sign in sign up
<<
Home , Allan Vache, Art Hodes, Art Satherley, Audiophile Records, Barbara Dane, Barbara Lea

NEWSLETTER SEPT-2017

ologyology

1917 2017

Scott Joplin and the end of the Era * enter the record business *now owned by GHB Foundation Original and the beginnings of the Jazz Era The closing of the Storyville District in read more about these stories inside…

G.H.B. JAZZ FOUNDATION • GEORGE H. BUCK JAZZ FOUNDATION 1206 DECATUR STREET • NEW ORLEANS, LA 70116

Phone: +1 (504) 525-5000 Office Manager: Fax: +1 (504) 525-1776 Assistant: Mike Robeson Email: [email protected] Office Hours: Mon-Fri 11am – 5pm Website: www.jazzology.com Entrance: 61 French Market Place

Newsletter Editor: Paige VanVorst Contributors: Lars Edegran, Mike Layout & Design: David Stocker Robeson, David Stocker

HOW TO ORDER COSTS – U.S. AND FOREIGN

MEMBERSHIP If you wish to become a member of the Collector’s Record Club, please mail a check in the amount of $5.00 payable to the GHB Jazz Foundation. You will then receive your membership card by return mail or with your order. *Membership continues as long as you order at least one selection per year.

You will also be able to buy our products at a special discounted price: CDs for $13.00 DVDs for $20.00 Books for $25.00

NON-MEMBERS For non-members our prices are: CDs for $15.98 DVDs for $25.00 Books for $30.00

DOMESTIC MAILING & POSTAGE CHARGES There is a flat rate of $3.00 regardless of the number of items ordered.

OVERSEAS SHIPPING CHARGES 1 CD $13.00; 2-3 CDS $15.00; 4-6 CDS $20.00; 7-10 CDS $26.00 Canadian shipping charges are 50% of overseas charges

ALL PAYMENTS FOR FOREIGN ORDERS MUST BE MADE WITH EITHER: • INTERNATIONAL MONEY ORDER • CHECK DRAWN IN U.S. DOLLARS FROM A U.S. BANK • CREDIT CARD [ Note: Please be sure to include expiration date & security code ]

Send Payments to: GHB JAZZ FOUNDATION 1206 DECATUR STREET • NEW ORLEANS, LA 70116

You may also order directly from our website at www.jazzology.com

2 Jazzology newsletter #10 Here is our newsletter for the year 2017 – there will be another newsletter in about six months as we have a number of upcoming CDs, Vinyl LPs and books that will be released in the coming year. In this newsletter we are presenting seven new CD releases, articles by Paige Van Vorst, book and CD reviews and other information of interest.

We invite you to take a moment and sign up to receive our E-Newsletter by visiting our website at www.jazzology.com. This way we can keep you updated on new releases and artist information as well as in-depth articles and historical information related to the artists and recordings.

news at GHB JAZZ FOUNDATion We are continuing our efforts to make, as much as possible, all of our recording available to jazz fans worldwide. There is still plenty of unissued material in our vaults and we are also making a few select new recordings of today’s jazz artists.

The record business has changed dramatically over the last few years – CD sales have gone way down and vinyl LPs have become popular again, but most people are getting their music from the internet. Therefore we are continuing to get our entire catalog uploaded for downloads (iTunes, , Spotify and other online outlets) which includes a number of sessions that we haven’t even issued on CDs – see a listing of those on pages 12-13. We plan to put out a few vinyl LPs next year. Some of our recordings are becoming available again as vinyl releases on labels that we have license agreements with. ORG Music is releasing 10 LPs with artists like , Sister Rosetta Tharpe, and . Mississippi Records has released an LP with the Eureka from our American Music label and in New Orleans the Sinking City label has released two 45 singles with doing Mardi Gras songs.

From the World Broadcasting System we have issued a CD with the Original Dixieland Jazz Band (1943) together with a World session of the Band (1944). Also from World we present a 2-CD set with the wonderful vocalist Peggy Lee recorded in 1955. Really great stuff which has not been available for a very long time. On our Progressive label we have a terrific trio session with pianist and from the Famous Door label a very session recorded at the famous A&R recording studios with trumpeter Danny Stiles featuring virtuoso Bill Watrous and pianist . On Solo Art we have a new recording with pianist Jim Turner doing a tribute to stride, ragtime & swing master pianist . We will be publishing a bio-discography book about Johnny Guarnieri written by Derek Coller next year as well as some previously unissued recordings that have been gathering dust in our tape room for many years. Vocalist/ pianist Ronny Whyte has produced a brand new CD for us on the Audiophile label which is getting some very nice reviews. George Lewis’ New Orleans Stompers (AMCD-100 & AMCD-101) has been out of print for some time so we are reissuing these recordings as a 2-CD set with a new design and new photos. This classic 1943 recording known as the “Climax Sessions” (the label it was first issued on) was George Lewis’ first recording as a band leader and it introduced the very impressive player .

3 ORIGINAL DIXIELAND JAZZ BAND / JOE MARSALA AND HIS BAND GHB BCD-100 PRICE: $15.98 MEMBERS: $13.00

The material is vintage ODJB and with the exception of the The Sphinx, all of the band’s own

creation. That first number is a fine example of the then-popular “oriental” genre, and in effect a feature for Brad. ensemble work, the ODJB’s real strength. Many of theElsewhere pieces had,the emphasisby 1943, become – as it should part and be –parcel is on of the traditional jazz repertoire, and these most clearly reveal Brad’s desire to hear them played PERSONNEL: the liberties that players were taking by then. Wild as “written” in the ODJB’s book, rather than with Trombone , Leader Frank Signorelli deathlessBrad Gowans (to me)once Original wrote of Dixieland his “immeasurable Jazz Band Drums ofdebt New to Orleans, these unsung and to Edwin pioneers ‘Eddie’ of jazz Branford – the Trumpet Lou McGarity Trombone Joe Marsala Clarinet, Leader Edwards, the founder and trombonist of the Piano band.” He certainly acknowledged that debt most handsomely in 1943, as you can hear on Bass this historically significant record. Drums

TRACK LISTING: The front line is a strong one. Billy Butterfield and Lou McGarity had been colleagues in Benny The Sphinx 2-Takes homeGoodman’s in the band,Swing andidiom later and on in aCBS’ more studio traditional staff. 2-Takes Strong, confident players, they were equally at Satanic Fidgety Feet 2-Takes framework.The excellent Both rhythm are in fine section form onis thisanchored occasion. in Moanin’ Blues George Wettling’s solid drums and Bob Casey’s 2-Takes rock-steady bass. Both became Condon regulars Lazy Daddy violin,and Eddie’s and who guitar later is particularlybecame well-known well recorded as an Skeleton Jangle 2-Takes here. Dick Carey, whose first instrument was the Original Dixieland One Step 2-Takes arranger, trumpeter and alto hornist, is also a Panama 2-Takes fine pianist. Four Or Five Times Jazzin’ Babies’ Blues 2-Takes The program is a nice mixture of New Orleans and Weary Blues classics, with a spontaneous blues thrown in. None of the tunes had yet become hackneyed Wabash Blues Four Or Five Times or Jazzin’ Babies’ Blues. In any and a few are not war-horses even today, such as High Society Wolverine Blues case, the guys tackle them all with enthusiasm. — Dan Morgenstern (excerpts from liner notes) Blues In C

4 GHB JAZZ FOUNDATION • 1206 DECATUR STREET, NEW ORLEANS, LA 70116 P: +1 (504) 525-5000 F: +1 (504) 525-1776 GEORGE LEWIS AND HIS NEW ORLEANS STOMPERS 1943 - CLIMAX SESSIONS AMERICAN MUSIC AMCD-100/101 2-CD PRICE: $25.00 MEMBERS: $20.00

New Orleans sessions to print. One of the best- This release returns one of the most celebrated print for some time. With this release the set was convertedselling American to a two-CD Music digipaksets, it has instead been of out two of twelve-page booklet. separate CDs, with a new, profusely illustrated heroWhen of Bill his Russell prior sessions,recorded inwas New in OrleansSan Francisco; in 1943 PERSONNEL: he expected to be disappointed — , George Lewis Clarinet he wasn’t sure he’d get any worthwhile music. Avery ‘Kid’ Howard Trumpet George Lewis suggested Avery “Kid” Howard, but Russell was hesitant, as Bunk didn’t rate him very Jim Robinson Trombone highly; Russell kept looking for someone better, Lawrence Marrero and reluctantly agreed to use Howard when he Bass couldn’t get Herb Morand. Sidney Brown Sousaphone Kid Howard was a revelation — he was in Edgar Mosley Drums awesome form and led the band through a magnificent set of New Orleans standards, blues and ragtime numbers. He never played better in TRACK LISTING: his life and the music was a sensation from its first Climax Rag (MX-101,105,106) release, on the Climax label, a Blue Note subsidiary tromboneorganized toand circumvent the rhythm Union section rules. was The driven Lewis New Orleans Hula band was on fire — Jim Robinson played amazing Don’t Go ‘Way Nobody Lawrence Marrero. The sides were in print on powerfully by Chester Zardis, Edgar Mosley, and Two Jim Blues

Just A Closer Walk With Thee (MX-96,107,108) sessionBlue Note as throughout an early accession. the 50’s and 60’s, and many novice collectors (myself included) had the Climax Ain’t Gonna Give Nobody None Of This Jelly Roll (MX-109,110) Careless Love (M X-111,112) This set was produced from the original acetates cut in the Gypsy Tea Room and includes all of Dauphine Street Blues the issued and unissued masters, other than two Its good to have these sides back in print. For a Just A Little While To Stay Here (MX-114,115) discs given to the club for use on their jukebox. I recall a conversation with Lewis biographer Milneberg Joys (MX-117,118) Thomaslong time Bethell many inof whichthe sides he bemoanedwere unissued the fact — Fidgety Feet (MX-119,120) that there was an alternate take of Climax Rag and Deep Bayou Blues (MX-121,122) whole session is in print again in the best possible Whenever You’re Lonesome, Telephone Me Bill Russell didn’t even have a copy of it. Now the Running Time: 71:16 —sound. Paige Timeless VanVorst music.

GHB JAZZ FOUNDATION • 1206 DECATUR STREET, NEW ORLEANS, LA 70116 P: +1 (504) 525-5000 F: +1 (504) 525-1776 5 PEGGY LEE WORLD BROADCAST 1955 AUDIOPHILE ACD-354/355 2-CD PRICE: $25.00 MEMBERS: $20.00

have been released, scattershot, on all sorts of Since the 1980s, Lee’s World transcriptions

collections. This CD is the first complete set, someand it’s of fullwhich of pleasures. are pared-down For one versions thing, it of gives her lavishlya chance toarranged hear those Decca small-group recordings. club charts,Freed

of their sometimes fussy orchestrations, Lee stretches out as a jazz singer. “She was a natural TRACK LISTING: Compact Disc 1 musicianTRACK LISTING: with perfect Compact ears,” Discsays 2 Gene DiNovi, That Old Black Magic The Surrey With The Fringe On Top My Romance My Ideal Between The Devil And The Deep Blue Sea Oh What A Beautiful Morning Love Me Or Leave Me You Do Something To Me ‘Deed I Do I Never Knew Autumn In New York What Can I Say After I Say I’m Sorry? Just One Of Those Things What’s New Let’s Call It A Day Almost Like Being In Love Let There Be Love Fools Rush In Where Angels Fear To Tread Come Rain Or Come Shine Mean To Me I May Be Wrong (But I Think You’re Wonderful) My Future Just Passed I Feel A Song Comin’ On People Will Say We’re In Love You’re Mine, You It Ain’t Necessarily So I Gotta Right To Sing The Blues We Kiss In A Shadow Try A Little Tenderness Me Too Marvelous For Words Don’t Worry ‘Bout Me I Get A Kick Out Of You Button Up Your Overcoat What Is This Thing Called Love Somebody Loves Me It’s A Good Day Mountain Greenery I’ve Got It Bad And That Ain’t Good Speak Low (When You Speak Love) Ac-Cent-Tchu-Ate The Positive The Best Things In Life Are Free Sans Souci Hard Hearted Hannah (The Vamp Of Savannah) Them There Eyes Bye Bye Blackbird From This Moment On Taking A Chance On Love You

6 GHB JAZZ FOUNDATION • 1206 DECATUR STREET, NEW ORLEANS, LA 70116 P: +1 (504) 525-5000 F: +1 (504) 525-1776 her pianist at the time. “She never sang a note given it a furious Latin arrangement, with a rush out of tune or time.” of sexual aggression to match. Her allure seemed tough around the edges, wounded at the core, As for the ballads, Lee’s laser-beam focus and and full of dark shadows. “Peggy is not the girl ability to cast a spell are famously mesmerizing, you’d run into at a high school prom,” observed even when she has only a couple of minutes the deejay and columnist Eddie Gallaher. “Her to make her statement. Her husky-sweet, voice is more that of the girl in the smoke-filled infinitely expressive voice was an instrument of room at a truckline café or at a juke joint along seduction; from it she mined a wealth of texture a Texas highway.” In one magazine ad, Lee held and nuance. “People say my voice is thin or aloft a Chesterfield cigarette; another contained small, but I have a lot more voice than I ever use,” the quote: “My beer is Rheingold—the dry beer.” she explained. “I start with a small amount of volume, and sometimes I’ll sing softer and softer, originalThe World sixteen-inch transcriptions radio discs, circulated forgotten on thefor andThe thatformerly gives mehayseed a long Northway to Dakotago.” girl had decades.airwaves Now only they’re briefly, back, then properly languished remastered on their and more than worthy of a fresh hearing. given 1950s pop an infusion of sex—but not the — James Gavin (excerpts from liner notes) wilting, submissive kind. In 1952, Lee had taken the demure Rodgers & Hart waltz “Lover” and

Peggy Lee is pictured here at the Las Vegas opening of the 1955 Warner Brothers film Pete Kelly’s Blues, which featured Jack Webb (Dragnet), Leigh (“Psycho”), Lee Marvin (“The Dirty Dozen”), 50s pin-up star Jayne Mansfield, and legendary singers and Peggy Lee (“The Jazz Singer”), who was nominated for an Academy Award for her performance. Photo courtesy of Richard Morrison.

GHB JAZZ FOUNDATION • 1206 DECATUR STREET, NEW ORLEANS, LA 70116 P: +1 (504) 525-5000 F: +1 (504) 525-1776 7 RONNY WHYTE SHADES OF WHYTE

AUDIOPHILE ACD-353 PRICE: $15.98 MEMBERS: $13.00

performer, comfortable in the concert hall, dinner Ronny Whyte is of that rare breed: a seasoned

club, jazz room or cabaret. He doesn’t simply displaysplay and shadessing notes: of Whyte he understands in the aptly the titled lyrics CD and he tells the story. You believe him when he

and exclaims “The Song Is You” and “I Love the Way You Dance”. PERSONNEL: There’s heartfelt sincerity in his requests to Ronny Whyte Vocals, Piano, Arrangements “Linger Awhile” and “Love Me Tomorrow”, he Boots Maleson Bass no doubt means it in “I’ll Tell You What”. An imaginative arrangement of that ‘50s tale of a Sean Harkness Guitar young girl’s awakening may strike a nostalgic Lou Caputo Tenor Sax / Flute note in “Nina Never Knew”.

Mauricio De Souza Drums This collection is also seasoned with “A Little Alex Nguyen Trumpet Samba” and a trio of songs with a Bossa Nova beat. Some vintage , Blossom Dearie, David Silliman Drums Vernon Duke, Lerner & Lane and Schwartz & Dietz round out the program with style and heart. TRACK LISTING: —I am Elliot delighted Ames to add this bouquet to my collection. This Song Is You

Isn’t That The Thing To Do? It’s Time For Love The great American singer, pianist and Ronny Whyte is one of a handful of artists who Nina Never Knew are equally successful in all three. For years, he I Love The Way You Dance has been recognized as the perfect singer for the Great American Songbook, composing themes that Linger Awhile over time also become standards, while captivating Love Me Tomorrow the unique style and technique of playing as an experienced jazz pianist… I’ll Close My Eyes

I’ll Tell You What The new album by Ronny Whyte seems to confirm the thesis of a bouquet of good dry wine. “Shades Blame It On The Movies of Whyte” is a sophisticated jazz album not only Some Of My Best Friends Are The Blues for the 40+ year olds, but for all music lovers of ’s swagger style with Barry Manilow’s Medley: A Little Samba / So Danco Samba swagger style and light samba. For Heaven’s Sake - Robert Ratajczak I’m Old Fashioned Too Late Now

Dancing In The Dark

8 GHB JAZZ FOUNDATION • 1206 DECATUR STREET, NEW ORLEANS, LA 70116 P: +1 (504) 525-5000 F: +1 (504) 525-1776 JIM TURNER MAGIC FINGERS: A TRIBUTE TO JOHNNY GUARNIERI SOLO ART SACD-172 PRICE: $15.98 MEMBERS: $13.00

Jim Turner has been around a while, but has never appeared on any of our labels. He has been recording for thirty years, beginning as a youth extensivelyon Paul Affeld’s recorded Euphonic and label. broadcast He was with a member them. of the Jim Cullum Jazz band for many years and

He grew up in California and took advantage of andone ofJess its Stacy little-remembered worked nonstop attributes- in LA, while superb Joe lounge pianists. In the 1960s, Johnny Guarnieri PERSONNEL:

Sullivan was doing the same in San Francisco. Jim Turner Piano Don’t know why this was so, but it was good for Ron Hockett Clarinet Jim Turner; he got to listen to Johnny Guarnieri and became his protégé. technically accomplished jazz pianists of his era, Guarnieri (1917-85) was one of the most TRACK LISTING: Gliss Me Again and recorded with , and . Jim Turner learned well from The Turner Shout classics.his mentor, As a and pianist, delivers he comes seventeen across numbers in the same on Amigo Simpatico this set, including waltzes, rags, stomps and light Sandra Lion’svein as favorites, Willie “TheTake MeLion” Out Smith,to the Ball playing Game. some The Minute Waltz advanced stride piano, even including one of the He is Hangover joined for one number by clarinetist Ron Hockett, Dolce Tanina who worked with him in the Cullum band. Magic Fingers Rag in a long time, well recorded, well organized and itThis swings. is one of the best piano albums I’ve heard Nothin’ Reminiscences — Paige VanVorst The Jim Dandy Rag Peter’s Minuet The Pasadena Shout Fast and Furious Uno Take Me Out to the Ballgame The Dazzler Running Time: 61:15

GHB JAZZ FOUNDATION • 1206 DECATUR STREET, NEW ORLEANS, LA 70116 P: +1 (504) 525-5000 F: +1 (504) 525-1776 9 JUNIOR MANCE TRIO DEEP PROGRESSIVE PCD-7172 PRICE: $15.98 MEMBERS: $13.00

thePianist age of Junior 88, Mance Mance has long has had had his a own remarkably versatile style.productive While career. swing Stilland strideactive pianoas of this are writing his roots, at

he has always been flexible enough to sound very welcomedmuch at home by the in settingswho’s who ranging of jazz from for theblues past to to funky jazz. His soulful style has been

70 years and still sounds fresh and timeless, as PERSONNEL: one can hear on this formerly rare trio album from 1980. Junior Mance Piano He was born Julian Clifford Mance, Jr. on October Martin Rivera Bass family10, 1928 and in thatEvanston, became Illinois. his permanent Since his name, father even had Walter Bolden Drums the same name, he was simply called Junior by his

used now that he is in his eighties! year old pianist was in the middle of a rare slow TRACK LISTING: At the time of this album from June 1980, the 51- for an American record company had been for 9:20 Special period, at least on records. His last recording Georgia On My Mind apiece for the Japanese East Wind and Flying Disk Prestige back in 1973 and, other than a session Small Fry Deep was recorded in New York for a In The Evening labels in 1976 and ’77, he would not record again until 1982. I Want A Little Girl British label. It is obvious from the first notes of the rapid opener “9:20 Special” that Junior Mance Deep wasWhile far Martin from rusty. Rivera and Walter Bolden give Ease On Down The Road

Smokey Blues the pianist tastefulDeep and swinging support along Bonus Tracks: with taking occasional short solos, the main focus throughout is on Junior Mance. Deep, 9:20 Special (Alt-Take2) fewAs Junior have everMance been demonstrates on his level. throughout I Want A Little Girl (Alt-Take2) when it comes to combining soul with swing, very In The Evening (Alt-Take3) — (*excerpt from liner notes)

Running Time: 54:58

10 GHB JAZZ FOUNDATION • 1206 DECATUR STREET, NEW ORLEANS, LA 70116 P: +1 (504) 525-5000 F: +1 (504) 525-1776 DANNY STILES 5 IN TANDEM feat. BILL WATROUS PROGRESSIVE PCD-7175 PRICE: $15.98 MEMBERS: $13.00

Danny Stiles is an example – one of the very few – of a lead trumpet player blossoming forth as a jazz soloist. Featured with the Bill Watrous Combo on an earlier Famous Door release, “’Bone Straight Ahead,” Danny impressed fans and critics alike with his powerful playing. Since then, he has been co-leader of the Wildlife Refuge big memberband with of Watrous the Bobby (the Rosengarden band’s first albumbig band came at theout recentlyWaldorf onAstoria, Columbia), accompanying and he is an singers important like PERSONNEL: in demand for commercials and recordings. Peggy Lee and . Danny is also much Danny Stiles Trumpet, Flugel Horn Bill Watrous Trombone Previously, Danny played lead trumpet with the Derek Smith Piano famous , with Woody Bass startedHerman, at and the for age years of ten was in Evansville,contractor andIndiana, first trumpet player for the “Merv Griffin Show.” He Drums on a cornet given to him by his uncle. By the age of fifteen he was playing in the Evansville TRACK LISTING: Philharmonic Orchestra. swinging rhythm team of Rosengarden, Milt Dirty Dan Supported by his friend Bill Watrous and by a It Had To By You listeners with his playing on both ballads and Hinton, and Derek Smith, Danny will impress Blue Room instrumentals. Myrtle Lee Also listen carefully to the fine two-handed piano playing of Derek Smith, a young man who should The Skipper-Flipper Blues be recorded far more often; and to the fine bass bonus tracks: playing of Milt Hinton, who has been on every DannyFamous Stiles. Door album recorded in New York… this Dirty Dan (alt-tk1) is indeed an auspicious debut for jazz trumpeter In A Mellow Tone (alt-tk4) — Harry Lim from liner notes The Skipper-Flipper Blues (alt-tk2) (1974) * Running Time: 53:13

GHB JAZZ FOUNDATION • 1206 DECATUR STREET, NEW ORLEANS, LA 70116 P: +1 (504) 525-5000 F: +1 (504) 525-1776 11 GHB DIGITAL RELEASES SELECT TITLES NOT AVAILABLE ON COMPACT DISC AND ONLY AVAILABLE THROUGH ONLINE MUSIC STORES:

BCD-538-DR CCD-62-DR SCD-8-DR BCD-74-DR JCD-410-DR JCD- 411-DR JCD-412-DR BCD-206-DR ERSKINE PIANO JOE WATKINS ALLAN VACHE ALLAN VACHE BUTCH THOMPSON LILLIAN BOUTTE 1955-1957 BUTTERFIELD “DR. FEELGOOD” Last Will Jazz Moods High Speed Swing CHET ELY THOMAS L’ETIENNE Tuesday At Ten RED And Testament Mr. Jelly Rolls On A Fine Romance

JCD-387-DR Trevor Richards & Denise Gordon JCD-401-DR - Blue Notion JCD-402-DR Jim Cullum - Listen Some More JCD-403-DR Jim Cullum - Happy Landing JCD-405-DR - Atlanta Blues JCD-408-DR - It’s A Good Life ACD-345-DR Cassandra Wilson - Moonglow ACD-346-DR Ukulele Ike - Home On The Range ACD-349-DR Rebecca Kilgore w/ Hal Smith’s Rhythm Makers ACD-350-DR Rebecca Kilgore w/ Hal Smith’s California Swing Cats ACD-351-DR Rebecca Kilgore Sings the Music of ACD-352-DR Rebecca Kilgore w/ Lino Patruno All Stars BCD-102-DR Johnny Wiggs and his New Orleans Kings BCD-121-DR Armand Hug & His New Orleans Dixielanders BCD-519-DR Yerba Buena Stompers - Take Me To The Land Of Jazz BCD-540-DR Topsy Chapman - The Best Of CCD-175-DR Frankie Carle - Ivory Stride 1946-1947 PCD-7012-DR Trio - Time For The Dancers PCD-7021/23-DR Sadik Hakim - A Pearl For Errol / A Prayer For Liliane PCD-7025-DR Don Friedman - Jazz Dancing PCD-7027-DR Derek Smith Trio - The Jitterbug Waltz PCD-7032-DR Don Friedman - The Progressive PCD-7041-DR Derek Smith Trio - My Favorite Things PCD-7155-DR Bill Watrous - Roaring Back Into [Famous Door]

12 GHB JAZZ FOUNDATION • 1206 DECATUR STREET, NEW ORLEANS, LA 70116 P: +1 (504) 525-5000 F: +1 (504) 525-1776 BCD-538-DR CCD-62-DR SCD-8-DR BCD-74-DR JCD-410-DR JCD- 411-DR JCD-412-DR BCD-206-DR PETE FOUNTAIN ERSKINE PIANO JOE WATKINS ALLAN VACHE ALLAN VACHE BUTCH THOMPSON LILLIAN BOUTTE 1955-1957 BUTTERFIELD “DR. FEELGOOD” Last Will Jazz Moods High Speed Swing CHET ELY THOMAS L’ETIENNE Tuesday At Ten RED And Testament Mr. Jelly Rolls On A Fine Romance

PCD-7159-DR Danny Stiles Five - In Tandem Into The 80’s [Famous Door] PCD-7160-DR Bill Watrous - In Hollywood [Famous Door] PCD-7163-DR Brooks Kerr / Quartet - Prevue [Famous Door] PCD-7164-DR - Swings Some Standards [Famous Door] PCD-7165-DR Butch Miles - Hail To The Chief, A Salute to [FD] PCD-7166-DR Danny Stiles / Bill Watrous 5 - One More Time [Famous Door] PCD-7167-DR Ross Tompkins - L.A. After Dark [Famous Door] PCD-7168-DR Bill Perkins - The Other Bill [Famous Door] PCD-7169-DR Phil Wilson Sextet - Phil & Vic - NY Axis [Famous Door] PCD-7170-DR Ross Tompkins - Symphony [Famous Door] PCD-7171-DR - No Frills, Just Music [Famous Door] PCD-7173-DR Butch Miles - Butch Miles Salutes [Famous Door] PCD-7174-DR Butch Miles - More Miles More Standards [Famous Door]

JCD-409-DR PCD-7006-DR CCD-47-DR CCD-125-DR BOBBY GORDON RAY TURNER JOHN KIRBY JOHN KIRBY ft: JIM CULLUM JR. The Legendary ORCHESTRA ORCHESTRA Ray Turner Loch Lomond The Biggest Little w/ Hank Jones 1940-41 Band In The Land

GHB JAZZ FOUNDATION • 1206 DECATUR STREET, NEW ORLEANS, LA 70116 P: +1 (504) 525-5000 F: +1 (504) 525-1776 13 CITY HALL RECORDS Independent Record Distribution since 1973 CD titles now made available through GHB Jazz Foundation and Jazzology Records $15.98 (Non-Members) / $13.00 (Members)

RVW-3 RVW-5 RVW-6 JIM CULLUM JAZZ BAND JIM CULLUM JAZZ BAND JIM CULLUM JAZZ BAND BESSIE & THE BLUES HOT JAZZ FOR A COOL YULE RED HOT & BLUES

David Holt & Topsy Chapman , Carol Wood, Milt Hinton, Joe Williams, Savion Glover, Savion Glover, , Clark Terry, Linda Hopkins, Bob Wilber and Banu Gibson and Dick Hyman RIVERWALK LIVE Series Vol. 3 RIVERWALK LIVE Series Vol. 5 RIVERWALK LIVE Series Vol. 6

RVW-8 RVW-9 RVW-10 JIM CULLUM JAZZ BAND JIM CULLUM JAZZ BAND JIM CULLUM JAZZ BAND DEEP RIVER - THE SPIRIT OF CHASIN’ THE BLUES PORGY AND BESS LIVE GOSPEL MUSIC IN JAZZ Topsy Chapman & Duke Heitger Clark Terry, Nicholas Payton, Topsy Chapman and Nina Ferro “Exciting blues-driven perfor- Recorded Sept. 1992 at mances captured live on the The Landing jazz club for the “Compiled from national hit weekly public radio broadcast weekly public radio broadcast radio series Riverwalk, series “” series “Riverwalk Jazz” Live From The Landing”

14 GHB JAZZ FOUNDATION • 1206 DECATUR STREET, NEW ORLEANS, LA 70116 P: +1 (504) 525-5000 F: +1 (504) 525-1776 SPOTLIGHT ON RAGTIME CLASSICS

SACD-171 BCD-210 SACD-48/49 2-CD KRIS TOKARSKI NEW ORLEANS RAGTIME CLASSIC RAGS ORCHESTRA THE COMPLETE NEW ORLEANS STYLE

JCD-21 SACD-131 BCD-410 ’S DAVID THOMAS ROBERTS OPHELIA RAGTIME RAGTIMERS COMPLETE PIANO ORCHESTRA RAGTIME JUBILEE MUSIC - VOLUME ONE IN NEW ORLEANS

BACK IN STOCK COMPACT DISCS NOW AVAILABLE AGAIN

ACD-342 SCD-1007 JCD-321 DARYL SHERMAN SISTER ROSETTA THARPE EVAN CHRISTOPHER MISSISSIPPI BELLE LIVE IN 1960 The Hottest Clarinet… IN THE QUARTER THIS SIDE OF EVAN

GHB JAZZ FOUNDATION • 1206 DECATUR STREET, NEW ORLEANS, LA 70116 P: +1 (504) 525-5000 F: +1 (504) 525-1776 15 OVERSTOCK 12” VINYL LPs These are in like-new condition and are priced at $10 +S/H (single or double LPs) for members and non-members. Quantities are limited so order today.

Label Cat-ID Artist / Title Jazzology JCE-1003/4 Eddie Condon Town Hall Concerts - Volume 2 Jazzology JCE-1005/6 Eddie Condon Town Hall Concerts - Volume 3 Jazzology JCE-1013/14 Eddie Condon Town Hall Concerts - Volume 7 Jazzology J-74 - Makes A Sentimental Journey Jazzology J-90 and his Five Pennies Jazzology J-93 - The Gospel According To Art Hodes Jazzology J-128 Wild Bill Davison - Lady Of The Evening GHB GHB-95 Ernie Carson - Brother Lowdown GHB GHB-102 Johnny Wiggs GHB GHB-116 Dixieland From Famous Door: , , and George Girard GHB GHB-133 New Orleans Dixieland Express: , Joe Capraro, and Tony Almerico GHB GHB-136 Carol Leigh - You’ve Got To Give Me Some GHB GHB-187 Kid Sheik In England GHB GHB-206 Lillian Boutte - A Fine Romance GHB GHB-251 John Handy - Legendary Sessions Audiophile AP-86 Audiophile AP-107 Helen Humes Audiophile AP-112 - Hines Comes in Handy Audiophile AP-157 Sir Roland Hanna - This Must Be Love Circle CLP-57 Eddie Cleanhead Vinson - Kidney Stew Circle CLP-73 1944 Southland SLP-14 Tennesee Legends - Various Blues Artists Delmark DS-214 New Orleans Ragtime Orchestra - Grace & Beauty Delmark DS-215 George Brunis / / Art Hodes Friar’s Inn Revisited Delmark DS-218 Jim Beebe’s Chicago Jazz - Saturday Night Function Delmark DS-219 Jim Beebe’s Chicago Jazz - Cornet Chop Suey Delmark DS-221 Classic Jazz Ensemble - Classic Blues

16 GHB JAZZ FOUNDATION • 1206 DECATUR STREET, NEW ORLEANS, LA 70116 P: +1 (504) 525-5000 F: +1 (504) 525-1776 Label Cat-ID Artist / Title Jazzology JCE-1003/4 Eddie Condon Town Hall Concerts - Volume 2 Jazzology JCE-1005/6 Eddie Condon Town Hall Concerts - Volume 3 Jazzology JCE-1013/14 Eddie Condon Town Hall Concerts - Volume 7 Jazzology J-74 Bob Haggart - Makes A Sentimental Journey Jazzology J-90 Red Nichols and his Five Pennies Jazzology J-93 Art Hodes - The Gospel According To Art Hodes Jazzology J-128 Wild Bill Davison - Lady Of The Evening GHB GHB-95 Ernie Carson - Brother Lowdown GHB GHB-102 Johnny Wiggs GHB GHB-116 Dixieland From Famous Door: Sharkey Bonano, Santo Pecora, and George Girard GHB GHB-133 New Orleans Dixieland Express: Emile Christian, Joe Capraro, and Tony Almerico GHB GHB-136 Carol Leigh - You’ve Got To Give Me Some GHB GHB-187 Kid Sheik In England GHB GHB-206 Lillian Boutte - A Fine Romance GHB GHB-251 John Handy - Legendary London Sessions Audiophile AP-86 Barbara Lea Audiophile AP-107 Helen Humes Audiophile AP-112 Earl Hines - Hines Comes in Handy Audiophile AP-157 Sir Roland Hanna - This Must Be Love Circle CLP-57 Eddie Cleanhead Vinson - Kidney Stew Circle CLP-73 Sammy Price 1944 Southland SLP-14 Tennesee Legends - Various Blues Artists Delmark DS-214 New Orleans Ragtime Orchestra - Grace & Beauty Delmark DS-215 George Brunis / Barney Bigard / Art Hodes Friar’s Inn Revisited Delmark DS-218 Jim Beebe’s Chicago Jazz - Saturday Night Function Delmark DS-219 Jim Beebe’s Chicago Jazz - Cornet Chop Suey Delmark DS-221 Classic Jazz Ensemble - Classic Blues

GHB JAZZ FOUNDATION • 1206 DECATUR STREET, NEW ORLEANS, LA 70116 P: +1 (504) 525-5000 F: +1 (504) 525-1776 17 KEEPING SCOTT JOPLIN ALIVE by Paige VanVorst

Scott Joplin, King of the Ragtime , died in The opera took four years to write and another Manhattan State Hospital, AprilTreemonisha; 1, 1917. His he health was athree disaster years – until there a performance was no scenery, could the be mountedcast was failed a year earlier following his unsuccessfulMaple to attract backers. The 1915 performance was Leafattempt Rag to mount his opera, basically forgotten, despite the success of beunder-rehearsed, had, and Joplin and drifted Joplin into accompanied madness, theand show was next ten years.when it was published in 1899, and the hospitalizedin lieu of an orchestra. permanently There a year was later. no financing to large number of excellent rags he wrote over the Ragtime basically died with Joplin – at the time of

earlyBorn inprecocity 1868 in onTexarkana, the piano Arkansas – his mother to former did domesticslaves, he camework from and athe musical people family she andcleaned showed for ofhis ragtime, death, attention and were was the focusedheroes on on the jazz NY and scene. the let little Scott play their while his mother stride pianists. They played an updated version

Lottie Joplin lived until 1953, and continued Mapleto run dusted; he soon attracted the interest of the musical Leafher rooming Rag house. She would presumably have establishment in town,. He was given lessons and royalties from some of Joplin’s numbers – ultimately attended the George R. Smith College continued to be recorded occasionally, for Negroes in Sedalia MO. His father was dead with outstanding jazz versions from , set against a musical career but when his parents Earl Hines and Paul Mares during the 1930’s. asseparated well as playing his mother the piano prevailed. in dives He and traveled brothels. all interest in earlier forms of jazz, and some of the around the Midwest, performing in a vocal quartet During the 1940s the jazz revival saw a renewed

He wrote program songs prior to writing ragtime bands included rags in their repertoires, either by – waltzes, marches, etc., though without significant jazzthe whole critic and band historian or as a solo followed feature Shining for the pianist. success. withThis createdThey All interest Played inRagtime; rags and Rudi Blesh, a NY Maple Leaf Rag – the world was ready for ragtime Everything changed when John Stark published there was finally some serious research, fortunately when many of someand sheet material music comfort sales soared as well – the as thesong satisfaction ultimately Thethe pioneersEntertainer were still alive. The first attempts to spread throughout the world and brought Joplin fromplay band the original ragtime orchestrations, occurred then, as with well records as a set of by Bunk Johnson and Mutt Carey his work was respected. He continued to write reactedrags as well negatively as other to material, The “Rag-time though his Dance,” desire his to rags from a small band led by Tony Parenti. expand his music was thwarted when his publisher the honky-tonk pianists, who generally played old A Guest of Honor, Most ragtime performed in the fifties was done by wasfirst apparentlyextended work, lost asin didthe themail. market when it was Crazy Otto, Johnny Maddox and the like. It may ultimately published. An opera, tunes on tinny-sounding pianos – Joe Fingers Carr, occasionally threw in a rag or two, and Maddox was not have been serious music, but those pianists Joplin settled in New York about 1907 and became part of the music scene, which included many of behinda serious the student old silent of ragtime. comedies I personally when theydeveloped were Stokesthe artists and who they created opened African-American a theatrical boarding musical my taste for jazz listening to the music they played theater as well as early jazz.th He married Lottie shown There was on TV more in the1950’s.and more ragtime available by the house, initially at 252 W. 47 St., later at 163 W. while131st ScottSt. after worked the onAfrican-American his folk opera, Treemonisha. population migrated to . Lottie took care of business 1960s – Max Morath became a fixture on television and radio, mounting entire shows based on turn- He continued to write rags, though his relationship of-the-century music, and he recorded successfully with John Stark ended after a 1907 disagreement. for a number of labels. John W. “Knocky” Parker, 18 GHB JAZZ FOUNDATION • 1206 DECATUR STREET, NEW ORLEANS,originally LA 70116 a Western P: +1 (504) Swing525-5000 pianist, F: +1 (504) made 525-1776 the first cream wagons in my neighborhood still play it ragtimerecording societies of all of Joplin’s were formed, rags, as welland asthere a number were of rags composed by his contemporaries. Various every summer. marker on his grave, Chicago named an elementary serious collectors of sheet music, piano rolls, Scott Joplin finally made it – ASCAP put a bronze theand Newragtime Orleans ephemera. Ragtime The Orchestra first modern recorded band a of his homes. To cap everything, he was awarded a recording of Joplin’s rags appeared in 1969, when school after him, and St. LouisTreemonisha began renovating; everything one he wanted when he was alive came to him sixty number of orchestrations that had been donated yearsPulitzer later. prize in 1976 for to the William Ransom Hogan Jazz Archive. The Joplin craze faded a little in the intervening recordingsIn the 1970’s by Scottthe New Joplin England could doConservatory no wrong. RagtimeInterest Ensemblein his orchestrations for a major label. continued In the earlywith years, though ragtime continues to be performed The Collected Works of Scott and recorded regularly. At GHB we recently issued Joplin.1970s, the New York Public Library published a Orchestraan excellent is stillCD of active Joplin in numbers New Orleans, by Kris performing Tokarski two-volume set of (Solo Art SACD-171). The New Orleans Ragtime Joshua Rifkin recorded three LPs of Joplin rags in an almost-classical style for the Nonesuch at festivals and jazz clubs – their recordings on label; these wereTreemonisha very popular, was as performed evidenced for by the Delmark, Arhoolie and GHB Records are still ease with which you can find them in flea markets in print – as well as most of the Knocky Parker today. In 1972, Audiophile and Solo Art albums which were the severalfirst time of in Joplin’s Atlanta, rags and for it madethe score it to Broadwayof The Sting, in *Picturedgold standard below of ragtime is a 1994 recordings mural of in Scott the 1960s. Joplin 1975. In the meantime, Marvin Hamlisch adapted playing the piano, which is located on the north The Entertainer – the ice side of 205 South Ohio in Sedalia, Missouri. one of the big movies of 1974; for a while you It was painted by Stanley James Herd couldn’t get away from

GHB JAZZ FOUNDATION • 1206 DECATUR STREET, NEW ORLEANS, LA 70116 P: +1 (504) 525-5000 F: +1 (504) 525-1776 19 PARAMOUNT RECORDS AT ONE HUNDRED by Paige VanVorst

aThe venerable first Paramount record corporation. came off the They press started June J. Mayo “Ink” Williams approached Paramount 29, 1917, a new venture for the Wisconsin Chair Co., about a sales job and was hired to head the athlete,Chicago oneoperation. of three Williams African-American was a colorful players figure in small, with a handful of employees, but wound – a graduate of Brown University, he was star up as a second-tier power in the record industry, byand German a pioneer immigrants. in blues recording, an odd turn for the , and later spent time a firm from a small Wisconsin town settled largely as a college coach. He rented an office with a piano pianiston the South and Sidecomposer, of Chicago, and and soon began had auditioning a team of talent. He connected with Thomas Dorsey, a rising forThe firmthe phonographsmanufactured chairsThomas and Edisonfound a newwas calling when they were hired to build cabinets accompanists for his artists including Jimmy Blythe, and sold one of its cabinet factories to , Richard M. Jones, and Clarence Jones; Edison,producing. then The asked chair for company his help later when began they buildingdecided most of these backed vaudeville artists in South Side theaters. Williams learned all the angles of the music business, and found ways to a line of records would stimulate sales. cut himself in on most of the action – he handled the copyrights and publishing and did most of his No one in Port Washington WI knew anything about business from his own office to keep out of the way recording or pressing records, but they were eager of Paramount’s people and the Union. fromto learn. masters Their leased first records from other were companies. generic music They – incorporatedIrish tenors, military the New bands, York Recordingbanjo virtuosos, Laboratories usually Paramount soon had an enviable blues catalog – early stars included , , , Trixie Smith, and others were soon signed up right(NYRL), away, and as established it was also leaseda recording to other studio companies. at 1140 by Williams and recorded. Paramount never had Broadway in Manhattan. The studio became busy Laboratories,a recording studio operated in Chicago by visionary – they recordinggenerally engineerused two Orlandostudios on Marsh, Wabash who Avenue, may have the Marshmade The original issues were on the Puritan label, and soon Paramount appeared, followed by a plethora of other marques. In addition, Paramount leased electronic recordings as early as 1922, and the its masters to other labels, usually private-label Rodeheaver Studio, owned by trombone evangelist records for chain stores, under a wide range of Homer Rodeheaver; they also sent groups to record pseudonyms. Ben Selvin, a music-industry pioneer, at the Gennett studio in Richmond IN. was head of the NYRL in the early 1920s, and Ed Kirkeby, who was all over the record business, The push into the blues market was well timed. At brought in a lot of groups. the time there was strong migration from the South Crazy Blues, to Northern cities. The Chicago Defender published There was a revolution in the recording industry articles encouraging southerners to migrate to in 1920 – Mamie Smith recorded Chicago, and Pullman porters distributed the the first blues record, for Okeh, and sold 75,000 papers on their stopovers in the South, generally copies in the first month. This led to a torrent of at great peril, as the papers were luring cheap blues records – dozens of young women trooped labor from Southern farms to Chicago’s stockyards into the studios to audition, and several achieved and Detroit’s auto factories. The new migrants ansudden African-American-owned success. Paramount, labelhaving from sold New 400,000 York, craved things from back home, and Paramount sold leasedcustom several pressed more records sides in from a year the for label, Black and Swan, then records of the music they’d heard in tent shows and Southern vaudeville houses.

decided to enter the blues business full force. They African-AmericanParamount advertised newspapers. extensively Their in theadvertising Chicago used outside studios in Chicago and finally opened Defender, the Pittsburgh Courier and other 20an officeGHB JAZZthere. FOUNDATION • 1206 DECATUR STREET, NEW ORLEANS, LA 70116 P: +1 (504) 525-5000 F: +1 (504) 525-1776 releases, generally garish cartoons depicting the themedepartment of each turned new release,out weekly often ads with covering photographs the new always had a reputation for poor sound quality due, Defender staffer, later known apparently, to its cutting corners in its ingredients – most records of the era were about 30% shellac by Dan Burley, then a – Paramount’s were only 20% shellac, resulting in as a blues pianist. Selling Paramount records was poorer-soundingThe company rolled surfaces. past the stock market crash franchiseharder than agreements producing withthem. most The largerrecord firms stores, in whichthe record made business it hard –for Victor smaller and labelsColumbia to gain – had a but things gradually fell apart – by early 1932 the plant was running at 20% capacity, pressing 5000 toehold. Art Satherley, one of the firm’s managers, records a day. The recording studio closed in July hit the road selling them at county fairs. They finally Ward;1932 and when the theirplant contract continued went another to RCA year, Victor largely in offered franchises to anyone – you could buy ten working on a custom pressing job for Montgomery records for $4.50 plus postage and sell them to end of the year, and laid everyone off following a your friends, an antecedent of methods refined by Christmas1933, the end party. was The near. Wisconsin Paramount Chair made Company it to the Amway and Avon; anything above your cost would be profit. Many small retailers, grocery stores and variety stores, became Paramount dealers, and the continued in business until 1953, producing a line staff back in Port Washington worked night and of furniture for schools and fancy chairs for hotels day filling orders. and restaurants.

As the Paramount catalogue evolved, more jazz Paramount was gone but not forgotten – John Serenadersartists were made added. a Kingseries Oliver’s of excellent Creole sides Jazz tookSteiner, the a train to Chicago born while Chemistry he was Professor,in college Band recorded four sides; Lovie Austin’s Blues was one of the pioneer jazz record collectors. He lesser-knownfeaturing trumpeter Chicago Tommy bands Ladnier, were recorded Jimmie as Noone well. and hit all the jazz clubs downtown and on the made his first recordings with Ollie Powers, and South Side. He was aware of Paramount and visited Port Washington to see what was left of the firm. BlindOn the Blake blues and side, Blind there Lemon was a trendJefferson away were from very the He acquired the remains of Paramount in 1948. He vaudeville blues singers toward solo guitarists; revived the label at that time, with some reissues of older material and a few 78s and LPs of newly- successful. Paramount also recorded blues pianists recorded material. His purchase included the and novelty acts like the Hokum Boys. Almost all trademarks and rights to all of the Paramount the famous blues singers of the twenties recorded masters, but no masters, as they were all discarded for Paramount other than , who was when Paramount closed. under contract to Columbia. Steiner began leasing Paramount material for Ink Williams left Paramount for Brunswick-Vocalion Rainey,reissues Tommy in the 1950sLadnier, – RiversideJohnny Dodds, issued Ida a Cox,number and in 1928 and was succeeded by his assistant, Aletha of ten and twelve-inch LPs, including sides by Ma Dickenson. She was a skilled and prepared many arrangements and much of the paperwork ; during the 60’s and 70’s used to file copyrights. She found it hard to move he leased a large number of LPs to Milestone and up to artist management – by this time artists were Biograph. His own Paramount label closed prior more often from the Deep South and lacked the to the introduction of 12” LPs – oddly enough, he urbane manners of the Chicago artists. sold the Paramount name to Paramount Studios. The studio started a Paramount label in the late madeThe Chicago a long operation delayed wasinvestment eventually in transferred electrical Steiner1950s – Ifor recall copyright seeing an infringement Annette Funicello when record they to a newly-built studio in Grafton, WI. The company on the label, called ABC-Paramount – and sued recording equipment; the New York studio was saw one of his LPs. He went to court armed with ofobsolete artists and drove closed from in 1929; Mississippi the Chicago or Arkansas, operation the paperwork he bought in Port Washington, had always contracted with outside studios. Groups trademarkand proved from his Steiner Paramount for more label than was he’d founded paid for long before Paramount Studios. They bought the recorded in Grafton, and Paramount put them up rights to all of the recordings and the remainder for the night at a small hotel near the studio. The the entire Paramount label, and he still owned the new studio was an improvement but Paramount GHB JAZZ FOUNDATION • 1206 DECATUR STREET, NEW ORLEANS, LA 70116 P: +1 (504) 525-5000 F: +1 (504) 525-1776 21 of the trademarks.

the published discographies.

The Paramount label was sold to the George H. Alex Van der Tuuk, of the Netherlands, started Buck Jazz Foundation in 1975, and Steiner joined researching Paramount in the 1980s, and gradually the board of the Foundation along with a number felt there was a story there. He traveledParamount’s to the US of jazz performers and critics. The Foundation Riseseveral and times Fall to interview surviving Paramount revived the Black Swan label and issued twenty employees and staff. He Thepublished Paramount Book of CDs drawn from Paramount material. Recently, the the Blues, (Mainspring Press, 1973) and just foundation acquired the last remaining Paramount issued a second volume, stampers, which were returned to Steiner by Decca a 400-page tome with short biographies in the late 1940s – they’d been leased at the time of most of the bluesNew artists York Recording who recorded Laboratory for of Paramount’s demise. They represent the best MasterParamount. List, aIn take-by-take addition, Agram list of Records all of the released records chance for some high-quality reissues, though five volumes of the there are only about forty of them. made by Paramount or its affiliates, organized by Paramount was a source of irritation to early record master number and grouped by recording site sidescollectors were – recorded, their surfaces and they were waited gritty far and too sound long – Paramount recorded in Chicago, Grafton, New toquality adopt varied electrical widely recording. depending Nevertheless, on where the York and Richmond IN during its brief existence.

Paramount has returned to the local consciousness label covered the blues scene in the Midwest and ofin FamePort Washingtondesigned to look– they’ve like a embracedpiano keyboard, their South with tremendous energy – their scouts found withhistory the in names the race of record most ofindustry the major and haveartists a Walk who a number of important artists, and key figures like Charley Patton would have been missed completely without Paramount. stoodrecorded and locally. see the Visitorshotel where to Port Ma WashingtonRainey slept. can It’s nicesee where the company the various is still buildings well-remembered used by Paramount at the Record collector John Tefteller (Blues Images) has time of its centennial. issued a Paramount calendar for the last fourteen raritiesyears – asit’s well illustrated as the birthdaysprofusely ofwith most original major Paramount ads and includes a CD of selected *The GHB Jazz Foundation is currently finishing jazz and blues artists. production on a collection of on Paramount and the Complete Recordings of Chris HillmanParamount and his team Piano have andproduced Paramount several Ma Rainey – scheduled releases to be announced. Serenadersdiscographical studies of Paramount blues records, including , which discuss numerous Paramount recording sessions, filling in many of the blanks in

22 GHB JAZZ FOUNDATION • 1206 DECATUR STREET, NEW ORLEANS, LA 70116 P: +1 (504) 525-5000 F: +1 (504) 525-1776 ONE HUNDRED YEARS OF RECORDED JAZZ by Paige VanVorst

necessary, and was good at spotting promising

2017 is a year of jazz centennials – not that there haven’t been a lot of them already, but this one is youngsters and bringing them along. He’d even important – jazz records have been around one send out some of the younger men with plugs in hundred years. The Original Dixieland Jazz Band Trombonisttheir horns, soTom he Brown, could collect an important a fee for early providing Laine (ODJB), an aptly-named group if everLivery there Stable was sideman,them while had not a suffering chance to from take their a band incompetence. to Chicago Bluesone, recorded and Dixie for Jazz Victor, Band Columbia,One-Step and Aeolian in 1917 – the Victor recording of was just what in 1915 – the Union disparaged them (probably therethe country was extended needed into – sales 1919. were enormous and because they were from out of town) and called crowds thronged to Reisenweber’s, and their run their music “jass,” implying that it belonged in whorehouses, jass being an obscure term for copulation. Brown shrugged off the insult and The ODJB was probably not the first jazz band to billed his group as Brown’s Dixieland Jass Band. record – Freddie Keppard’s Original Creole Jazz Band may have cut an audition recording earlier, There were several switches of musicians between but they were reportedly unable to agree on a Brown’s outfit and the musicians remaining in contract. A case can be made for ’s Society LaRocca,New Orleans which until was there imported were fromtwo discrete New Orleans groups in fromOrchestra, arrangements an African-American and was basically group orchestrated recorded by in Chicago, Brown’s group and one led by Nick ragtimeVictor as designedearly as 1913, to accompany but their music famed was dancing played 1916 for a job at the Booster Club. Brown went on a vaudeville tour with his band and when he returned instructors Vernon and Irene Castle. alongthe group to LaRocca, disbanded, and justthe Dixie as he Jazz received Band anopened offer for a job in New York. He passed the invitation The ODJB was the exact opposite of Europe’s Society Orchestra – they were raw and unprincipled at the Paradise Club in the Reisenweber building. and werereveled able in to it. keep Their their sudden name rise in the to headlines,fame was No one knew quite what to expect and the boys clearly well-orchestrated – they had good publicists Nickhad fun LaRocca, – they cornet; were used Larry to Shields, the vaudeville clarinet; stage,Eddie New Orleans standards (at least of the Dixieland and put on a good show – the band comprised and they came up with hit after hit – most of the copyrighted most of them despite having borrowed Edwards, trombone; , piano; and Tony avariety) lot of common-property were recorded first New by Orleans them, themes. and they In Spargo,They started drums. drawing crowds and were soon hired

Fidgety Feet, Tiger Rag, Ostrich Walk, At the Jazz Bandaddition Ball, to Bluin’ their theinitial Blues, coupling, Clarinet they Marmalade, recorded itto wasrecord an – overnightfirst for Columbia, sensation then – forLivery Victor Stable and , even Margie and Singin’ the Blues. BluesAeolian. backed When with their Dixie first Jazz Victor Band record One-Step came soldout, more than a million copies and landed the band All jazz in New Orleans stems from two pioneers band back in Chicago, discovered LaRocca had copyrightedin court. Alcide Livery Nunez, Stable clarinetist Blues as Barnyardwith LaRocca’s Blues, – for African-American musicians, Buddy Bolden, Livery and for white musicians, Papa Jack Laine, both of Stable Blues. contractorwhom were withactive a around large percentage the turn of the of Twentieththe white and proceeded to copyright the same tune as Century. Laine, a drummer, was a leader and band They wound up in court and the boys enjoyed the ensuing publicity, even thoughThat the band market under his control. He provided bands Teasin’judge found Rag, notedno merit similarities in the compositions with the One-Step or in for nightclubs, picnics, advertising jobs, parades, their suit. Next, the publishers of Joe Jordan’s and any other function. He had a large number The Original Dixieland Jazz Band One of musicians under his management and could and got an injunction. They settled and the record put togetherGHB JAZZ FOUNDATIONseveral groups • 1206 atDECATUR the same STREET, time, NEW if ORLEANS, was LAissued 70116 as P: +1 (504) 525-5000 F: +1 (504) 525-1776 23 Step, Introducing That Teasin’ Rag.

After a year at Reisenwebers’ the band took an musicians coming along in the late 1930s played engagement in London – there were some changes them because they were fun – ’s Bob Cats kept some of them alive, Robinson while Emile Christian replaced the withbrought the some ODJB’s more repertoire. along, and One Eddie of Condon’sthe best drafted– Henry EddieRagas Edwardsdied and onwas trombone. replaced byThe J. RussellBritish explorationsgroups included of their many book musicians was a 1943 conversant session for

latest release - see pg 4 for more information). Britishdidn’t know bands what were to direct expect imitations of the band, of the but ODJB. they EddieWorld Edwards,Transcriptions Frank (GHB Signorelli Records and BCD-100 Tony Spargo - our Theyintroduced also recorded jazz to aEngland series of – recordsmost of for the British early were there, abetted by Wild Bill Davison on cornet labels. and Brad Gowans on clarinet, two of the brightest players in Chicago style jazz. Davison played ODJB

Fidgety The band returned to the US in 1921 and took up a jobs. By this time they had scores of imitators – Feettunes with from references his earliest to days, Reiseweber’s and in later – I yearsthink he therelentless Original series Memphis of vaudeville Five, the tours Original and nightclub Indiana used to love introducing old numbers like

like the way the name rolled off his tongue, and he Five, Jimmy Durante’s band at Coney Island, and probably thought people were silly to even care personnelsimilar groups began all overto change the US – –Larry Shields got that there was such a place. was certainly influenced by their records. The Davison was just hitting his stride at this time – he tired of all the high living, touring and corny music Gowanshit New York was full active force all a fewover years Greenwich earlier and Village wound in and left in late 1921. LaRocca held on until 1925, thoseup leading days, the both band as aat clarinetist Nick’s almost and instantly. trombonist, Brad a when he had a complete nervous breakdown and was advised by doctors to give up music for he Spargosake of hiseach health. had a He band returned called theto New ODJB Orleans – LaRocca and rare doubling combination; unfortunately he died settledbecame the a home matter builder; by selling Eddie the Edwards name to and Spargo, Tony lengthrelatively with young, another and spentgreat hisWorld last Transcription days working small jobs in California. The CD is brought to full Marsala, one of the players who kept Chicago jazz butOne the of bandthe earliest was gone manifestations within a year. of the New session under the leadership of clarinetist Joe Orleans Revival was the reappearance of the alive during the 1940’s and ‘50’s – he also has a cameo appearance in The Big Broadcast of 1937 good band, with Billy Butterfield on trumpet and ODJB in 1936. LaRocca was asked to make a – Condon,Lou McGarity Bob Casey on trombone and George – the Wettling. rhythm section reassembled the original band – they appeared on was unusually star-studded, with Dick Cary, Eddie he turned it down but sensed a comeback – he The ODJB were splendidly memorialized by

Ed Wynn’s radio program, made a “March of Time” bignewsreel, band. went There on was a vaudeville more dissension tour, and thisrecorded time Wild Bill and company and their tunes remained again for Victor, with both the small group and a moststandards jazz fans of the – the Dixieland recordings jazz wererepertoire, primitive though and the ODJB’s records were considered tough going by around – the old band was a cooperative, while this time LaRocca was the leader; after about two years the band sounded that way, probably because they he returned to New Orleans and the contracting were trying to be outrageous.th On Anniversary) the whole, theythat business. He never returned to music,The Story though of the he waswere an not improvement largely reissued, over mostthough prior RCA sets. Victor A band put Originalspent a lot Dixieland of time arguing Jazz Band that ( he had invented jazz out a CD in 1992 (for their 75 to the exclusion of everyone else. and barely mentions any of the(H. African-American O. Brunn, 1960) whatfrom Seattlethey said actually were the transcribed same recordings a whole thealbum ODJB of contends there was no jazz in New Orleans in 1908 hadODJB done, tunes only in 1957 in stereo. for ABC-Paramount, providing

and Creole bands that abounded during the early Twentieth Century. Nick LaRocca lived until 1961, though he never The band remained in the minds of many musicians took up music again – he returned to the home during the early years of the New Orleans Revival building business and retired in 1958. In retirement 24– theirGHB songs JAZZ FOUNDATIONwere fun, easy • 1206 to DECATUR play, and STREET, hot –NEW and ORLEANS, LA 70116 P: +1 (504) 525-5000 F: +1 (504) 525-1776 An early promotional photo of the ODJB. Photo courtesy of the Hogan Jazz Archive, Tulane University. he spent time working on the ODJB book and writing letters to -Picayune correcting growing up, but they work. He and are considered to have composed most of the numbers, recordedtheir theories a tape about restating the hisorigins most ofcherished jazz, much belief, as though the band was a cooperative and they all had done in the 1930’s. He even shared credit for all of their numbers. that he alone had invented jazz. He was also invited toThis remember new CD therelease ODJB features on the centennialsome of the of ODJBtheir to the Southland studio to record a message to his original members and their music and we’re proud infans one endorsing way or another. one of Joe Mares’ albums, most of which featured players in stylistic debt to LaRocca introduction of recorded jazz into American culture. ODJB ‘43 LaRocca probably did his reputation some J. MARSALA ‘44 permanent harm with his stridency – by the 1960’s - most people understood jazz wasn’t the work of GHB BCD 100 any one person but the outgrowth of the unique PRICE: $15.98 cultural mileu of New Orleans at the turn of the MEMBERS: $13.00 bytwentieth reference century; to any hisjazz statement text other that than “there his book. was Theno jazz ODJB in wereNew Orleanspioneers in in 1908” every sensecan be of disproven the word

ODJB repertoire may have been cobbled together fromand he themes was good that at were putting in the tunes air togetherwhen he – was the

GHB JAZZ FOUNDATION • 1206 DECATUR STREET, NEW ORLEANS, LA 70116 P: +1 (504) 525-5000 F: +1 (504) 525-1776 25 STORYVILLE (1897-1917) by Paige VanVorst

it marked the end of the city’s grand experiment from reformers, especially after the train depot 1917 was a momentous year for New Orleans, as forcibly closed – was under repeated pressure Alderman Sidney Story, the city fathers decreed with legalized sin. In an ordinance introduced by was built right next to the District.

that prostitution would be legal within a district The start of World War I spelled trouble for the Story’scomprising chagrin, 38 square the district blocks was bounded soon nicknamed by Basin, District. Early in the War four servicemen were Robertson, Iberville, and St. Louis streets. To Newtonkilled in the Baker District, and which Secretary caught Washington’sof the Navy attention. In August 1917 Secretary of War Storyville, and the name stuck. Josephus Daniels issued an order banning open The District soon developed into a substantial prostitution within five miles of any military business enterprise. Several of the madams built tobase. the Adecree. representative The Mayor toured of New the Orleans area wentAugust to imposing mansions to house their businesses, 27-31 and he declared the District was subject while at the same time there were hundreds of women operating out of one-room “cribs” which Washington to fight the order but no one would they rented for $3.50 a night. The District also listen to him. The final word came September 24 acquired a number of dance halls, many of which passedfrom Secretary an ordinance Daniels: October “You 9close to take the effectDistrict at entertainmentemployed early wasjazz greats,wide-open including and things , went or the armed forces will.” The City Council Papa Celestin, Louis Armstrong and others. The midnight, November 12. Inon addition24 hours to a day.the jazz bands, many of the more evaporated before their eyes. Some of them were The madams had few choices – their businesses pianists, and many of the great New Orleans refined houses employed string bands or solo able to ship their furnishings elsewhere, but a Roll Morton, Tony Jackson, Fess Manetta, Steve lot of valuables went for almost nothing. There Lewis,pianists Clarence worked in Williams the houses, and including others. JellyThe were even rumors the women would burn down their houses and collect the insurance, so the additionalinsurance companiespolice were cancelled assigned allin caseof the of policies rioting pianists operated in their own milieu – they October 15. By November 12 things were quiet – whowould patronized vie for the their positions establishments. in the best houses, and they would be well rewarded by the men but nothing happened. elsewhere in the city. Instead of a centralized district,The women there for were the mostwomen part working disbursed all The District even had its ownThe publications, Blue Book over town, and what had been peaceable much like the nightlife magazines one could get at hotels until fairly recently – was a guide for the sex tourists of the era, with neighborhoods were infiltrated by sin. From Theredescriptions was even of the a gossip wonders sheet, of athe newsletter larger houses with a musical standpoint, there was certainly less theand latestdescriptions dirt in theof the District exotic – beauties who was to moving, be had. work – the dancehall business dropped after a spectacular shootout between two dancehall owners in 1913 resulted in their deaths and which houses were being renovated, etc. closure of their establishments. The “professors” by its demise – at the time of closing there who worked the big houses probably had trouble To some extent the District had run its course replacing their jobs as no one would build an elaborate house of ill repute with the strong were only sixteen houses worthy of the name, Rolllikelihood Morton of andrunning Tony afoulJackson of thewere law. long Most gone of and 71 girls operating out of cribs. Lulu White the subsequent prostitution was low-key. Jelly employed thirty girls in 1900 – by 1917 she had only three full-timers. It is not clear what by 1917; Steve Lewis worked locally in lounges 26wouldGHB have JAZZ happened FOUNDATION if • the 1206 District DECATUR hadn’tSTREET, NEWbeen ORLEANS, until LA he 70116 lost P:his +1 mind (504) 525-5000 in the 1940s; F: +1 (504) Fess 525-1776 Manetta returned to Algiers and spent the rest of his life Frank Early’s Place, which is now a grocery. giving music lessons in a small studio attached Storyville was the first successful attempt to to his house. regulate prostitution. It would be interesting to andspeculate the City about of New what Orleans. would have happened if toThe develop palatial some houses other stood, sort basicallyof entertainment unused, the Navy hadn’t pulled rank on Mayor Behrman for about thirty years. There were attempts By the way, there were two good representations district but nothing came of it. The city finally in the movies – New Orleans tore down most of the remaining houses, (both largely fictional) of the closure Prettyof Storyville Baby which were the most ostentatious houses in ( (1947) with Louis New Orleans, to make way for a public housing Armstrong and and project built in the 1940s. At present there are 1978) with Brook Shields, Susan Sarandon and only three buildings still standing from the old many of New Orleans best musicians.photo by E. J. Bellocq days – Lulu White’s Saloon, Joe Victor’s bar, and

GHB JAZZ FOUNDATION • 1206 DECATUR STREET, NEW ORLEANS, LA 70116 P: +1 (504) 525-5000 F: +1 (504) 525-1776 27 MARLENE VERPLANCK IS BUSIER THAN EVER by Paige VanVorst

Marlene VerPlanck, ’ most valuable player, is busier than ever – there aren’t that many clubs featuring music from the Great American Songbook, but she seems to be working at most of them. In addition she recently finished –her this annual year shetour made of Great nineteen Britain appearances – she has a regular over a working group over there and tours every Spring

roommonth. – Jazzwere Journal’s ecstatic, reviews as were of the her reviews performance of her mostat Ronnie recent Scott’s release – – London’s The Mood most I’m In famous jazz

(Audiophile reviewACD-348), was whichespecially received noteworthy five star as hers ratings was from both DownBeat and Jazz Journal. The DB

shethe hasonly an vocal excellent set included website www.oopapada.com,in their Best of 2016 compilation. If you want to follow Marlene’s career many of the accolades she’s received. Marlene which features her schedule and information on

dozenshas recorded of songs twenty-four seldom performed CDs for Audiophile,these days; and each one is unique, with varied backings and

she’s an expert tunesleuth and has a knack for finding wonderful songs that haven’t been done. Photo by John Meixner JAZZOLOGY ARTISTS: SPOTLIGHT ON JAZZ VOCALISTS - SELECTED TITLES:

ACD-348 ACD-195 BCD-240 MARLENE VERPLANCK THE MOOD I’M IN SOPHISTICATED LADY WHAT ARE YOU GONNA DO WHEN THERE AIN’T NO JAZZ

28 GHB JAZZ FOUNDATION • 1206 DECATUR STREET, NEW ORLEANS, LA 70116 P: +1 (504) 525-5000 F: +1 (504) 525-1776 BARBARA DANE AT 90 by Paige VanVorst

We’re glad to recognize one of our longtime involvedartists, Barbara in San Francisco’s Dane, on her traditional 90th birthday. jazz scene She was born in Detroit May 12, 1927 and became folk singer – she shared stages at protest rallies in the mid-50’s after spending several years as a with , Woody Guthrie and . She moved gradually into the jazz scene earlier– her first backed paid byjazz George gig was Lewis with and Turk some Murphy of Dick in 1958 – she’d recorded her first jazz sides a year

Oxtot’s Polecats. She gradually formed her own group and worked around San Francisco – she hired New Orleans legend as her bassist. She produced two albums at that time – one featured and , the other featured Earl Hines. and appeared at the Newport She also worked out of town – she toured with

Folk Festival with a lineup of blues all-stars. She opened her own nightclub, Sugar Hill: Home of Tampathe Blues, Red, and T-Bone booked Walker, a large Mama number Yancey, of Lonnie stars, including Sonny Terry & Brownie McGhee, Photo by Steve Kahn Johnson, and Jimmy Rushing.

During he 1960’s she became interested again in Thompson, Scott Black, Sven Stahlberg, and Les protest music. She recorded for Fantasy in 1964 and from the Bay Area, with Butch proposedwith atomic andpower an plantall-star on Santop ofFrancisco the San group. The session was organized to protest a byMuscutt Trixie representing Smith, Bessie New Smith, Orleans. Fats Waller, She sang and a others.delightful selection of standards made famous Andreas Fault. The album was a success – the plant was never built. In 1967, she was the first US singer to tour post-revolutionary Cuba – Fidel The album was expanded to CD length with an Castro attended the concert and had a three-hour Caparone, and Clint Baker in place of Thompson, add-on session in 2000 with Ray Skjelbred, Mark conversation with Ms. Dane. She continues her close ties with Cuba to this day – her son is in a Black, Stahlberg and Muscutt. BCD-240 remains in popular musical group in Havana and married print and Dane is one of our best modern singers to one of Cuba’s most celebrated stage actresses. website – www.barbaradane.net; she has most of hertraditional recordings blues. available Take a onmoment CD. to visit her theyDuring were the donated late 60’s to theshe Smithsonian recorded fifty and albums remain documenting protests from all over the world – Barbara will be performing for her 90th Birthday available. Slightly later she toured extensively Commemoration Concert at the UCLA Royce Hall, in support of GI resistance to the Vietnam War. Saturday, October 21, 2017 with her trio, which features Tammy Hall (p), Ruth Davies (b) and backedShe recorded by an an interesting LP for GHB Sanin 1988 Francisco-New – “What Are You Going to Do When There Ain’t No Jazz?” Daria Johnson (dr) in addition to special guests: The Chambers Brothers, her son Pablo Menendez OrleansGHB hybrid JAZZ FOUNDATION group – Bob • 1206 Mielke, DECATUR Dick STREET, Hadlock NEW ORLEANS, (g,v) LA and 70116 grandson P: +1 (504) Osamu 525-5000 Menendez F: +1 (504) 525-1776 (g). 29 JAZZBEAT BOOKSHELF RECENT PUBLICATIONS by Paige VanVorst

associates.This is the This tenth is similar in an toinvaluable Crescent City series Cornet of, booklets compiled by Chris Hillman and his

the priorentirety volume of New in the Orleans series, jazz, in that ranging it discusses from all the players on a particular instrument over contemporary players like Dr. Michael White, unrecorded turn of the century players to breaks with traditional orthodoxy by welcoming saxophonistsEvan Christopher into theand big Tim tent Laughlin. – they’d beenThe book part of recorded New Orleans jazz for ninety years.

The book is enjoyable reading, moving along

forquickly example, from who’s period relevant to period, to more doubling than one back era. occasionally to treat an artist (Capt. John Handy, of most of the players as well as The book is profusely illustrated, with pictures

prints. The book references a large number of players, generally grouped by era and sub-genre. The names really fly by when you’re reading fast inbut relatively there are brief very passages. few Crescent City reedmen omitted, though they might only be referred to

CRESCENT CITY REEDS I really enjoyed reading this book which included ofa CD the produced reedmen coveredfor research in the purposes book. The with CD has 24 By Christopherbooklet Hillman with with CD) Richard Rains beentracks in fleshing my rotation out thesince music I started of a reviewinglarge number the (Devon, England: Chris Hillman Books. 78pp book and it is very enjoyable listening.

AvailableThe email addressfrom Chris is [email protected]. Hillman Books, 2 The Halt, Tavistock, Devon, PL19 95R, England.

The booklet sells for 20 pounds Shipping to the US is another 4.5 pounds.

BUNK JOHNSON SONG OF THE WANDERER

by Mike Hazeldine and AVAILABLE paperbound, with Audio CD, 276 pp FROM JAZZOLOGY PRESS: JZB-9

30 GHB JAZZ FOUNDATION • 1206 DECATUR STREET, NEW ORLEANS, LA 70116 P: +1 (504) 525-5000 F: +1 (504) 525-1776 seventeen-year project – I had an email from Mr. WagermanThis beautiful back volume when the is Internet the culmination was a novelty- of a I sent him what I had on Alton and never heard

Wagerman, pianist with the Gota River Jazzmen from him until this volume appeared in the mail.

and Red Wing Band, is one of many Alton Purnell disciples in the New Orleans jazz world. He had many opportunities to hear him live both in Sweden and the US., and accumulated a nearly- complete collection of Purnell recordings, which Allen,are lovingly is working used toon illustrate that. This this is book.basically This an is not a biography- Purnell’s literary executor, Bob

illustrated discography and itinerary.

Purnell was prominent beginning in 1945, when he recorded with Bunk Johnson for Victor and , and he remained active until shortly before his 1987 death. He was always up for a traveling job and he toured more than almost any other musician- within a six-week period in 1976 he played in Germany, England, , Australia and . He toured with George Lewis until 1956 and after that settled in California, though he was always somewhere performing colorand recording. photographs, He appearsand there on appear a blinding to be arraytapes of albums and CDs, all illustrated with excellent ALTON PURNELL DISCOGRAPHY of hundreds of hours of additional music, though there would be many recordings of the same By Ingmar Wagerman (Gothenburg Sweden: backtunes fond he used memories in his ofnormal the times shows. I heard I always him AvailableJazzHistoria, from [email protected] 304pp paperbound) enjoyed his company, and the book brought or at www.jazzhistoria.se. andwith a the great Legends entertainer, of Jazz andand thisas a bookguest is with a great the Hall Brothers- he was a brilliant band pianist

I’vememorial seen. to him. Beautifully assembled, this is one of the best tributes to a New Orleans jazzman

BILL RUSSELL’S AMERICAN MUSIC

by Mike Hazeldine

paperbound, with AVAILABLE Audio CD, 184 pp FROM JAZZOLOGY PRESS: JZB-5

GHB JAZZ FOUNDATION • 1206 DECATUR STREET, NEW ORLEANS, LA 70116 P: +1 (504) 525-5000 F: +1 (504) 525-1776 31 Storyville, New OrleansThis excellent Music, seriesthe Mississippi of annual Rag, volumes 78 Quarterly stepped in fill the gap left by the demise of The contents are a mix of newly-written articles, and a number of other late lamented publications. copies of the newspapers of the classic jazz era, classic pieces reprinted from earlier journals, and

including classic ads from Paramount and Okeh singerspromoting of the their day. blues releases and short news articles covering a wide variety of musicians and

Unlike all of its predecessors, this book is in full versionscolor. Obviously of some classicthere are photos. no color The photosmost exciting of the thingearly jazzfor megreats, are thebut articles,Derek Stears which drew cover color an

the best piece I’ve seen on the great Tony Jackson, amazing array of jazz and blues artists, including

a fine article about a the Falcons, a Cajun musical Taylor,family. LeroyThere Carrare several and Romeo articles Nelson. about One great of blues pianists, especially those about Montana scene with very interesting photos I’ve not seen before.the longer New pieces Orleans covers jazz isthe honored Louisville with jug articles band

composer of Heebie Jeebies. about , Emmet Hardy and Boyd Atkins, THE FROG BLUES & JAZZ ANNUAL NO.5 - THE MUSICIANS, THE RECORDS & THE MUSIC OF THE 78 ERA Another large section is taken up with two interviews with Son House done just as he was

interviewers,rediscovered –and they more are amazingtranscribed to realize in full howand it is fun to see him parrying questions from his Bob Eagle,Edited Brian Goggin,By Paul DavidSwinton Evans, Chris Featuring articles by Bruce Bastin, Paul Swinton, – at that time very few researchers or collectors little was known about the blues as late as 1964 Hillman, Michael Hortig and many others. concentrated on the music of men like House and

FROG RECORDS LTD, The Paddock, Waverley Ave, Charley Patton. Fleet, Hants GI51 4NW UK. 216pp softbound with Audio CD, 2017 The articles vary widely but are universally aninteresting article a night. and generallyThe good news about is things that there I’m Their email address is: www.frog-records.co.uk interested in. I’ve spent a joyous month reading @29.90 GB pounds plus shipping will be a sixth volume of this project in the future. I’m not sure how to define this – technically it is issued like a magazine, but you buy them one at a time, sort of like 78 Quarterly. By the way, it also includes a CD with 26 tracks illustrating photos.the artist A generationdiscussed inago the the book. little And,magazines the book we is beautiful, with hundreds of well-reproduced

read were crammed with information but not artistic. This book is beautiful in every respect.

32 GHB JAZZ FOUNDATION • 1206 DECATUR STREET, NEW ORLEANS, LA 70116 P: +1 (504) 525-5000 F: +1 (504) 525-1776 REVIEWS OF CDs CURRENT & RECENT RELEASES

Jersey Jazz InTune International

RONNY WHYTE:: : SHADES OF WHYTE performed by pianist, singer, composer and Here are seventeen songs magnificently setting. lyricist Ronny Whyte in an unusual jazz-filled AUDIOPHILE ACD-353

Ronny delights in an up-tempo smashing version of The Song is You (Kern-Hammerstein), which is The photo of Ronny on his new album shows from the 1934 film “Music in the Air.” Featured are Whyte grinning wryly with a pair of sunglasses great solos by bass player Boots Maleson, guitarist resting on his nose low enough to expose his eyes. Sean Harkness and drummer David Silliman. Mr. It serves as a nice pictorial pun to emphasize that Whyte offers us a wild frenzy-filled scat vocal pianistthis album who is nicely a collection handles of a good variety songs of material with no making this a wonderful way to begin this gem of andparticular styles. theme other than that he is a singer/ a CD. Nina Never Knew (Alter/Drake) had Ronny offering a smooth thoughtful vocal. He also has anLinger opportunity Awhile (Whyte/Schore) to showcase his is notpiano the artistry. standard

In this undertaking , he is superbly supported in various combinations by Lou Caputo on tenor sax but it is a fine close-up romantic dazzler. I’ll Tell and flute, Alex Nguyen on trumpet, Sean Harkness You What (Whyte) is another new delightful Whyteon guitar, is one Boots of those Maleson singers on who bass, seems and to either come tocomposition. match Mr. Whyte’s Drummer piano. David This Silliman song contains and Alex a Mauricio DeSouza or David Silliman on drums. Nguyen on trumpet offer some amazing jazz solos case,up with the new songs or aretoo oftenoften onesignored for materialwhich he thathas wonderful toe-tapping rhythm with bright lyrics brings unexpected delights to the fore. In Whyte’s and a delightful surprise ending. fetching are two selections, Linger Awhile, with lyricswritten by the Roger music Schore, or words and Blame of both. It on Particularly the Movies, I’ll Close My Eyes (Reid/Kaye) features the amazing Lou Caputo on flute. A Little Samba The Song Is You, I’m Old- sings(Lamont) So Dance is a nice Samba up-tempo (Jobim/DeMorales) Bossa Nova. And in Fashioned,with Whyte’s and wordsDancing and in themusic. Dark, Yes, there are without even taking a breath Ronny additionally some familiar tunes likeNina Never New, I’ll Close My Eyes, For Heaven’s Sake, and Too Latebut Now, there that, are solos.grand style. Drummer Mauricio DeSouza and Lou wonderful songs like Caputo on flute both shine in a pair of outstanding while not unknown, are too rarely performed. I’m Old-Fashioned (Kern/Mercer) is from the Whyte pays full respect to any lyric that he sings, extraordinary1942 film “You piano Were playing. Never TooLovelier.” Late Now The (Lane/ song and does so in a relaxed and confident way. There features drummer David Silliman and Ronny’s used to be ample opportunities for fans of good songs to drop into a venue in New York City on inLerner) the Dark is from (Schwartz/Dietz) the 1951 film “Royal is from Wedding” the 1931 and Shorta regular and Charlesbasis to Cochran. hear performers Now we often like haveRonny to showcases the trumpet of Alex Nguyen. Dancing relyWhyte, on recorded Hugh Shannon, collections Charles like DeForest, Shades of BobbyWhyte vocal is matched by both Boots Maleson on bass Broadway show “Bandwagon.’ Ronny’s superb to- Joe keep Lang us musically satisfied. Whyte.and Sean Harkness on guitar. What a wonderful way to conclude another delightful CD by Ronny - Dan Singer

GHB JAZZ FOUNDATION • 1206 DECATUR STREET, NEW ORLEANS, LA 70116 P: +1 (504) 525-5000 F: +1 (504) 525-1776 33 Jazz Journal comprised celebrated practitioners in fine form, : : with some delightful solo spots from veteran TRAVELING bassist Milt Hinton (who seems to have worked with just about everybody in his long career from Freddie Keppard to Branford Marsalis!). PROGRESSIVE PCD-7008 Long unavailable, this very welcome reissue adds Wayne is probably best remembered for his stint two previously unissued alternative takes. Top- class small-group swing, this release is a timely reminder of just how good were the somewhat in the George Shearing Quintet, 1949-52.When Lights A fleet- Are undervalued Masso and Klink. Lowfingered, lyrical player, his enjoyable playing is in abundance here; a satisfying - Hugh Rainey of Thealso Summer features Knows, Warren a lovely Chiasson ballad. on vibes. Traveling This is followed by the gentle but intricate handling Papatamus :: toreally Spring goes Can with Really top-rate Hang You support Up the from Most vibes,at the bass and drums. Wayne plays the haunting verse NEWS:RUN ABOUT MAL / MAL ‘81 start of this number, a real delight. Altogether a valuable remembrance of a very talented guitarist.- Brian Robinson PROGRESSIVE PCD-7060/61

This set was originally issued in Japan as were Jazz Journal many of the Progressives as Statiras had a backing deal with the Japanese. Issued in the states it HHHH (4: Stars) included 5 extra tracks that I don’t believe were in the original Japanese issues. The 12-page GEORGE MASSO: liner booklet gives a good thumbnail sketch of CHOICE NYC BONE Waldron’s life but does not mention the nervous breakdown he had in the mid 1960s, which also had a profound effect on his piano stylings making PROGRESSIVE PCD-7176 thethem rhythm more pronounced, section he had, repetitive as they andnot onlypersonal. keep For the 23 standards here, he is fortunate to have Born in 1926, Masso was with in 1948-49, but gave up a travelling life in the early up with him but push him as well. This is prime 50s, settling down with university teaching up bold Waldron and includes 2 takes of a brilliantly to retirement in 1973. When he returned to full- interpretative reading of “With A Song In My time playing his exceptional skills soon ensured a Heart.” full engagement diary with numerous top names - Robert D. Rusch in Dixieland, mainstream and swing. Touring worldwide, he visited Europe in 1973 with Benny Jazz Journal Goodman in a nine-piece, which included Al Klink and John Bunch – both chosen for this excellent HHHH (4: Stars) 1978 album, Masso’s debut as a leader. CAROL SLOANE: He plays with a warm tone, relaxed swing, a ready SOPHISTICATED LADY tenorflow of is beautifully a perfect crafted match phrasing in style, and sailing seemingly with effortless poise. Al Klink’s light-toned, nimble was reminded of the Roy Williams/John Barnes AUDIOPHILE ACD-185 elegant assurance throughSometimes the arrangements. I’m Happy with I singerThis was worked originally as a released secretary in 1977in North in Japan Carolina after duets at times, e.g. in anda break occasionally of more than wrote a decade reviews during for DownBeat. which the its intimate, integrated rapport and a flawless unaccompanied chorus. The rhythm section 34 GHB JAZZ FOUNDATION • 1206 DECATUR STREET, NEW ORLEANS, LA 70116 P: +1 (504) 525-5000 F: +1 (504) 525-1776 It was followed by several more records from scat and does it with an ease reminiscent of Ella

Meet Again, was released. Ms. Sloane seems to be the 1980’s to 2010, when her latest album, We’ll Fitzgerald or Mel Tormé on “Take The ‘A’ Train” and “Satin Doll”. ubiquitously known as one of those perennially- underrated singers in the jazzosphere- and one Since this is a vocalist’s album, there really aren’t wonders why. Her professional career spans sixty any solos from the band, but Hanna manages to years (she’s 79 at the time of writing) and she’s shine on “In A Sentimental Mood” and “Mood still touring today, with her discography including Indigo” and Mraz is featured on the medley “I Let inventive tributes to Carmen McRae, Sinatra and a Song Go Out of My Heart/Do Nothing Till You Ella and Louis. Hear From Me” as sole accompaniment to Sloane. ballads.Pratt is supportive, keeping time on the uptempo Ms. Sloane possesses a husky, sensuous vocal that tracks and delivering delicate brushwork on the wraps itself luxuriously round familiar lyrics, but isthe always best weapon on the money,in her arsenalheard to is best her unerringeffect on or new recordings to come from Carol Sloane, a sense of time. HerIt Don’t pitch-perfect, Mean a Thing; swinging delivery Hopefully, there will be more re-releases and/ this album on even at such true jazz voice. a pace, every “doo-ah” lands effortlessly on the beat, seemingly with time to spare. This album is - Marcia Hillman enjoyablemade up completely is the medley, of Ellington where I Let songs, A Song for which Syncopated Times seamlesslyMs. Sloane’s into vocal Do isNothing, an ideal with match. the vocalParticularly backed only by ’s laidback bass. Thissegues is a JIM TURNER: : MAGIC FINGERS: A TRIBUTE TO quiet, mellow set of recordings that has much to JOHNNY GUARNIERI teach- Sally today’s Evans-Darby aspiring young vocalists.

SOLO ART SACD-172 The New York City Jazz Record While few think of him that way, Johnny Guarnieri : (1917-85) was one of the top stride pianists for The alleged backstory of this album, recorded decades. He had his highest visibility in the late 1930s/40s when he worked with Artie Shaw whoin , had already Japan inbeen 1977 recording and released for decades as a CDon Gramercy Five), Benny Goodman, and with for the first time, is that vocalist Carol Sloane, (including playing harpsichord with Shaw’s

Cadillac, Columbia and Moonbeam, upon first small swing combos. He recorded with Lester meeting Duke Ellington, promised him that she Young, displayed his ability to closely imitate would record one of his songs on every album she other pianists (most notably Count Basie and would make in the future. Time passed by and Fats Waller), and had a minor hit with “Gliss Me there were several albums in which Sloane did Again” (featuring bassist-hummer ). Guarnieri spent much of his last three decades in ofnot all include Ellington an Ellington songs. The selection. singer So, is joinedby way by of Los Angeles area. an apology, Sloane decided to record this album obscurity, teaching and playing solo piano in the

Roland Hanna (piano), George Mraz (bass) and Jim Turner is a brilliant pianist perhaps best Richie Pratt (drums). known for his associations with Jim Cullum, the This is not just a replay of oldies because Sloane playGreat in Pacific a Los Jazz Angeles Band, pianoand his bar, own they solo becamealbums. After having the opportunity to see Guarnieri whichbrings canher beown described touch to asthese silky, familiar and her selections, devotion refreshing them by way of her vocal tone quality, later records. friends and Turner even produced some of his titleto the track, lyrics, where resulting she is in able distinctive, to present innovative it as the torchphrasing. song Casesit really in is, point: and her her a cappellarendition delivery of the thatOn Magic the pianist Fingers, enjoyed Turner playing.performs Since 14 of none Johnny of Guarnieri’s compositions plus three other songs of “ComeGHB JAZZ Sunday”. FOUNDATION The •lady 1206 DECATURalso knows STREET, how NEW to ORLEANS, LA 70116 P: +1 (504) 525-5000 F: +1 (504) 525-1776 35 A good selection of classic standards and

orGuarnieri’s even performed songs ever by anyone came close other to than catching their on, most of these tunes had never been recorded jazz numbers played with feeling and flair. Recommended!- Trefor Williams Johnson-typecomposer. It is stridea delight piece hearing dedicated Jim Turner to him), revive the such pieces as “The Turner Shout” (a James P. Syncopated Times sophisticated “Amigo Simpatico” (which could have come from Willie “the Lion” Smith), the GEORGE LEWIS : charming “Sandra,” a delightful “Magic Fingers AND HIS NEW Rag,” “The Pasadena Shout,” and “The Dazzler” ORLEANS STOMPERS: (which has clarinetist Ron Hockett making the

group a duo). 1943

The three non-Guarnieri pieces, a reinterpretation AMERICAN MUSIC of “The Minute Waltz” that is worthy of Donald AMCD-100/101 alsoLambert, among Lucky the many Roberts’ memorable “Nothin’,” performances and an inventive “Take Me Out To The Ballgame,” are Clarinetist George Lewis, who would become one of the most popular of New Orleans jazzmen on this highly recommended project. I am sure in the 1950s when he toured the world, was a Nightsthat Johnny At The Guarnieri Turntable would by Scott be Yanowpleased. complete unknown outside of New Orleans in 1943. Although he had been musically active since at least the 1920s, his only previous recordings were two historic but so-so sessions with Just Jazz trumpeter Bunk Johnson in 1942. While Bunk had BILLY HART:: moved up North, Lewis was still in the Crescent City when William Russell recorded him during THE TRIO The two-CD set The Complete Climax Recording May 15-16, 1943 with his New Orleans Stompers.

Sessions has five songs from a rehearsal and

PROGRESSIVE PCD-7044 all 20 performances (including nine alternate

(whotakes) was made absent during for the the planned rehearsal), session. banjoist Lewis, trombonist Jim Robinson, trumpeter Kid Howard Although this session was recorded 38 years Lawrence Marrero, bassist Chester Zardis (his ago, it still sounds fresh. Cutting back to the bare intimate approaches and interplay. These three place during the rehearsal was taken by Sidney bones of piano, bass and drums always opens up Brown on ) and drummer Edgar Mosely form aGeorge spirited Lewis’ if occasionally is easily erraticrecognizable group. and his are masters of their instruments and listing to oneBilly another; swings thewith essence sensitivity of our and music. imagination, always aware of light and shade. Walter Bishop high notes (particularly during the rehearsal) Jr. is an accomplished pianist, having played are quite impressive. Jim Robinson is his usual reliable self while Kid Howard is both colorful and a bit inconsistent, never sounding boring! The many sessions with , , pianoless rhythm section is monotonous in spots and Art Blakey. He has an interesting approach, but keeps the momentum flowing. Among the maybe a little too busy and lacking in crispness songs performed by this ensemble-oriented group for my liking, but still inspiring. George Mraz is are “Climax Rag,” “Careless Love,” “Dauphine a bassist with an amazing right-hand technique Street Blues,” “Milneberg Joys” and “Fidgety Feet.” and a solid left hand working its way through a year. The clarinetist, Robinson and Marrero immaculate lines and harmonies; perfection in George Lewis would not record again for over choice of notation. It’s such a pity he produced such a strangled electric sound. It would have would form the nucleus of Bunk Johnson’s band been perfect if he had played with a more natural during 1944-46 and, after a few years in obscurity, sound. would (along with Howard) reunite in Lewis’ 36 GHB JAZZ FOUNDATION • 1206 DECATUR STREET, NEW ORLEANS,1950s LA 70116band. P: This +1 (504) very 525-5000 spirited F: +1 (504) reissue 525-1776 shows George Lewis fans. how they sounded at the start. It is a must for Butch Thompson has some good spots while bassist Chester Zardis and drummer Stanley ThisStephens Love Ofprovide Mine (he solid reportedly support. loved While Dorsey’s Nelson Nights At The Turntable by Scott Yanow was not quite on ’s level on Jazz Journal and his solos are excellent. This version of Climax Ragplaying), his percussive work in the ensembles :: is one of the best. If one had any doubt that IN THE TRADITION/ there was plenty of fine New Orleans jazz in the APRIL IN NEW Nights1980s, Atthis The would Turntable set them by Scott at ease. Yanow ORLEANS

GHB BCD-541 In the Tradition is now thirty years old, which Jazz Doctor (Netherlands) makes it seems as far from the present as it was WALTER NORRIS: : STEPPING ON CRACKS when made from the music it was referencing. thatAnd callsyet, that’s for nothing precisely more the than point. honest Here’s and a tradition of almost classical or canonical purity PROGRESSIVE PCD-7039 faithful replication. That Brunious does with studious intensity and it’s always grand. There are personnel overlaps between the two groups: Walter Norris, piano player? Just help me now, Brunious, Nelson and Rimington are on both of oh yes, that pianist on Ornette Coleman’s first them. Great package and one to file along with altoalbum. player Right Jimmy – a man Ford, with gigs a colorful and records career, on to putthe it mildly. Early Fifties in Houston, with legendary JazzNew Band.Orleans Reunion (Brunious and Rimington) and Nelson’s unctuous outing with the Palm Court - Brian Morton twoWest years Coast with with the a.o. Thad Frank Jones-Mel Rosolino Lewis and band,Herb Scandinavia,Geller, seven yearsRadio at , the Playboy working Club with New wonder York,

Syncopated Times bassist Aladar Pege, teaching, you name it. And This is a single: CD combining two very he remained well under the radar.

During one of his frequent stays in NY he recorded complementary LPs, both of which feature this at times hallucinating album for Famous the frontline of trumpeter Wendell Brunious, Door- the GHBStepping Foundation on Cracks, has Norris reissued imagines it, playertrombonist with Louisself-restraint Nelson, andwho Sammy is in the Rimington tradition acomplete child that, with of its a half own hour free ofwill, alternate can only takes. step onIn ofon Alvin clarinet Alcorn and alto.and ThomasWhile Brunious, Jefferson, a powerfulprobably the title tune, displays both his versatility and consistency the cracks in the sidewalk. It runs and jumps with has a few too many vocals but the repertoire uneven intervals, stumbling, stopping and almost lyricalfalling. moment When the and pianist in this turns it becomes the perspective real piano as a trumpeter. With fine backing from pianist from the child to the observer there is a reflective Jeanette Kimball, bassist Frank Fields, and drummer Barry Martyn, and some fineBugle George Boy exactlyjazz – Norris what ishe in wants, the territory whatever occupied he thinks by Bill of. March,Lewis-inspired playing My Maryland, by Rimington, Put On the Your group Old AndEvans he andranges Paul from Bley. one He atmosphere gets the piano to another to do Greyuplifts Bonnet, such numbers as an excitingMr. Sandman. like tossing a coin.

and even an offbeat remarkably melodic fast solo in Giant Steps) it’s BanjoistHowever, Danny the second Barker set, (who Louis sings Nelson’s a fascinating April bassistWithout George shorting Mraz Ronnie who deserves Bedford the (he limelight. beats a versionin New of Orleans, Bill Bailey) is is actually a major asset, slightly and better.pianist

GHB JAZZ FOUNDATION • 1206 DECATUR STREET, NEW ORLEANS,He has LA 70116 a clear P: +1and (504) sharp 525-5000 sound F: +1 and (504) likes 525-1776 to stay37 Falling in Lovein the With high Love register – he sometimes sounds like The production was extended with three numbers slipa cross and between deform. aNice guitar to haveand ‘cello. the third In take of from the Kid Thomas-George Lewis Ragtime Cherokee – he enthusiastically lets the notes Stompers session, which also featured Slow Drag and Big Jim along with Kid Thomas, Vigorito’s those subtle flageolets of Mraz behind main influence. the exposition of the theme hit your ears like bubbles.- Eddie Determeyer - Pete Lay Syncopated Times

: Just Jazz George Buck loved New Orleans jazz- fortunately ALCIDE :‘SLOW DRAG’ his legacy has continued with both new recordings PAVAGEAU: DRAG’S and reissues of classic jazz from his large catalog. HALF FAST JAZZ BAND Bassist Alcide “Slow Drag” Pavageau was a Lewismember for of decades. Bunk Johnson’s While not band really during a soloist, 1944- he 46 and a regular fixture with clarinetist George

GHB BCD-54 Drag’s Half Fastcould Jazz be countedBand on for a solid beat and a big sound that drove Lewis and others. George Lewis’ long-time bassist, Alcide “Slow is his only album as a leader, a Drag” Pavageau, was a mainstay of one of the set from 4/21/65 that ironically was his final best rhythm sections during the glory days of nine selections team him with cornetist Fred Vigorito,recording trombonist (although heJim lived Robinson, until 1969)clarinetist The ofNew the Orleans New Orleans jazz. Althoughstylists. he was a basically self-taught bass player, his playing was typical Don Ewell, and Big Bill Bissonnette, who was Albert Burbank, banjoist George Guesnon, pianist Bissonnette was in New Orleans to record the This session was recorded in 1965, when Bill normally a trombonist although he proves quite effective on drums. While Burbank sometimes session.Jazzology While Poll-Winners in town BissonnetteLP, a band that decided included to Don Ewell, who flew in from Florida for the player)slips a little is in out top of form. tune, Their Vigorito ensemble-oriented provides a solid lead and Robinson (always a superior ensemble do another session featuring some of the same Struttin’ With musicians. This band is a combination of New Somemusic Barbecue, leaves room two versions for solos, of thoughI Can’t Escape Pavageau from Orleans originals- Albert Burbank, Jim Robinson Youdoesn’t and take Climax any. Rag. Highlights include and George Guesnon with two youngsters (Bissonnette plays drums and Fred Vigorito plays trumpet). Also included are three alternate takes by the In the ’60’s it was easy to produce a record- Alan Kid Thomas-George Lewis Ragtime Stompers from1961. Since Vigorito was influenced by Kid inJaffe the let band them to use get Preservation things off to Halla good and start. even bought a new piano. There was enough talent Thomas and Burbank also hints at Lewis, there is a definite unity on this reissue. The music is The four veterans were in top form and Ewell fun and spirited. provides perfect support, relying more on solid Nights At The Turntable by Scott Yanow ensemble playing than a display of his prodigious treatedfacility. Duringto Brahms’ the ‘60’s Cradle producers Song and became Creole moreSong alongcareful with to avoid the overworkedmore familiar numbers, Climax and Rag. we areIt’s great to have these recordings available again. I

remember buying the original Jazz Crusade album in Dobell’s when it came out and it got played a lot more than some other LPs I had at the time.

38 GHB JAZZ FOUNDATION • 1206 DECATUR STREET, NEW ORLEANS, LA 70116 P: +1 (504) 525-5000 F: +1 (504) 525-1776 IN REMEMBRANCE OF THOSE WHO HAVE PASSED ON

Barbara Carroll Bob Erdos Ms. Carroll, one of the most beloved artists on Erdos, proprietor of Stomp Off Records, died (1925-2017) (1930-2017) in Manhattan. A native of Worcester MA, she movedthe New to York New cabaretYork after scene, World died War February II, and was 12 March 25. A native of York PA, Erdos began working after law school for the family firm, leotard producer Danskin. When he started Stomp considered the first woman pianist to play bebop. artOff covers.in 1980, Erdos it was recorded a sensation most —of thethe organized LPs were similarShe was to best that known of Mabel for Mercera 25-year at mid-careerbooking at well-recorded, well-annotated, and had beautiful the Hotel Carlyle. She developed a style the entire Great American Songbook. She worked bands, including the Black Eagles, Salty Dogs, and was known for her command of virtually South Frisco Jazz Band and the Hall Brothers, well as many European groups. There were also a Victor,at Birdland Verve until and DRG. December. She recorded for Ory,number Jelly of Roll “concept” Morton sets, and memorializing . specific There Audiophile (ACD-254, 1988) as well as for RCA artists, including Tiny Parham, Roy Palmer, Kid

Dick Meldonian were 436 Stomp Off issues; the last CDs were issued in 2014. (1930-2017) Meldonian, a fixture on the jazz scene, died January 25. He began in small Jersey clubs Slack,as a teenager, followed then by long turned stints pro with when Charlie his Barnetfamily moved to California. He hit the road with Freddy and Stan Kenton. He settled in NY and became a studio musician, backing artists as varied as Meldonian-SonnyGerry Mulligan, Liza Igoe Minelli Big Band, and whichErroll workedGarner. He was best known as the leader of the Dick around NJ beginning in the early ‘80s. He recorded Smith.ten albums for us, with the big band as well as ACD-254 smaller groups led by and Derek BARBARA CARROLL Mike Dine

(1938-2016) Dine, owner of 504 Records, was found dead in late December. He was a longtime New Orleans jazz enthusiast, and founded 504 in 1979 issuing over a hundred CDs of hardcore New Orleans jazz, including sixteen CDs drawn from personal tapes made by Preservation Hall founder Larry Borenstein. 504 also issued gospel records and an ofassociate the premier label, Dine-a-Mite,series of New issued Orleans CDs ofsessions, British easilytraditional on a jazzpar withartist. the His legendary Borenstein recordings series is one of PCD-7052 the 60’s from Icon and MONO. DICK MELDONIAN

GHB JAZZ FOUNDATION • 1206 DECATUR STREET, NEW ORLEANS, LA 70116 P: +1 (504) 525-5000 F: +1 (504) 525-1776 39 JAZZOLOGY DVDS: SELECT VIDEO DOCUMENTARIES:

BVD-3 BVD-2 BVD-4 BARRY MARTYN’S AFTER HOURS AT AFTER HOURS AT LEGENDS OF JAZZ ART’S PLACE VOL. 1 ART’S PLACE VOL. 2 FEATURING: THE LEGENDARY 1979 TV NIGHT THE LEGENDARY 1979 TV NIGHT CLUB PERFORMANCES: CLUB PERFORMANCES: PAPA JAC ASSUNTO, LEO DEJAN, SAM LEE, JOHN EWING, ALTON , LITTLE BROTHER , BILL PRICE, PURNELL, ADOLPHUS MORRIS AND MONTGOMERY with , BUTCH THOMPSON, HERB HALL, BARRY MARTYN , ART HODES, BENNY MORTON, ART HODES, , HILLARD BROWN, TRUCK PARHAM, HILLARD BROWN AND RED MADDOCK and RED MADDOCK

AMVD-4 AMVD-3 NEW ORLEANS JAZZMEN NEW ORLEANS PIANO PLAYERS FEATURING: FEATURING: RARE AND VINTAGE FILMS OF: AN EXTREMELY RARE FILM DOCUMENTING THE BUNK JOHNSON, , , STYLES OF NEW ORLEANS PIANO PLAYERS: KID THOMAS, MANUEL MANETTA, JOHN HANDY, MANUEL MANETTA, RICHARD M. JONES, ALTON GEORGE LEWIS, KID HOWARD, JIM ROBINSON PURNELL, JOE ROBICHAUX, , AND BURNELL SANTIAGO AND OTHERS.

40 GHB JAZZ FOUNDATION • 1206 DECATUR STREET, NEW ORLEANS, LA 70116 P: +1 (504) 525-5000 F: +1 (504) 525-1776 CHRISTMAS CDS: HOLIDAY SEASON FAVORITES:

ACD-341 BCD-425 CCD-158 RONNY WHYTE LARS EDEGRAN’S HENRY JEROME 1950-1956 WHYTE CHRISTMAS SANTA CLAUS REVELERS CHRISTMAS & OTHER HARRY ALLEN, DARYL SHERMAN, BIG AL CARSON PRECIOUS MEMORIES JOHN HART, BOOTS MALESON AND TOPSY CHAPMAN AND VINSON VALEGA

ALSO AVAILABLE FROM JAZZOLOGY: OTHER TITLES OF INTEREST:

NOL-CD-99 TOMMY SANCTON LARS EDEGRAN NEW ORLEANS QUARTET HYMNS & SPIRITUALS LIVE AT TRINITY CHURCH NEW ORLEANS

NOJP-CD-9 TREVOR RICHARDS NEW ORLEANS BAND with LEROY JONES, CHARLIE GABRIEL and ED FRANK

SCR-008 & SCR-009 DANNY BARKER AND HIS CREOLE CATS 45 RPM VINYL Tootie Ma Is A Big Fine Thing / Corinne Died On The Battlefield My Indian Red / Chocko Mo Feendo Hey

NOJP-CD-11 THE INTERNATIONAL TRIO with REIMER VON ESSEN, , TREVOR RICHARDS and OLIVIER FRANC

GHB JAZZ FOUNDATION • 1206 DECATUR STREET, NEW ORLEANS, LA 70116 P: +1 (504) 525-5000 F: +1 (504) 525-1776 41 GHB JAZZ FOUNDATION COLLECTORS RECORD CLUB Non-Profit Organization U.S. Postage 1206 Decatur Street PAID New Orleans, 70116 New Orleans, LA USA Permit No. 282

UPCOMING JAZZOLOGY RELEASES:

COMPACT DISCS DIGITAL RELEASES JOHN BUNCH JUBILEE AFTERNOON IN NEW YORK PROGRESSIVE • PCD-7177 AUDIOPHILE • ACD-194-DR BUNK JOHNSON SADIK HAKIM RARE & UNISSUED VOL. 2 A BIT OF MONK AMERICAN MUSIC • AMCD-140 PROGRESSIVE • PCD-7046-DR MA RAINEY COMPLETE RECORDINGS JAZZOLOGY PRESS BLACK SWAN • BOX SET JOHNNY GUARNIERI VINYL LPs A definitive Bio-Discography of the great American Jazz Pianist LOUIS ARMSTRONG Johnny Guarnieri PARAMOUNT RECORDINGS (1917 - 1985) BLACK SWAN • VINYL LP by Derek Coller