Foundation

William AlhouseJohn R. Browne IIICharles Campbell

William CarterJim Cullum

Charles HugginsJohn MatthewsWilliam Tooley

Leon OakleyTerry O’Reilly

Advertise in the Cricket!

In an effort to help defray the costs ofmaintaining all the varied programs that SFTJFsupports, including The Frisco Cricket itself,we’re going to begin providing limited advertis-ing space here. We want to be fair to everyone, sothere are a few rules we’d like to follow:

• The advertiser should be in a musicrelated (preferably Traditional Jazz related)business (band, club, cruise, radio station, etc.).

• No more than a total of 2 full pages willbe used in any single issue of the Cricket, so adswill be accepted on a first-come, first-servedbasis.

• We need to be able to maintain the rightto accept or reject advertisements at our discre-tion.

• Please send your ad to:Cricket Editor

San Francisco Traditional Jazz Foundation41 Sutter Street, PMB 1870

San Francisco, CA 94104• Or (preferably) by email to:

[email protected] [email protected]

Advertising Ratesper issue

1/8 Page $35, 1/4 Page $50, 1/2 Page $75

On Monday afternoon, May 29,Memorial Day, the streets of San Josewere relatively empty, but insideEulipia Restaurant it was crowded andjumping with Traditional Jazz Fans ofall ages listening (and dancing) to theBob Schulz Frisco Jazz Band. Theoccasion was a memorial tribute to ourlate board member and longtime writerand jazz critic, Phil Elwood.

Philip ElwPhilip ElwPhilip ElwPhilip ElwPhilip Elwood Memorood Memorood Memorood Memorood Memorial Concerial Concerial Concerial Concerial Concert at Eulipiat at Eulipiat at Eulipiat at Eulipiat at EulipiaRRRRResesesesestttttaurauraurauraurant A Rant A Rant A Rant A Rant A Rousing Successousing Successousing Successousing Successousing Success

Bob Shulz Frisco Jazz Band left to right Doug Finke,Kim Cusak, Jim Maihack, Bob Schulz, Scott Anthony,

Ray Skjelbred, Chris TylePhoto by Richard Ressman

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From the Editor

Shelves of Turk Murphy binders in chronological order.

I was at your Archive the other day togather some tapes (at this point just cassettes) ofSFTJF interviews together to begin digitizing thempartly for publishing here and partly for preserva-tion. None of the audio tape media types arepermanent—not only are they are very likely toliterally disintegrate after awhile, but they caneasily become demagnetized or otherwise unus-able. So, digitizing the Archive’s audio to preserveit either on hard-disks or archival quality CDs isimportant.

The audio digitizing process is pretty simplefor all you computer-phobes out there. You justfeed the audio from whatever source (reel-to-reeltape, cassette, LP, etc.) into the line-input of acomputer that has a software program running toconvert it from the analog source to a digitalrecord of the signal. Most (probably all) recentdesktop and laptop computers already have thehardware built-in to do this and the software iseither cheap or free. Of course the software torecord multiple tracks of an entire band is rela-tively more expensive, but we don’t need this kindof sophistication to record mono- or stereo. I amable to sit here typing this column while not onlylistening to the tape interview of Bob Mielke byDave Radlauer in 1993, but recording it in thebackground and saving it onto a hard-drive con-nected to my computer. The biggest problem withdoing the audio digitizing is finding tape machines

Ray Skjelbred at the piano photo Richard Ressman

The band (Chris Tyle and Ray Skjelbred hidden) photo RichardRessman

Chuck Huggins, Donna Huggins, and Josh Elwood, one of Phil’s sons.Photo Richard Ressman

All photographs of the event are courtesy ofRichard Ressman

and are available for purchase by contacting him [email protected]

or visitinghttp://www.photosurgeon.net/photoworld/index.htm


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Bud Spangler’s life has been devoted toperforming, presenting and producing jazz. Fromtraditional jazz to the sounds of today, his loveaffair with this music has never waned or wa-vered.

Bud began playing drums in dance bandswhen he was in the seventh grade. Having beenraised on the music of Bob Crosby’s Bobcats andLouis Armstrong’s All Stars, his interest in themusic continued to expand every time he heardanother evolutionary step in the history of jazz.His older brother introduced him to BennyGoodman’s 1938 Carnegie Hall recordings andSwing became his passion. Later, a new friendintroduced him to the inventions of Charlie Parkerand he immersed himself in Bebop and modernjazz of all kinds, but he never lost his love andrespect for the earlier styles.

Besides performing the music, his immensepassion for it made him want to spread the gospelof jazz to everyone. At the age of 18, he becamethe house drummer on a Saturday Morning TVvariety show from Michigan State University,where he was studying communications. Whenthe MC suddenly left the show, Bud took over the90 minute weekly program as host. He also hireda swinging Quintet and performed with them aswell.

At 18, he began producing two weeklyjazz radio shows out of WKAR in East Lansing.The station had a powerful signal and reachedmost of Central Michigan, including GrandRapids, Jackson, Battle Creek and Flint. He wasfinally getting the opportunity to spread the jazzgospel and soon had a large and devoted follow-ing.

At the same time, he produced weekly jamsessions and annual concerts on the campus.After graduation, he worked as a TV producer-director in Jacksonville and Orlando, Florida.He also served as the regional drummer for theRalph Flanagan Big Band.

He returned to the Detroit area in 1966and performed with many of the city’s top play-ers, including many who were on staff at MotownRecords. In 1970, he became the program directorof WDET, Detroit’s public radio station, where he

New Board MemberNew Board MemberNew Board MemberNew Board MemberNew Board Member Bud Spangler Bud Spangler Bud Spangler Bud Spangler Bud Spangler

that will play the various media types that are inthe Archive. Reel-to-reel tape machines and theirrepair people (and parts) are getting rarer and rarerall the time.

While the process is simple, the project ismonumental. There are virtually thousands ofhours of tape, both interviews and performances,both band and individual, that sit on shelves in theArchive waiting to be preserved.

While I was rummaging (don’t worry Clint)around looking at all the items in the Archive, itoccurred to me that most SFTJF members have noidea what the Archive actually looks like. So, Ipulled my digital camera (there is a theme here)from my pocket and took some shots to give yousome idea of the monumental task your currentArchivist, Clint Baker, and previous Archivists havehad to deal with. It is pretty amazing how muchJim Goggin collected and organized in his garage,material that made up the original material for theArchive, and how much has been added since then.There are photographs and posters, music, bothoriginal manuscripts and sheet music, musicalinstruments owned and played by some of our ownlegendary musicians, and much, much more. Weare hoping to digitize all flat material (photos,manuscripts, etc.) someday as well as the audiomentioned before, beginning with original musicmanuscripts of Turk Murphy.

There definitely is a lot of work to do, andthere’s no better time to start than right now!Scott Anthony

Large items, including photos, posters, and memorabilia

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had produced several weekly jazz showssince ’66. In this capacity, he producedfund-raising jazz and soul concerts fromvarious venues around the city, and alsobegan to produce records for two smallindependent jazz labels something else hehad always wanted to do.

In 1972, he produced NPR’s first-ever live coast-to-coast jazz broadcastwhich originated from the three day AnnArbor Blues and Jazz Festival.

Still seeking a wider audience, hemoved to the San Francisco Bay Area in1976. This was the era of large promo-tional budgets for the major record labels.Consequently, he was able to hone hisskills as a live broadcast producer, mixinglive broadcasts of famous artists for bothradio stations KRE and KJAZ. He also didweekly air slots for both stations.

In 1981, He produced “The FirstAnnual San Francisco Jazz Festival”. Itran three days and was the first jazzevent held in the new Davies SymphonyHall, with afternoon concerts at TheHerbst Theater. It boasted the first livejazz concert broadcast live on TV toJapan.

In 1982, while serving as theprogram director of KJAZ, See’s Candiesapproached the station with a proposalto present a weekly recorded broadcastby the renowned Turk Murphy SanFrancisco Jazz Band. Bud served as theproducer and engineer of these broad-casts for a year, and then once again,when the original MC moved to anotherarea, Turk tapped him to MC the broad-casts. It was an honor that culminated inBud’s serving as the Master of Ceremo-nies for Turk’s Carnegie Hall concert inJanuary of 1987. In May of that year,Turk succumbed to cancer and thebroadcasts came to an end.

However, thanks to the commit-ment to jazz of the President of See’sCandies, Charles N. Huggins, a newseries called “See’s Sunday Night” tookits place in October of ’87. This seriesfeatured jazz from across the spectrum ofthe music, all recorded in a wide variety

of venues around the Bay Area. It continued as “SundayNight Suites” on KCSM, San Mateo until June 25th, 2006when the successor to Charles Huggins (who retired at theend of 2005), opted not to renew the series.

Also thanks to See’s, Bud has had the honor ofproducing and hosting the “Jazz at Filoli” series fromWoodside, Ca. Since 1991, this highly successful series ofsix concerts every summer has presented a wide variety ofstyles and some of the greatest artists in jazz.

Now, more active than ever as a drummer and asthe producer of festivals, concerts and also a Grammynominated producer of CDs, Bud Spangler is truly livinghis dream.

Bud Spangler at Filoli on the drums. Photo unknown


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GREAGREAGREAGREAGREAT TRAD JT TRAD JT TRAD JT TRAD JT TRAD JAZZ WILLAZZ WILLAZZ WILLAZZ WILLAZZ WILLBE HEARDBE HEARDBE HEARDBE HEARDBE HEARD

ON UPCON UPCON UPCON UPCON UPCOMINOMINOMINOMINOMING SFTG SFTG SFTG SFTG SFTJF CDJF CDJF CDJF CDJF CDRELEASESRELEASESRELEASESRELEASESRELEASES

by Hal Smith

Several years ago, John Gill produced aseries of CDs for the GHB label, featuring liverecordings of Lu Watters’Yerba Buena Jazz Band atHambone Kelly’s. The material on those CDs camefrom the late Bob Helm’s tape collection. While Johnwas the Curator of Archives for SFTJF, he locatedenough additional material in the archives for threemore Watters CDs, plus six by Turk Murphy. Allthese discs were released on the Foundation’s ownlabel. When Turk’s widow Harriett donated theMurphy tape collection to the Foundation, Johnsupervised the transfer to CDs. Thanks to hisefforts, many hours of previously-unheard liveperformances are available for possible issue on CD.

When John left the Foundation, I became the“Special Projects Coordinator”—with the goal ofcontinuing the CD reissue program. One of my firstprojects was the two-disc set of the El Dorado JazzBand with Bob Helm. Next, a CD of the FirehouseFive Plus Two, live at Earthquake McGoon’s in 1970.Originally taped by Turk Murphy cornetist/SFTJFBoard Member Leon Oakley, it is the first live re-cording of the band since Good Time Jazz issued“The Firehouse Five Plus Two at Disneyland” in1962. It is also the first joint production by the SanFrancisco Traditional Jazz Foundation and GHBRecords.

Currently, I am working on three CDs to beissued jointly by the Foundation and GHB:· The Unheard Bob Scobey. The program,recorded between 1950 and 1954, includes 13 livetracks, plus three alternate and two unissued studiotracks. Besides trumpeter Scobey, musicians fea-tured on the CD are: Darnell Howard, Bob Helm,Bill Napier, George Probert (reeds), Jack Buck, BobMielke, Marshall Nichols (trombone), Burt Bales,Wally Rose (piano), Clancy Hayes (banjo and vo-cals), Squire Girsback, Dick Lammi (bass), Bob Short(tuba) and Fred Higuera (drums).· Bob Mielke’s Bearcats – 1957. This sessionwas recorded live at the Pioneer Village by record-ing engineer Oscar Anderson. Personnel: Bob

Mielke, trombone and leader; P.T. Stanton, cornet;Bunky Colman, clarinet; Dick Oxtot, banjo andvocals; and Peter Allen, bass.· El Dorado Jazz Band – 1960s. This is theSouthern California version of the EDJB, withPapa Ray Ronnei, cornet and vocals; Al Crowne,trombone and vocals; Mike Baird, clarinet; DanRuedger, banjo and vocals; Mike Fay, bass; andBob Raggio, washboard. The EDJB was an institu-tion in the Southern California jazz scene, with asound unlike any other band before or since. Thelate William Miskell recorded the band for his ownEpitaph and Item 1 labels, but at the present timethere are no recordings of the El Dorado band onCD. In addition to the discs mentioned above, CDswhich may be issued in the near future are:· A live recording from 1970 of TurkMurphy’s Jazz Band, at the Wilshire-Ebell Theaterin Los Angeles.· A session by Lu Watters’ Yerba Buena JazzBand at Hambone Kelly’s in 1950. Within the collection of tapes that were do-nated to the Foundation by William Miskell, thereare several non-West Coast-style recordings thatwe will audition for possible release. Here is asampling:· Jess Stacy – live solo piano at the Garden ofAllah, early 1950s.· Nappy Lamare and his Orchestra at theRendezvous Ballroom in Santa Monica, 1947.· 1951 benefit concerts for clarinetist PeeWee Russell, featuring Bay Area musicians.

Also, remember the live Club Hangoversessions mentioned by SFTJF Chairman WilliamCarter in the Spring, 2006 Cricket! Hopefully,some of those sessions will be suitable for CDissue. Meanwhile, be sure to keep your subscrip-tion to the Frisco Cricket current and don’t forgetto check the Foundation website(www.sftradjazz.org) for the latest news on ourCD releases.

Drummer-bandleader-writer Hal Smith was a Board Memberand the former Curator of Archives for the San FranciscoTraditional Jazz Foundation. Currently he serves as SpecialProjects Coordinator, developing CD releases and researchingbook and DVD projects for the Foundation.

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Some Memories of Daphne KingSome Memories of Daphne KingSome Memories of Daphne KingSome Memories of Daphne KingSome Memories of Daphne Kingby Scott Anthony and Others

I’m sure the name Daphne King is unfa-miliar to most members of the San FranciscoTraditional Jazz Foundation. Indeed, to manyperformers, she was almost unknown until fairlyrecently even though she co-wrote with ClancyHayes a number of tunes we on the West Coastknow and perform. She was a wonderfully kindand generous fan of and contributor to traditionaljazz. She collaborated with Clancy on “Travel-ing Shoes”, “Broken Promises”, “Swingin’ Doors”,and “In New Orleans.”

Daphne passed away on March 13 of thisyear. A number of us got to know her about 1994or 1995 at the Southcoast Clambake Jazz Festivalin Coos Bay, Oregon.

After I got to know her a bit, I asked herone time during one of the Coos Bay Clambakesabout a song I heard Clancy sing on a tape of anairshot given to me by Bob Helm. The airshot wasprobably one of Clancy’s “Tuneful Termites(Boring from within)” shows in the late ‘40s. Itwas entitled “A Miracle” and has some prettyrisque’ (at least for the time) lyrics about a hermitcovering himself with his hat during his yearlybath in a lake when “...his vision some fair fe-males met.” (see sidebar, next page) When I sang a

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 andchanged the lyrics!” Thus the connection with thisCricket.

Here are some memories of Daphne in thewords of Robbie Rhodes, pianist for the South FriscoJazz Band, Titanic Jazz Band, and others:

“South Frisco Jazz Band recorded the song,“Broken Promises”, for Stomp Off Records in 1987. Inthe CD album text leader Vince Saunders (banjo)credited Clancy Hayes as the composer. A few monthslater I received a note from the researcher Dick Baker, ofthe Potomac River Jazz Club (Mayland), who washelping to verify all the song titles and composers in theStomp Off catalog.

Well, all the West Coast jazz musicians learnedthe song from the record by Clancy Hayes, recordedaround 1950. No composer credit is given on the oldrecord label. So we asked the surviving musicians of the1950 session.

Wally Rose, piano, said, “Heck, Clancy justpassed out a lead sheet at the recording session. I don’tknow who wrote it.”

Bob Helm, clarinet, said, “Maybe he wrote it,but maybe he learned it from all the old music at theradio broadcast station where he worked in San Fran-cisco.”

Hmmm. Now we’re getting worried. The songis in Clancy’s style, and he certainly might have writtenthe music. But we couldn’t be sure. So Vince and Iadvised Baker to put in the Stomp Off catalog “com-poser unknown”. Thank God we said that!

In the summer of 1995 SFJB played at a jazzfest somewhere in the Pacific Northwest (Washington orOregon, I don’t remember exactly) and this elderly (butstill good-looking) blonde lady comes up to the band-stand and says, “Would you play ‘Broken Promises’ formy 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 youlater, please.”

So Daphne King explained that she wasClancy’s girlfriend then. (Maybe she was about 20years old.) In 1949 she was writing Country & West-ern songs, without much luck persuading bands to playthem. One day she and Clancy were argueing as theywere driving back to San Francisco from a gig. She toldDaphne King in the 1960s (?) with one of her Afghans.


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Clancy, “You broke your promise to me.”Clancy just pushed his hat back farther on his

head and said, rather nonchalently, “Un-huh, and justwhat 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 thesong was new to them at the recording session, I guessClancy had not sung it before in public. Anyway, therecording was a minor “hit” in California.

Vince suggested that Daphne contact theproducer of Stomp Off Records, Mr. Bob Erdos...

Bob was cautious, and waited for Daphne to saywhat she wanted. Fortunately for all, Daphne wasn’tinterested in royalty payments from the Stomp Offrecording by SFJB — she just wanted credit as com-poser. Vince and I explained the “tradition” of publish-ing firms, that many times the promoter of the song alsoreceived composer credit. We asked if she would behappy if the Stomp Off catalog (next edition) said“composed by Clancy Hayes & Daphne King”. Sheagreeed 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

playing her song, and she also put on the musicsheets, “Copyright 1995 by Daphne King”. That’sokay; I’m sure Clancy Hayes never registered a songcopyright, and she is welcome to have the honour ifshe wants it.”

Many thanks to Daphne’s friends Betty and KenRobertson, Chuck and Alice McKay, Carol and FrankTurner, Bob Eckstein, Robbie Rhodes, and VinceSaunders for the time, information and documentsthey provided me for this short tribute.

Daphne King (left) with Chuck and Alice McKay, long-time friends and travelling companions, leaving on a jazzcruise, 2002

A MiracleA MiracleA MiracleA MiracleA MiracleMusic by Daphne King, Lyrics (changed) by Clancy Hayes

A hermit once lived in a beautiful dell, nolegend or myth to this story I tell, for myFather declared that he new him quite well, ----this hermit.

He lived all alone in a cave by a lake, andpre-scriptions of herbs for his health he would makeAnd never of meat would this good man partake ---- On Friday.

He lived all alone on a path by the rose, andOnce 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, hisHorrified vision some fair females met, and thisVision of wo-m-en caused him to fret --- And he blushed.

He picked up his hat where it lay on thebeach, and Covered up all that its broad brim wouldreach, and Called to the girls in a horrified screech --- Go Way!

But the girls they just laughed at his pitifulplight, and Gave the old hermit a terrible fright, forthey Asked him to show them the "wonderful sight" ---- My Word!

Now I come to the point of this little tale, theHermit grew red, and then he grew pale, so heStarted to pray, for prayers never fail ---- So 'tis said.

And just at that moment, an infamous gnatmade the Hermit forget just where he was at, and heLet go the hat and struck at the gnat ---- Good Heavens!

Now the truth of this story there's no doubt atall, the Lord heard his prayer and answered his call,tho he Let go the hat, the hat didn't fall ----------------A Mir-a-cle!

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An Afternoon Of SanFrancisco Style Jazz *Sunday, October 22, 2006, 3 to 7 PMBimbo’s 365 Club, 1025 Columbus, at Chestnut,in San Francisco

The Bay City Stompers (featuring trad jazzgreats listed on page 12) are performing their thirdOctober Concert put on by your Foundation. Thelast two were sold out. With Leon and Duke’strumpet duets this year, we expect another sell outcrowd. So order your tickets now using the Con-cert Ticket Order Form insert in this Cricket, sincewe can sell only up to 400 tickets, the Bimbo’s 365Club capacity.

Seating is on the first come, first choicebasis, with priority seating to those with “Sponsor”tickets. So come early. The “no-host” bar startsserving when the doors open at 2 PM.

Announcing A New Jazz ScrapbookEarl WatkinsThe Life of a JazzDrummerby Jim Goggin

Trafford PublishingVictoria, BC, [email protected]

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We are giving SFTJF members first crack at thesetickets 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 Foundationand take advantage of these attractive prices, beforewe ask the City Box Office to sell $35 tickets to thegeneral public.

Send your October 22 Concert Ticket OrderForm directly to:

San Francisco Traditional Jazz Foundation41 Sutter Street, PMB 1870,San Francisco , CA 94104

If you have questions, do not call Bimbo’s. Rather,contact the Foundation byvoice mail: 415-522-7417, fax: 415-922-6934, ore-mail at: [email protected].

See you at the October 22 Concert!* Made possible by O’Reilly & Danko, Trial Lawyers;

the Alafi Family Foundation; and others.


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About the San Francisco Traditional Jazz FoundationWhat 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 qualitytraditional jazz, regionally and worldwide.What does the Foundation do?

Current activities include archival preservation, supporting live events and broadcasts, collaborating with other jazzand 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 tomake 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 andavailability of Foundation products (often at exceptionally low prices).

Donations welcomedThe 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, newspaperclippings, photographs and correspondence. Contributions of materials or funds are tax-deductible under IRS rulingstatus 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 andphotos 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 tospecial events, discounts on selected jazz books and recordings, and a year’s subscription to The Frisco Cricket. If you arealready a member, give the gift of Foundation membership to a friend! Use the form at right.

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PrPrPrPrProduct Oroduct Oroduct Oroduct Oroduct Order Fder Fder Fder Fder Forororororm & 2006 Memberm & 2006 Memberm & 2006 Memberm & 2006 Memberm & 2006 Membership/Rship/Rship/Rship/Rship/Reneeneeneeneenewwwwwal Applicational Applicational Applicational Applicational ApplicationName __________________________________________________________________________Address ________________________________________________________________________E-mail _______________________________ Phone ( ) ____________________________

Compact Discs ($13 for members, $16 for non-members) Quantity AmountA 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) ___ $ ______*Specially priced two-CD set. Members: $16; non-members: $20.

Books Members Non-mem.Jazz on the Barbary Coast, by Tom Stoddard $4 $5 ___ $ ______Pioneer jazzmen reminisce about old San Francisco and its role as a wellspring of jazzJazz West 2, by K.O. Ecklund, published by Donna Ewald $12 $15 ___ $ ______The A-to-Z guide to west coast jazz music; a unique source.Preservation Hall, by William Carter $35 $50 ___ $ ______Lavish 315 pp. Softbound. Drew national rave reviews. Autographed on request.The Great Jazz Revival, by Pete Clute & Jim Goggin $10 $15 ___ $ ______The story of the San Francisco jazz revivalMeet Me At McGoon’s, by Pete Clute & Jim Goggin $25 $33 ___ $ ______Another Jazz Scrapbook by the authors of The Great Jazz Revival

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 $ ______

Credit Card MasterCard Visa American ExpressName (as appears on card) _______________________________________________________________Account Number (16 digits) ___________________________________ Expiration Date (mo/yr) ________Cardholder Signature ____________________________________________________________________

Complete the credit card information below,or enclose check or money order for Total.Send to:San Francisco Traditional Jazz Foundation41 Sutter Street, PMB 1870San Francisco, CA 94104

contributions to SFTJF, above the basic membership level, are tax deductible

The Frisco CricketSAN FRANCISCO TRADITIONAL JAZZ FOUNDATION41 Sutter Street, PMB 1870San Francisco, California 94104www.sftradjazz.org

NONPROFIT ORG.U.S. POSTAGE PAID

SAN FRANCISCO,CAPERMIT NO. 3981

Return Service Requested

12


Be sure to buy your tickets forAN AFTERNOON OF SAN FRANCISCO STYLE JAZZ *

Sunday, October 22, 2006, 3 to 7 PMBimbo’s 365 Club, 1025 Columbus, at Chestnut, in San Francisco

A Classy, Brassy Affair to Remember with the

BAY CITY STOMPERStrombone- TOM BARTLETTpiano- MARTY EGGERStuba- ALAN ADAMSdrums- CLINT BAKER

leader, banjo, vocals- JOHN GILLtrumpet- LEON OAKLEY

trumpet- DUKE HEITGERclarinet- BILL CARTER

See the article on page 9 for more details. Then use theConcert Ticket Order Form insert to purchase your tickets now.

* Made possible by O’Reilly & Danko, Trial Lawyers;the Alafi Family Foundation; and others.

All Jazz Is Local – and Universal - sftradjazz.org · Published by the San Francsico Traditional...

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Transcript of All Jazz Is Local – and Universal - sftradjazz.org · Published by the San Francsico Traditional...