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Album Cover (2.170Mb) S-LP 216X S-LP 216X DIXIELAND FROM THE FAMOUS DOOR __________ BAND ONE _________ _ __________ BAND TWO _________ _ __________ BAND THREE ......... SHA.RKEY- SANTO PECORA GEORGE GIRARD and his Kings of Di:~ieland and his New Orleans Rhythm Kings and his Ne1:v Orleans Five SHARKEY BONANO::Trumpet SANTO PECORA:::Trombone GEORGE GIRARD:::Trumpet JACK DELANEY::Trombone GEORGE GIRARD:::Trumpet JACK DELANEY:::Trombone HARRY SHIELDS: : : Clarinet LESTER BOUCHON:::Tenor Sax RAYMOND BURKE:: :Clarinet STAN MENDELSON:::Piano RAYMOND BURKE:: :Clarinet ABBIE :GRUNIES:: :Drums ARMAND HUG:::Piano JOHNNY SENAC:: :String Bass-Tuba CHINK MAR.TIN JR.:::String Bass ABBIE BRUNJES:: :Drums ABBIE BRUNJES:: :Drums CHINK MARTIN SR.:::Tuba CHINK MARTIN:: :String Bass STANLEY MENDELSON:: :Piano Many years ago most everyone from music critics to Jazz lovers conceded with the box office that "Dixieland" Jazz had become obsolete. Granting that the enthusiasm for Dixieland has at times waned, it must be emphasized that no folkart ever dies. Thus it is that Dixieland Jazz has always maintained a steady following, oftimes in the minority, but always anticipating that inevitable revival to which by now it has become accustomed. HYP GUINLE:: : The last chapter in the history of New Orleans Jazz will never be written, for there are always those enthusiasts who will spark a revival just in time to add a new chapter, or per- haps another volume. Nominated in this regard would certainly be HYP GUINLE, that genial host at THE FAMOUS DOOR. Jazz-seeking tourists are often surprised to find so much "modern" music as they ramble past one niteclub after another along famed BOURBON STREET. It should be noted here that while the variety of music played in New Orleans is much the same as that in any large city, there is one big exception. This is the only place in the world where Jazz lovers can witness traditional Jazz as played in its birthplace by world-famous native musicians. The corner of CONTI AND BOURBON, in the heart of the "French Quarter" has long been headquarters for this native music. thanks to HYP GUINLE who persistently presents the very finest DIXIELAND musicians. It's a small wonder that his FAMOUS DOOR at 339 BOURBON STREET nitely hosts hundreds of jazz lovers, the crowds about equally divided between tourists and native devotees. A list of Jazzmen who have appeared at THE FAMOUS DOOR would read like a "Who's Who" of Dixieland, and the list is constantly being added to as the club's Twenty Five year history continues. In this album will be heard but a few of the many Jazzmen whom HYP GUINLE has featured on his bandstand. The recordings were made by JOE MARES, JR. who needs no in- troduction to jazz-lovers or record collectors, except to mention that his Southland records have spread contemporary Dixieland around the world. SHARKEY BONANO : : : One of the cradles of Jazz in the early days was the boardwalk resort of Milneburg, which was flourishing many years before Bourbon Street. It was here that a youngster named Joseph SHARKEY Bonano was inspired to Jazz when listening to such early greats as King Oliver, The Dodds brothers, Tom Brown, and many others. It was Buddy Petit who enabled Sharkey's start, when he sold him a used cornet for $2.50. Between his chores at a public bath-house, this youngster practiced clilligently, for there was no time for musical lessons. Thus began the career of the little man with the derby hat and the golden-belled horn. His name will be found amongst Liose on many of the early Jazz records, and his amazing drive and very personal delivery are captured here, backed by an all-star group, spotlighting vocals by Sharkey on "Saints", Jack Delaney on "Monday Date", and Jackie Blaine on "Somebody Else Is Taking My Place". With Sharkey are heard youthful Jack Delaney on trombone, Veteran Harry Shields on clarinet, the rolicking fingers of Stanley Mendelson at the piano, the late Abbie Brunnies at the drums, Chink Martin, Sr. on Tuba, and Chink Martin, Jr. on string bass. SANTO PECORA : : : As a youngster SANTO PECORA began his musical studying on a French horn. After making his professional debut at a local movie theatre, SANTO was soon heard locally in such spots as Toro's, playing with such Jazz greats as the immortal Leon Rappolo. Following World War I, it will be recalled that Jazz found Chicago its most receptive host, and Santo was there. It was from the "Windy City" that the flow of early Jazz recordings began, and Santo's first prominence in Jazz came as he joined the famed New Orleans Rhythm Kings, their 1925 recording ever continuing to stand the test of time. SANTO was next being heard in theatre house bands and then travelling with such groups as that of Ben Pollack, Buddy Rogers, Sharkey and Wingy Manone. Long considered one of the foremost tailgate trombcnists, SANTO PECORA went into THE FAMOUS DOOR with a band in late 1955 and stay- ed until early 1959. His band was the alternating band with that of the late George Girard, who incidentally handles the trumpet in the all-star group surrounding SANTO. The remain- der of the group includes the incomparable Raymond Burke on clarinet, the noted tenor sax-work of Lester Bouchon, the ragtime keyboard artistry of Armand Hug, the late Abbie Brunies at the drums, and the veteran Chink Martin on string bass (who played with Pe<'ora in the New Orleans Rhythm Kings over 30 years ago.) GEORGE GIRARD : : : New Orleans is duly proud of its heritage as the birthplace of America's own folkart, Jazz. The past few decades have witnessed the passing of most of the pioneer Jazzmen, as well as many of the veterans. Each generation, however, continues to produce a ceaseless flow of musicians to carry on the tradition. Undoubtedly one of the greatest to come along in many a moon was the late GEORGE GIRARD, whose band was featured at THE FAMOUS DOOR from early 1954 till his departure in early 1957. GIRARD's professional career began in 1947 when he left the Crescent City to tour with the Johnny Archer orchestra. GIRARD first came to the full attention of the jazz-loving public when he appeared with Phil Zito's band on records, and his popularity increased rapidly as first he helped form the "Basin Street Six", a group that for four years thrilled listeners in Chicago as well as at home and whose recordings on several labels brought forth the fact that Dixieland had not died. At just past 23 years of age he was already respected around town for his superb musicianship, exceptional drive, imaginative solos, and natural leadership. And so it was that in 1954 GEORGE GIRARD AND HIS NEW ORLEANS FIVE were organized and began an illustrious stay at THE FAMOUS DOOR. Assisting his spread of fame were the weekly CBS Coast-to-Coast broadcasts featuring the band, and then his command performance at the "World Series of Jazz", the Annual Dixieland Jubilee Concert in Los Angeles in late 1954. Interviewed on my radio show the following afternoon, George said of the tumultuous reception given him by the huge audience "The roar was deafening, I could hardly hear the rest of the band". As with any creative genius, George was constantly striving for that undefineable "something". Perhaps the culmination of his search was realized during the recording session presented here, for on one selection he completely improvised his solo right on the spot. In that same radio interview when c~sk.ed di,:: he perhaps have one particular favorite of all his recordings, he unhesitantly answered "Yes, I recorded a tune that Joe Mares' brother, Paul Mares, wrote just before he passed away, and I got a great feeling in doing I'M GOING HOME. It was one of those tunes you just felt". On January 18, 1957 the world of Jazz lost one of its outstanding artists as the trumpet of George Girard was silenced forever by cancer at the age of 26. His ,~cnius however, remains on record to thrill us for years to come. Backing George in this session zrc the unique ideas of Raymond Burke on clarinet, the fine singing trombone of J .. ck Delaney, on piano that young man with old ideas Stanley Men- delson, beating the hides the late Abbie Brunies, and plucking the bass strings and tooting the tuba is Johnny Senac. : : : : : "Presented here have been but a few of the many jazz greats to appear at THE FAMOUS DOOR. Perhaps these sounds will bring you back to the haven of Dixie- land Greats. If you're unable to return, may they continue to bring you fond recollections of Jazz as played in its birthplace." : : : : . ART ANDERSON cover by Johnn Dannels photo's by John Kuhlman SOUTHLAND RECORDS-Made in NCJJV Orleans-S-LP 216X .
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