DOCSLIB.ORG

Notes from the Prez All Elements of a Traditional Jazz Band Show Growth and Improvement with HUME STREET PRESERVATION J.B

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Notes from the Prez All Elements of a Traditional Jazz Band Show Growth and Improvement with HUME STREET PRESERVATION J.B April 2011 Volume 36, Number 04 All Elements of a Traditional “OKOM all ye faithful” to catch their performance !! Jazz Band Show Growth and WHEN: Sunday, April 17, 12:30 - 4:30 p.m. Improvement with WHERE: Ballard Elks, 6411 Seaview Ave. NW HUME STREET ADMISSION: $10, PSTJS members - $13, Non-member guests (pay only at door) PRESERVATION J.B. Beautiful view, excellent dance floor, lots of free parking. By Rod Belcher Coffee, other beverages and snacks available The octet known as the “Hume Street Preservation Jazz Free Parking. Great view, excellent dance floor. Band” is one of those aggregations which in its infancy, a good Snacks, coffee, other beverages available many years ago, was known, as an up-and-coming bunch of good guys who tried hard but sometimes didn’t squarely hit the mark in the “trad” genre. They were all musicians based in or near Grays Harbor County, and through the years they developed a repertoire which continued to grow in quantity but, more importantly, in quality. Notes from the Prez They’ve had some personnel changes but have maintained the free-wheeling drive and enthusiasm of those charter members. They scored well with our jazz society’s audience a year A big Thank You to all of you who have pledged your support ago, and here they are, back once more with the same lineup of to the Bob Schulz September gig. We are very close to meeting our players to favor us in our April 17th concert. goal of $2000. We’ve notified Bob that the September gig is a go and “Hume Street” is under the management of the savvy we, and his band members too, are looking forward to that weekend. pianist-booker Karla West, with many of the arrangements You can now mail your pledge commitments to Carol Rippey at penned – or at the very least freshened up – by a musician of 19031 Ocean Avenue, Edmonds, WA 98020-2344. For those of you many talents, Steve Wright. Steve is the lead trumpeter in this who haven’t pledged yet you still can, just let Carol know. two-trumpet style band, which was the instrumentation of the great King Oliver’s group in the early 1920s that featured the We welcome a new writer to the Soundings this month. His young Louis Armstrong, and also the Lu Watters-Turk Murphy name is Doug Parker, he’s a PSTJS member and a long time follower “San Francisco Revival” bands. He’s joined on the front line of OKOM. See his article on page 3 in this publication. If any more by George Oelrich (second trumpet); Rob Hilliard (reeds); and of you members have Jazz stories to tell or Jazz great to write about, Steve Horton (trombone). please let me know. We’re always looking for our friends/members The talented rhythm section features tubaist-vocalist Andy to let us know what they know about the wonderful music we share. Hall; Bob Neisinger (drums); banjoist Hank Daugherty, and of (Editors Note: I found this article to be very informative) course Karla West on piano. It’s not just a Grays Harbor outfit any more. For instance, Be sure and let me know of anyone who is interested in going to Karla is based in northern Montana, Steve Wright comes from Jazz Camp this summer. I still have a few openings left. Remember, Bellevue and George Oelrich from the Snohomish County we sell our raffle tickets to pay the student’s tuition to camp. The environs of Sultan. deadline for registration is May 15th. Full information about the Put them all together and they may not spell “Hume Street” camp can be found at this website: www.campheebiejeebies.us but they do produce a brand of jazz that goes far beyond the Cheers, roots of their Aberdeen-Hoquiam origin. Judy Jazz Soundings April 2011 Page 2 Puget Sound Gigs for Local Bands Traditional Jazz Society BELLINGHAM TRADITIONAL JAZZ SOCIETY 1st Saturdays, 2 - 5 pm (except Jul and Aug) VFW Hall 625 N. State St. 19031 Ocean Avenue Edmonds, WA 98020-2344 March 5 - Combo Deluxe 425-776-5072 www.pstjs.org April 9 - Jerry Jones Quartet EVENTS CASEY MacGILL’s BLUE 4 TRIO Elks Lodge, Ballard, 6411 Seaview Ave N.W., Seattle Sundays, 5:30 - 8:30 Tutta Bella Pizzeria 4411 Stoneway N 206-633-3800 Wednesdays, 8-11. Pink Door Restaurant & Lounge 1919 Post Alley UPCOMING EVENTS (Pike Market) 206-443-3241 April 17 Hume Street FIRST THURSDAY BAND May 15 Black Swan Jazz Band 1st Thurs of each month, 7 - 10 p.m., New Orleans Restaurant, 114 1st Ave S., June 19 Ain’t No Heaven Seven Seattle, WA Sept 18 Bob Schulz’s Frisco Jazz Band October 16 Sidewalk Stompers GLENN CRYTZER’s SYNCOPATORS November 20 Evergreen Classic Jazz Band 1st Sunday of the Month 9:30-12:30 Century Ballroom 915 East Pine December 18 Ray Skjelbred’s First Thursday Band (2nd Floor) 206-324-7263 LEADERSHIP Third Wednesday of the Month (same as above) PRESIDENT: Judy Levy [email protected] GRAND DOMINION 425-890-6605 April 28 - May 1 Chattanooga Traditional Jazz Festival - Holiday Inn VICE PRESIDENT: George Swinford [email protected] 425-869-2780 holotradband SECRETARY: Cilla Trush [email protected] Tuesdays, 7 - 10 p.m., New Orleans Restaurant, 114 1st Ave S., Seattle, WA 206-363-9174 TREASURER: Gloria Kristovich [email protected] NEW ORLEANS JAZZ QUINTET 425-776-7816 Mondays 6:30 - 9:30 p.m. New Orleans Restaurant, 114 1st Ave S., Seattle, WA BOARD OF DIRECTORS Dave Brown: [email protected] 253-752-6525 PEARL DJANGO Joanne Hargrave [email protected] 206-550-4664 Apr 2, 7 - 8 pm, Crossroads Shopping Center, 15600 NE 8th St, Bellevue Leroy Johnson: [email protected] 206-772-4378 WA 425-644-1111 Jan Lemmon [email protected] 425-778-9763 Apr 7, 7:30 pm Rick Singer Photography Studio, 415 1/2 West Main Ave, Edmund Lewin: 360-297-6633 Spokane WA, 509-838-3333 Ian McKenna: [email protected] 425-771-5479 Apr 8 Evening pm Whitefish Lake Restaurant, 1200 HWY 93 N. Whitefish George Oelrich: [email protected] 360-793-0836 MT, 59937 406-862-5265 Carol Rippey: [email protected] 425-776-5072 Apr 9, Evening pm KM Theatre, 40 Second St, East Kalispell, MT 406-471 5907 MEMBERSHIP COORDINATOR Apr 10, 7 pm, West Valley High School, 8301 E Buckeye Ave, Spokane, Carol Rippey: [email protected] 425-776-5072 WA Ed Miller 509-228-9030 or Deanna Wilson 509-927-3080 Apr 22, 8 pm, North City Bistro, 1520 NE 177th St, Shoreline, WA 206-365-4447 (Pearl DJango is performing with Rick Leppanen, EDITOR Susan Pascal on vibes and Ron Peters on guitar. Apr 30, 7:30 pm Whatcom Symphony at the Mount Baker Theatre, Anita LaFranchi: [email protected] 206-522-7691 Bellingham, WA JAZZ SOUNDINGS UPTOWN LOWDOWN JB April 28 - May 1 Chattanooga Traditional Jazz Festival - Holiday Inn Published monthly except July and August by the Puget Sound Tradi- tional Jazz Society. Anita LaFranchi, editor, [email protected] Ads must be submitted in a jpeg or (PDF format) Payment in advance to: Gloria Kristovich, P.O. Box 373, Edmonds, WA 98020-0373 On Your Dial........ Advertising Rates: Saturday Full page $100. 7 1/2” wide by 9 1/2 “ tall 10 a.m. Gospel Jazz, Ted Reed KARI 550 AM. Half Page $60. 7 1/2” wide by 4 1/4 “ tall 7 - 12 p.m. Swing Years and beyond KUOW 94.9 FM Quarter Page $40. 3 5/8 Wide by 4 1/4 “ tall Sunday Deadline is the 10th of the month for the next months issue 3 -6 p.m. Art of Jazz, Ken Wiley, KPLU 88.5 FM Jazz Soundings April 2011 Page 3 THE VARIOUS STYLES OF “OKOM”: by: Doug Parker PSTJS member Some people, those who are unfamiliar with Our Kind of Music, will make the totally erroneous statement that “It all sounds SUBSCRIBE TODAY alike.” Nothing could be further from the truth, although there are News You Can Use About Traditional Jazz and Ragtime some similarities among the various styles, or schools, of hot jazz. U.S. One Year: $26 -:- Canadian $39 U.S. Funds* We’ll try to explain what these jazz styles are. First of all, most U.S. Two Years: $48 -:- Canadian $74 U.S. Funds* of us know that jazz began in New Orleans, over 100 years ago. (*) Includes Airmail Delivery There are three distinct varieties of New Orleans jazz Make check payable to: The American Rag 20137 Skyline Ranch Dr., Apple Valley, CA 92308-5035 DOWNTOWN CREOLE: Phone/Fax: 760-247-5145 Name ________________________________________________________ This is the smoother (compared to Uptown New Orleans) style played by musicians of mixed French and African ancestry, Address _________________________________________________________ known as Creoles, who were generally well-schooled in terms City ____________________________________________ State ___________ of the theoretical side of music. (In the early days, one of these Phone ______________________________ Zip + 4 ______________________ musicians would study music theory before settling on one particular instrument.) The usual instrumentation of a band in Puget Sound Traditional Jazz Society about 1910, or sometimes later, would be: violin, cornet, trombone (slide or valve), clarinet, guitar, string bass (usually played with a bow), and drums, although later the violin was dropped, and the piano added to the rhythm section. LOOKING FOR AN OPPORTUNITY TO PLAY: Examples of bands playing this Downtown style would be A. I’m an “experienced” tuba player seeking a chance to play J. Piron’s New Orleans Orchestra, which was the first non-white with a Dixieland group – either permanently or on a “fill in jazz band to record for the major companies in 1923, and Edward basis”.
Load more

Recommended publications
  • The Solo Style of Jazz Clarinetist Johnny Dodds: 1923 – 1938
    Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2003 The solo ts yle of jazz clarinetist Johnny Dodds: 1923 - 1938 Patricia A. Martin Louisiana State University and Agricultural and Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the Music Commons Recommended Citation Martin, Patricia A., "The os lo style of jazz clarinetist Johnny Dodds: 1923 - 1938" (2003). LSU Doctoral Dissertations. 1948. https://digitalcommons.lsu.edu/gradschool_dissertations/1948 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected]. THE SOLO STYLE OF JAZZ CLARINETIST JOHNNY DODDS: 1923 – 1938 A Monograph Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College In partial fulfillment of the Requirements for the degree of Doctor of Musical Arts in The School of Music By Patricia A.Martin B.M., Eastman School of Music, 1984 M.M., Michigan State University, 1990 May 2003 ACKNOWLEDGMENTS This is dedicated to my father and mother for their unfailing love and support. This would not have been possible without my father, a retired dentist and jazz enthusiast, who infected me with his love of the art form and led me to discover some of the great jazz clarinetists. In addition I would like to thank Dr. William Grimes, Dr. Wallace McKenzie, Dr. Willis Delony, Associate Professor Steve Cohen and Dr.
    [Show full text]
  • Benny Goodman : from “King of Swing” to Third Stream Jae Ellis Bull
    Marshall University Marshall Digital Scholar Theses, Dissertations and Capstones 1-1-2006 Benny Goodman : From “King of Swing” to Third Stream Jae Ellis Bull Follow this and additional works at: http://mds.marshall.edu/etd Part of the Music Commons Recommended Citation Bull, Jae Ellis, "Benny Goodman : From “King of Swing” to Third Stream" (2006). Theses, Dissertations and Capstones. Paper 517. This Thesis is brought to you for free and open access by Marshall Digital Scholar. It has been accepted for inclusion in Theses, Dissertations and Capstones by an authorized administrator of Marshall Digital Scholar. For more information, please contact [email protected]. Benny Goodman: From “King of Swing” to Third Stream. Thesis submitted to the Graduate College of Marshall University In partial fulfillment of the requirements for the degree of Master of Arts in Music. by Jae Ellis Bull Dr. Vicki Stroeher, Committee Chairperson Dr. Marshall Onofrio, Dr. Donald Williams Marshall University August 2006 ABSTRACT Benny Goodman: From “King of Swing” to Third Stream. By Jae Ellis Bull Clarinetist and band leader Benny Goodman was born in the Chicago slums in 1909. He first played in dance bands and eventually organized his own band, which became so popular that he was known as the "King of Swing." As a clarinetist, he also was attracted to classical music, particularly the clarinet music of Mozart, Debussy and Brahms. Gunther Schuller, describing Goodman's ability to play in both jazz and classical styles said, "In a sense, Benny was the first Third Stream musician, moving easily in and out of jazz and classical music, from the Palomar Ballroom to Carnegie Hall..."1 This paper explores Goodman's musical career in both the classical and jazz worlds, defines the term “Third Stream” and describes how Benny Goodman fits this term.
    [Show full text]
  • JREV3.6FULL.Pdf
    KNO ED YOUNG FM98 MONDAY thru FRIDAY 11 am to 3 pm: CHARLES M. WEISENBERG SLEEPY I STEVENSON SUNDAY 8 to 9 pm: EVERYDAY 12 midnite to 2 am: STEIN MONDAY thru SATURDAY 7 to 11 pm: KNOBVT THE CENTER OF 'He THt fM DIAL FM 98 KNOB Los Angeles F as a composite contribution of Dom Cerulli, Jack Tynan and others. What LETTERS actually happened was that Jack Tracy, then editor of Down Beat, decided the magazine needed some humor and cre• ated Out of My Head by George Crater, which he wrote himself. After several issues, he welcomed contributions from the staff, and Don Gold and I began. to contribute regularly. After Jack left, I inherited Crater's column and wrote it, with occasional contributions from Don and Jack Tynan, until I found that the well was running dry. Don and I wrote it some more and then Crater sort of passed from the scene, much like last year's favorite soloist. One other thing: I think Bill Crow will be delighted to learn that the picture of Billie Holiday he so admired on the cover of the Decca Billie Holiday memo• rial album was taken by Tony Scott. Dom Cerulli New York City PRAISE FAMOUS MEN Orville K. "Bud" Jacobson died in West Palm Beach, Florida on April 12, 1960 of a heart attack. He had been there for his heart since 1956. It was Bud who gave Frank Teschemacher his first clarinet lessons, weaning him away from violin. He was directly responsible for the Okeh recording date of Louis' Hot 5.
    [Show full text]
  • Stacy, Jess Collection Container List.Docx
    Guide to the Jess Stacy Collection 1937-1995 2.0 linear feet 1998.083 Abstract Photographs, sheet music, ephemera, publications, clippings, phonographic and tape records of Stacy, a jazz pianist with roots in Southeast Missouri Revised by Carla L. Jordan, 2001 Revised by Anna Powell, 2008 Special Collections and Archives Kent Library One University Plaza, MS 4600 Southeast Missouri State University Cape Girardeau, MO 63701 Phone: (573) 651-2245; Fax: (573) 651-2666; Email: [email protected] Descriptive Overview Provenance: Raymond F. "Peg" Meyer, of Cape Girardeau, collected the Jess Stacy materials and donated them to the Kent Library Special Collections and Archives. Citation: Jess Stacy Collection, Special Collections and Archives, Southeast Missouri State University. Restrictions: Some of the music in this collection is subject to copyright law. Some of the media in this collection, such as the audio recordings in Series VII and Series VIII, require special equipment (i.e. cassette player, record player, etc.) to access. Please contact Special Collections and Archives prior to a visit so that we can make arrangements for your visit. Special Collections and Archives reserves the right to restrict access to fragile or damaged materials in the collection. The following items are damaged and unavailable for use: Box 1490/016 and Box 1036/008/Item J. Separated Materials: Two items (Jazz Club: Jazz at Pasadena Vol. I and Vol. II) were removed from the collection because they were poor quality photocopies of those album covers and those albums were not part of the collection. Biographical Note Jess Stacy was born Jesse Alexandria Stacy in Bird’s Point, Missouri, on August 11, 1904.
    [Show full text]
  • [CHICAGO] 1950S ALUMNI NEWSLETTER VOLUME 16 ISSUE 3 SUMMER 2021 -- [email protected]
    `````````````` AUSTIN HIGH [CHICAGO] 1950s ALUMNI NEWSLETTER VOLUME 16 ISSUE 3 SUMMER 2021 www.austin1955.org -- [email protected] HAPPY INDEPENDENCE DAY TO ALL!! AUSTIN HIGH SCHOOL [Chicago] '50s REUNION Week-End is Oct.1-3. BALANCE DUE JULY 31ST FLASH!!! NEW OPPORTUNITY TO ATTEND REUNION: It has come to the Reunion committee's attention that there are a number of individuals who would love to attend the REUNION, but for one reason or another don't want to drive at night or just aren't comfortable driving a great distance. GREAT NEWS! Word comes from our Events Chair Shel Marcus that he has arranged with a service to provide transportation for anyone from Chicago and its suburbs to be picked up from their residence and be driven to the Drury Lane /Hilton Suites complex and then have that same service drive them home again for a flat rate. One rate, whether 1, 2, 3, or however many passengers. For complete information, contact Shel at his office, 847-966-7670 ASAP. GO TIGERS!!!! A message from Ken Rosko, President of the Austin High [Chicago] '50s Alumni Committee: Good News to report! The response to attend our gala event is most gratifying. We are getting registrations from all classes from across the country. Our goal is to have representation from every year. If you still haven't sent in your registration, please do so NOW. It helps us in our planning! Remember you can customize what events you want to attend. Your committee has made every effort to make it possible for everyone to attend at any financial level.
    [Show full text]
  • TONY PARENTI & TONY SB.AR.BARO Reel I
    TONY PARENTI & TONY SB.AR.BARO 1 Reel I--Summary--Retyped Also Present~ June 29, 1959 Richard B. Allen Parenti's daughter Inter~iew is taking place at the home of Tony Parenti, 8306 Vietor Avenue, Elmhurst, Long Island. Tony Parenti opens with a joke, based on home-permanent commercials, ~ t "Which J.I\.Tinhas the Toni?" Parenti mentions his appreciation of his basic New Orleans background [and ?] jazz, says he studied music as a child, and has at times had to be a 11legitimate• musician, and at other times has been a "commercial" musician, but at the moment has t resigned / [i ronic connotation?] himself to "working and playing only jazz--no conductors to follOW", no music to read, no mental strains--so now all I do is call out the tune, what key, knock off two beats, and live forever." It is a very warm day--in the nineties. Parenti says it is as hot as it was in the early days in his New Orleans career. Sbarbaro replies that then you could cool off at Milneburg. Parenti says you could not only cool off at Milneburg, you could get to feeling pretty good while you were cooling off there. Parenti recalls when he first started to play jazz, Eddie Edwards was passing by Dauphine and St. Ann Streets, where Parenti 1 s father had a shoemaker 1 s sh~p. Edwards heard Parenti practicing, asked Parenti 1 s father who was playing clarinet. Edwards invited him to come up to a dance mall on Elysian Fields Avenue, upstairs.
    [Show full text]
  • William Russell, Mlna ^Mrs. Bill^ Crals; Musicians, Including Lala: Raymond Burke, Johrmy Wlggs, Bill Crasis
    JOHNM LALA 1 I [of 5] -Digest -Retyped March 15, I960 Also present: William Russell, Mlna ^Mrs. Bill^ Crals; musicians, including Lala: Raymond Burke, Johrmy Wlggs, Bill Crasis. Recorded at Craisf apartment? [T08 1/2] Bour'bon . / Music: "Shine On, Harvest Monn"-Includes reheasal on verse and discussion of key (incomplete) "Sweetheart" (incomplete). "It Had To Be You" (with JL solo). "Savannah" (difficulty finding correct chords for bridge). (ineompltete) JL says Lawrence ShieldsTs brother composed a number about fifty years ago. under another name Talk at3ou-b the original name of "Zero." Joe Oliver txrecorded iV. JL says the name the old-timers had for "Panama" -was "MeafballB", and "Tlgar Rag*' va.B "Number Two"; he days something he seats (sounds like "Original Dixleland One-Step) was called "Mea-b'balls ." "March.of the Bobcats" was originally "Maryland, My Maryland." Sidney Arodln called [ ?] "The Crow" o£r something. "Sensa-tlon" waB originally called "Tuxedo"^ because it was composed in the old tender loin dis'fcricty [in the Tuxedo?] dance hall?; Tom Brown "and all of us" had a hand in it. Burke plays part of "My Little Persian Rose," [check the titl.e against sheet tnusic] saying he used 'to play It -with [Alfred] Laine. JL asks Burke his age; JL says he himself is sixty-six, and that Torn Brcwn VQ.G older than he vo.e . BC plays part of "Maryland, It My Maryland * [KB?] seats bit of [Triumphal March" from Alda,.] Musici "Livery Sta'ble Blues", Bame as "Barnyard Blues"-rehearsal with discussion of key "Melancholy Baby" JL plays "Look At 'Em DolnT It New" JL says La-wrence "Larry" ShieldBj who vas with the Original Dixieland Jazz Band, wrote the previouB tune.
    [Show full text]
  • Marty Grosz Recalls Frank Chace
    Marty Grosz recalls Frank Chace We met by chance at a record store in Evanston in 1948. I was eighteen and had hitch- hiked to Chicago with a school pal. I wanted to be the next Eddie Condon and pal Hugh was going to be the next Berigan or Armstrong. We both worked at a drugstore lunch counter. Frank was a few years older and was taking care of his senile Father (his mother was dead) in the Family's "railroad apartment." "Be Bop" was the newest jazz fad, but we couldn't care less. Frank was crazy about Pee Wee Russell, loved Frank Teschemacher, Jess Stacy, Joe Sullivan, and Fats Waller, also Rollini, and Bix. I would hang out with Frank, and we spent many nights listening to all sorts of clarinetists, and Bessie Smith, Ethel Waters, Lee Wiley, until we reached the "stupor" stage. Sometimes we would hop the EL to the Victory Club, a deadfall on the near North side where trumpeter Lee Collins held forth, and anyone could sit in and did. In 1954, after my discharge From the Army, I returned to Chicago . Frank got me into "The Gaslight Club" on Rush St. where I replaced the banjo-player in a trio: clarinet, banjo, piano. After about two years Frank left because of the piano player, and the patrons banging on tables with little mallets, the no-talent waitresses who were obligated to sing and dance, and the free booze (for musicians) were getting to him. I had to persevere because I was a new father.
    [Show full text]
  • Collection of Jazz Articles
    1 Table of Contents Adams, Dolly 3 Albert, Don 6 Alexis, Richard 12 Allen, Red 14 Almerico, Tony 16 Anderson, Andy 27 Bailey, Buster 38 Barbarin, Paul 39 Barnes, “Polo” 43 Barrett, Emma 48 Barth, George 49 Bauduc, Ray 50 Bechet, Sidney 65 Bechet, Leonard 69 Bigard, Barney 70 Bocage, Peter 53 Boswell, Sisters 84 Boswell, Connie 88 Bouchon, Lester 94 Braud, Wellman 96 Brown, Tom 97 Brownlee, Norman 102 Brunies, Abbie 104 Brunies, George 106 Burke, Ray 116 Casimir, John 140 Christian, Emile 142 1 2 Christian, Frank 144 Clark, Red 145 Collins, Lee 146 Charles, Hypolite 148 Cordilla, Charles 155 Cottrell, Louis 160 Cuny, Frank 162 Davis, Peter 164 DeKemel, Sam 168 DeDroit, Paul 171 DeDroit, John 176 Dejan, Harold 183 Dodds, “Baby” 215 Desvigne, Sidney 218 Dutrey, Sam 220 Edwards, Eddie 230 Foster, “Chinee” 233 Foster, “Papa” 234 Four New Orleans Clarinets 237 Arodin, Sidney 239 Fazola, Irving 241 Hall, Edmond 242 Burke, Ray 243 Frazier, “Cie” 245 French, “Papa” 256 Dolly Adams 2 3 Dolly‟s parents were Louis Douroux and Olivia Manetta Douroux. It was a musical family on both sides. Louis Douroux was a trumpet player. His brother Lawrence played trumpet and piano and brother Irving played trumpet and trombone. Placide recalled that Irving was also an arranger and practiced six hours a day. “He was one of the smoothest trombone players that ever lived. He played on the Steamer Capitol with Fats Pichon‟s Band.” Olivia played violin, cornet and piano. Dolly‟s uncle, Manuel Manetta, played and taught just about every instrument known to man.
    [Show full text]
  • Jersey Jazz Society Dedicated to the Performance, Promotion and Preservation of Jazz
    Volume 36 • Issue 11 December 2008 Journal of the New Jersey Jazz Society Dedicated to the performance, promotion and preservation of jazz. ““Hello,Hello, Central,Central, givegive meme Dr.JazzDr.Jazz”” ongratulations to NJJS member Dr. Francis A. Forte who was C feted at a special concert on October 25th at the Englewood Hospital and Medical Center. With a musical program organized by guitarist Roni Ben-Hur, the tribute, called Jazz, marked the 15th anniversary of the Dizzy Gillespie Cancer Institute and the Dizzy Gillespie Memorial Fund. The medical center provides free medical care for jazz musicians in need, under the leadership of Dr. Forte to fulfill a request made by Dizzy Gillespie when he was in the doctor’s care at the time of his death at age 75 in 1993. Dr. Forte was also honored for his philanthropic work by the Jazz Foundation of America at their annual dinner and concert last May. He is a noted physician, humanitarian and an accomplished jazz guitarist, as well as an occasional contributor to Jersey Jazz and Just Jazz Guitar magazine. —Tony Mottola Story and photos on pages 26 and 27 Dr. Frank Forte. Photo by Free for members! Steve Hockstein/ NJJS Annual Meeting HarvardStudio.com SUNDAY, DECEMBER 7 • CONCERT see pp 3 and 8 New JerseyJazzSociety in this issue: NEW JERSEY JAZZ SOCIETY Pres Sez . 2 NJJS Calendar/Bulletin Board . 3 The Mail Bag/Jazz Trivia . 4 Editor’s Pick/Deadlines/NJJS Info. 6 Music Committee . 8 Crow’s Nest . 47 Prez Sez October Member Meeting: Hull/Jackson/Purvis. 52 By Andrea Tyson President, NJJS October Film: Jack Sheldon .
    [Show full text]
  • JAZZ Unigrid Revised.Qxd
    National Park Service New Orleans Jazz U.S. Department of the Interior New Orleans Jazz National Historical Park A New and Different National Park A painting of a 1905 Most historical parks in the national park system are created to commemorate a photograph of the battle, a place, or a person that played an important role in our nation's history. In Imperial Orchestra 1994, Congress authorized a new and different park in New Orleans as a national tribute to the uniquely American invention - jazz. The park's purpose is to preserve Photographs from the Al Rose Collection, Hogan Jazz Archive, information and resources associated with the origins and development of jazz in Tulane Universtiy the city widely recognized as its birthplace. Early Musical New Orleans, founded in 1718 as the center of pate in drumming, music-making, sporting, Influences the French Louisiana colony, increased signif- and dance activities. Listed on the National icantly in ethnic diversity in the decades fol- Register of Historic Places, Congo Square lowing the 1803 Louisiana Purchase. The holds special symbolic importance to Native existing culture comprised of mostly Americans and African-Americans because of American Indians, French, Spanish and West the role the site played in New Orleans' musi- African people was joined by a new wave of cal and social heritage. German, Italian, Haitian, and Asian-Pacific immigrants, English-speaking Americans and New Orleans prominence as America's first enslaved Africans from the U.S. and other early center for opera, caused both its melodi- parts of the Caribbean. This rich mix result- ous lyricism and repetitive rythmic figures to ed in considerable cultural exchange, creating also exert a powerful influence on the devel- a unique environment for the development of opment of the music.
    [Show full text]
  • Mello [August 3, 1969, Reel III, P»
    JOE LOYACANO 1 Reel I-Retyped SUMMARY August 20, 1959 Also present: Richard B., Alien, Paul R^ Crawford, Mrs» Loyacano This interview was recorded at 935 7th Street at tTie home of Joe Loyacano^ Joe's full name is Joseph Loyacano. People used to call liim "Hook" because of tT-ie nose. The story is told by Manuel Mello [August 3, 1969, Reel III, p» 16] that Joe and [Alfred] "Pansy" Laine used to kid each other about their noseSo Joe adds that they gofc'all their hair shaved off one time, with a razor, just for kic3<s» You could pull a silk handkerchief over their "heads without it3 stickingo ^ Mrs. Loyacano tells that when tT-iey were playing at that time the music wasn't called Dixieland, it was called ragtime. Then f from ragtime it went to Dixieland and from Dixieland to Dixieland jazz. They put it in three stages, and now they are trying to put in the progressive,, Joe was playing tls t when he first went to see her, which is nearly forty-flve years agc^. Joe was in the business [of playing music] for fifty years when he gave it up fhis past January, 1959. He was born October 14, 1893. He will be 66 this coming October,, Joe didn't have any lessons when he first started playing trombone [or ever]" He started by playing a pianola, which was an electric-piano that was pumped with the foot. He would pump w^th his feet and play trombone with his hands and mouthr he learned the trombone that way.
    [Show full text]