Live Music & DancingSanta Rosa Moose Lodge 3559 Airway Drive 95403 Available for purchase Beer, Wine, & Soft Drinks,Cheeseburger, Fish’N’ Fries,Chicken Strips, Chili Dog, Country Fried Steak(Bartender is volunteer, please tip)

Admission Prices$15 General Public$12 Our Members (all ages)$12 Guests of Members$12 Members of any Jazz Club$12 Moose Lodge Members$ 8 Group of 3 or more from Senior Home$5 Jammer-Non Member of Jazz Club$0 Jammer - Member of Jazz Club

Yearly Membership$30 Single / $50 Couple

Life Membership$1000 Single / $1500 Couple

T.R.A.D. J.A.S.S is a non-profit corporation founded to preserveTraditional Dixieland Jazz & Ragtime Musicthrough public performance & education.

Directors & OfficersDave Graves - PresidentDave Stare - Vice PresidentLouise Graves - Sec/Adv./NewsletterGerry Turner - Treasurer & BudgetClay WilsonSharon GriffithJohn Z. RayMelissa StouferBeverly Muir

Other PositionsBand Liaison Tom ClarkPromotion Ray WalkerEducation Ray Walker

Advertising RatesFull Page 8 1/2 x 11 Single Month $25 Per month rate $20 Yearly $100 Bus. Card $10 mo. / $60 yr

Deadline for adv. is 3rd Monday of the mo. prior to the next publication. ContactLouise Graves: lovetradjass@pacbell.net

TRAD JASS accepts no responsibility for accuracy or validity of material submitted.

TRAD JASS NewsTraditional Ragtime And Dixieland Jazz Appreciation & Strutters SocietyMAR 2019 Monthly Newsletter Volume XVI No. 292General Information Dave Graves 707-478-3312 / lgraves@pacbell.net Jam Sets Dave Stare 707 480-6145 / davestare@hotmail.com Newsletter/Membership Louise Graves 707-318-1297 / lovetradjass@pacbell.net

Mar 3rd 1:00-5:00 The Fog City Stompers

BANDS IN 2019 APR 7TH - TOM BARNEBEY’S BEYOND SALVATION JB MAY 5TH - THE FLYING EAGLES JUNE 2ND - GOLD COAST JB JULY 7TH - TRAD JASS JAMMERS AUG 4TH - MISSION GOLD JB SEP - 8TH - DARK OCT 6TH - TBA NOV 3RD - NATURAL GAS JB DEC 1ST - TBA

The Fog City Stompers have been playing since 1985. In addition to the great old standards of the 1920s & 1930s, which include arrangements and transcriptions of the Bix Beiderbecke recordings, they offer original compositions and new arrangements performed in the traditional Dixieland jazz style. They play currently at various establishments and jazz clubs around the San Francisco bay area, and at private affairs. Please come up and say hello to them.

Tom Belmessieri - Cornet (Leader) Mike Young - Clarinet/SaxRich Newcomb - TromboneMike Hart - TubaGary Neuman - PianoRon Galen - Banjo/GuitarAdam Roderick - Drums/Percussion

JAM SETS email Dave Stare davestare@hotmail.com or call 707-480-6145

We have Seven jam sets. See pg. 4 for jam set schedule. Please call by Friday prior to our Sunday performance. If no answer, leave your NAME, PHONE NUMBER, INSTRUMENT(S) YOU PLAY, AND ANY TIME RESTRAINTS you may have. Placement in a set may be limited if you do not call. All jammers welcome. Jam sets are also considered a training session for new jammers. $5 admission for jammers who are not a member of a jazz club.

Musical Threads in Early JazzFrom Wikipedia, the free encyclopedia

Front Line and RhythmIn New Orleans-style jazz, the term “front line” refers to three melody instruments. The first voice or lead melody is usually the cornet or trumpet, though some early jazz bands used the violin. The second voice, or obbligato, is usually the clarinet, but can also be the violin or saxophone. The third voice is most often the trombone. The interaction of the three instruments creates a melodic polyphony, which is in contrast to the solo melody statements of modern jazz styles, which came after New Orleans jazz in the mid-1920s. Collective improvisation among these instruments can involve a three-way “call and response.” The first voice will state a theme or melody, and the second and third voices will then make a melodic statement in response. The overall affect is a musical conversation, in which the first and second voices respond to one another, and the deeper third voice provides a bass-level counterpoint.

First Voice: Cornet, Trumpet, or ViolinBuddy Bolden helped to define the cornet as the dominant melody or solo voice in early New Orleans jazz. Following his mental breakdown in 1907, other local cornetists maintained the prominence of the instrument. Freddie Keppard was considered the dominant cornetist from 1907 till 1915, with Joe Oliver coming after him, from 1915 to 1918. The fact that all three musicians were known locally as “king” of the cornet reflects the instrument’s importance in the development of the style. When Louis Armstrong left King Oliver’s Creole Jazz Band to form his own band in 1925, he expanded the solo abilities of the cornet and trumpet. Whereas Bolden, Keppard, and Oliver were known for their rough and affected sounds (through mutes or wah-wahs), Armstrong developed a more pure cornet and trumpet tone, without affects or vocalization. His sound helped define the more modern jazz of the late 1920s, and was one of the most imitated jazz styles for decades. Armand J. Piron, leader of his New Orleans Orchestra, was one of the few to use a violin as a lead voice in an orchestra setting. However, compared to the cornet and trumpet, the violin’s softer sound made it difficult to hear above the din of the other instruments and dancers, and it gradually faded from the front-line.

Second Voice: Clarinet or SaxophoneThe second voice, or obbligato, often had the greatest improvisational freedom, and was expected to play highly ornamental variations of the melody (later, in the mid-20th century, it was sometimes called “window dressing”). The role can be traced to Western formal music, in which the second voice was seen as an essential melodic counter-point to the first voice. The New Orleans jazz standard “High Society” provides one of the clearest examples: Originally a marching band song, the piccolo part on the trio (third strain) was adapted to clarinet by Alphonse Picou.Brilliant clarinet soloists like Sidney Bechet used the obbligato role to create an endless stream of melodic variations.

Bass Voice: TromboneThe trombone sounds in a lower register than a cornet, trumpet, or clarinet, providing a vocal balance to those higher voices. Often, its role was to provide a variation of the bass melody that fit into the spaces between the first two voices. In early New Orleans jazz, the trombone would often slur—sliding from one note to the next—a technique called “tailgating.” The term came from the trombonist’s position on the tailgate of the wagons that bands would play on to advertise for local businesses, where he sat to avoid hitting the other musicians with his slide. In some cases, trombones did play the lead voice, as in the songs “Ory’s Creole Trombone” and “Muskrat Ramble,” composed by Kid Ory, who is considered the top trombonist of early jazz.

Rhythm Section: Drums, Piano, and Banjo or GuitarThe steady, driving rhythm of early New Orleans jazz—usually provided by drums, guitar or banjo, and piano—contrasted with the polyphony and improvisation of the front line melodies. Pianos were often solo instruments played by great improvisers like Jelly Roll Morton, Tony Jackson, or Manuel Manetta, but in a band setting they often took on a supportive role, with occasional solos. Likewise, the guitar or banjo usually provided a steady rhythm for dancing, but in some songs they were given individual solos. Drummers rarely took solos in early New Orleans jazz, as they were counted on to keep time.

SPECIAL EVENTS

Apr 12-14 2019Jazz AffairThree Rivers, CA 93271sierratraditionaljazzclub.com

May 9-12 2019Redwood Coast Music FestivalEureka CA 707-445-3378www.remfest.org

LOCAL BANDS & GIGSBeyond Salvation JB &Barnebey’s Hot FourBooking Info: Tom Barnebey707-246-2263Fourth St. New Orleans JBBooking Info: Call Ron Dubin 707-528-2319Eldorado SyncopatorsBooking Info: Call Robert Young707-792-2433Gold Coast JBBooking Info: Call Bill Badstubner707-526-1772Russian River RamblersBooking Info: Call Dave Stare707-528-0815

Gold Coast Jazz BandClassic Hot Jazz from New Orleans to Swing

Info/Booking: Bill Badstubner 707-526-1772badstubner@aol.com

Facebook:The Gold Coast Jazz Band

REGULAR JAZZ EVENTS - MAR 2019 1st SUNDAY:

SAN JOAQUIN DIXIELAND SOCIETY Elks lodge, 8900 Thornton Rd. Stockton. 12-5pm.info: Art Bregante, 209-465-7074 or Billie Ricker, 209-763-2820, or: ricker@goldrush.com

2nd SUNDAY:GOLD COAST JAZZ BAND: 5-8pm Redwood Cafe, 8240 Old Redwood Highway, Cotati, Call: 707-526-1772 www.goldcoastjazzband.com

NAPA VALLEY DIXIELAND JAZZ SOCIETY: CalVet Yountville 60 Calif. Dr. 1-4pm (Take Hwy 29, exit at Calif. Dr. & proceed toward the hills. Grant Hall is on the 2nd floor of the Activities Building, the large white building at the end of Calif Dr.). At this time there are no jam sets. Call: Linda Stevens at 707-939-9018 for info. www.napatradjazz.org

NATURAL GAS JAZZ BAND: Ghringhelli’s Pizzeria, 1535 S. Novato Blvd. Novato, 94945. 1:00-3:00 pm. Info: Call NGJB at 415-453-7014 or view at www.ngjb.com or email Phil Crumley at: pcrums@gmail.com

3rd SUNDAY:NEW ORLEANS JAZZ CLUB of NORTHERN CALIF. Richmond Elk’s Lodge,3931 San Pablo Dam Rd. El Sobrante. 1:30-5:00pm Info: Tom Belmessieri 925-432-6532 or Paul Hilton 415-431-3390 for Jam set sign-ups Rod Roberts 415-499-1190 www.nojcnc.org.

4th SUNDAY:SOUTH BAY TRADITIONAL JAZZ SOCIETY: Sunnyvale Elks Lodge, 375 N. Pastoria Ave. 1:00-5:00pm. Call 650-838-9039. Email southbayjazz@att.net Website:www.sbtjs.org or www.southbayjazz.org.

LAST SUNDAY:SACRAMENTO RAGTIME SOCIETY: Straw Hat Pizza 2929 Mather Field Road Rancho Cordova. 1-4pm info: Debra Gale 530-758-6697, New Members, Merv Graham 530-273-0487.Website: www.SacramentoRagtime.com.

3rd SATURDAY:DEVIL MOUNTAIN JAZZ BAND: Friends of Jazz Dance Party 2-5pm Danville Grange Hall 743 Diablo Rd. Danville. Info: 510-655-6728 or 925-625-2707. Website www.jazznut.com/skads/dmsced

LAST SATURDAY:GOLD COAST FIVE: 3-6pm Redwood Cafe, 8240 Old Redwood Highway, Cotati. Call 707-526-1772 www.goldcoastjazzband.com

JAM SET SCHEDULEMAIN Room

1:00 -1:25 Jam Set1:30 - 2:20 Featured Band 2:20 - 2:45 Jam Set2:50 - 3:40 Featured Band 3:40 - 4:05 Jam Set4:10 - 5:00 Featured Band

4:00 Raffle Number Posted

Jam Room in the BarJam Set: 1:40 - 2:10 Jam Set 2:20 - 2:50 Jam Set 3:00 - 3:30 Jam Set 3:40 - 4:10

Who Were Those Musicians in Feb?

Trumpet/Cornet: Charles Newman, Mark LightnerTrombone: Bill BadstubnerReeds: Jeff Diamond, Ed Foster, Steve HawkesDrums: Jim CunninghamPiano: Tom Barnebey, Pete MartenBanjo/Guitar: Jeff GreenTuba/Bass: Gerry Turner, Jud WilsonVocal:

Continuing opportunities to keep Traditional Jazz Alive:• Consider making a tax deductible contribution to Santa Rosa TRAD JASS. We are a 501(c)(3)

tax exempt organization. Please use the lower half of this notice to make a contribution. • Consider partially or wholly sponsoring your favorite band. • Consider Bequest via will or trust. • Consider an Endowment

TRAD JASS is incorporated in the State of California as a Domestic Non-profit Corporation, number C1530764.

The Internal Revenue Service has determined that the Traditional Ragtime and Dixieland Jazz Appreciation & Strutters Society (TRAD JASS) is a public charity under Section 509(a)(1) and Section 170(b)(1)(A)(vi) of the Internal Revenue Code, and is exempt from Federal Income Tax under Section 501(c)(3) of the Code.

Donors may deduct contributions to TRAD JASS as provided under Section 170 of the Code. Bequests, legacies, devises, transfers of gifts to TRAD JASS for its use are deductible for federal estate and gift tax purposes if they meet the applicable provisions of Sections 2055. 2106, 2422 of the Code. Check with your tax preparer, as individual circumstances may vary. No goods or services were exchanged

Our Employer Identification Number is 94-3030032. ........................................................................................

Yes, I want to help TRAD JASS stay alive and keep live, danceable, and the truly indigenous American music in Sonoma County

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You wish your gift to be used for: • Club Expenses _____ or • Sponsor your favorite approved band (Name of Band needed)

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2018 “BATTLE OF THE BIG BANDS” TOURArizona • California • Washington • Canada

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2 BIG BANDS � 30 MUSICIANS

One Night in BerlinMAX RAABE & PALAST ORCHESTER

DREAM A LITTLE DREAMPerforming a selection of standards and obscurities that defined the popular music of the 1920’s and 30s, Raabe and his 12-piece orchestra bring the madcap fun and musical sophistication of Germany’s Weimar era to life in grand style. His newest album, Eine Nacht in Berlin, plucks gems from German cabaret and American songs that made the European hit parade. In the 1920’s and early 30s, Berlin was a roiling cauldron of creative energy where avant-garde art movements intersected with the popular culture, birthing theatrical and musical forms that continue to influence our world today.

A conservatory-trained baritone besotted with the Weimar era vocal style exemplified by the Comedian Harmonists, Raabe interprets vintage hits while also writing original songs and sometimes reinventing pop tunes in a retro style, such as “Oops!... I Did It Again” from Britney Spears and “Sex Bomb” by Tom Jones. With his slicked back hair and ingratiating stage presence, Raabe is a master entertainer whose irony-laced performances combine arresting spectacle with sophisticated, jazz-steeped arrangements that are consistently dizzying, delightful and devilishly catchy.

Tuesday March 12, 8:00 PMDAVIES SYMPHONY HALLTickets”$35 | $60 | $85 | $110https://www.sfjazz.org/tickets/productions/max-raabe-palast-orchester/

MEMBERSHIPS AVAILABLE! MAIL THIS COUPON

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Standard Membership !! ! Single! ! $30/Year($12.00 Member Admission) ! ! Couple! ! $50/Year

Life Membership! ! ! Single ! $1000 Once(Free admission for each)! ! Couple !! $1500 Once(Member and One Guest)

Prices effective January 2017Membership cards will be mailed upon receipt of dues and completed coupon. Mail this coupon and check to:

T.R.A.D. J.A.S.S., P.O Box 2861, Santa Rosa, Ca. 95405

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Traditional Ragtime And Dixieland Jazz Appreciation & Strutters SocietyP.O. Box 2861 Santa Rosa Ca. 95405