SACRAMENTO RAGTIME SOCIETY NEWSLETTER

press release by Chris Bradshaw STING, featuring a full score of ragtime he 11th Annual Sutter Creek Ragtime hits, will be shown at The American Ex- TFestival, officially set for August 14-16, change Hotel, on Main Street. Take in the promises to set time back 100 years as musi- movie and order up a marvelous meal cians take their talents to five venues along while you are at it? Sutter Creek's Main Street. Then, spend Thursday the 13th, shop- This year, two pre-festival events are ping the shops, munching at a favorite eat- scheduled and everyone is welcome. On ery, and stopping by the Emporium for a Wednesday, August 12, a free movie, THE late afternoon ice cream treat before am- bling over to the Greenhorn Creek Golf Resort, 711 McCauley Ranch Road in Angels Camp where Keith Taylor will host an evening of rag- time music by some of the festival fa- vorites. Known as the jewel of the small ragtime festivals, the Sutter Creek In This Issue festival promises the best in ragtime, novelty, stride and boogie-woogie. Events include Silent Movie Night, the Festival theater Concerts, a youth concert, a strolling barber- shop group, some mighty ragtime en- sembles, such as the Carl Sonny See Sutter Creek continued on page 6

by Chris Bradshaw ment. The good news is that even for non- ecently, Omar Brubaker put an enti- performers, active music listeners are also R cing article into my hands that had to fueling their brains. Grey matters! do with playing the piano and how good it One advantage of playing the piano is for the brain. That got me to thinking over most other instruments is that you get and the next thing I knew, I was hopelessly the benefit of cross-brain activity as you try up to my elbows reading internet brain re- to put your left and right hands together. search studies pertaining to music. I In ragtime you have the steady 2/4 rhythm thought it fair game to extrapolate a few in the left hand while your right hand nuggets from the research that might apply dances to syncopated rhythms. The mental to ragtime. workout of playing both hands together Music is a so powerful that the mental also benefits in strengthening coordina- exercise you get from learning a new piece tion. One suggestion from my reading is helps a brain of any age to grow. Research that playing each hand separately before states that the some brain areas of expert combining them will speed up the learning musicians can be up to 5% larger than process. those who have never picked up an instru- See Continued on page 4 SACRAMENTO RAGTIME SOCIETY

By Tom Brier

he June SRS session had two defining characteristics. First, it James Shawcross, piano Twas held on the hottest day of a heat wave, and despite the Original Rags Scott Joplin, 1899 best efforts of the air conditioner, things still got a little warm, par- Jumpin’ Jazz Cat Randall Faber & Nancy Faber ticularly on the stage. Second, it was held on a day when most of Ragtime Prelude Bach, arr. Martha Mier the regular musicians were either out of town or otherwise occu- Blues for Delores Martha Mier pied. So, even though the usual audience of listeners braved the When the Saints Go Marching In Traditional heat to attend the meeting, the musical festivities were carried on Lazy River Hoagy Carmichael & Sidney Arodin, 1931 a mere eleven shoulders. On the other hand, this also meant each Jazzy Spanish Song person could play a lot more than at the typical meeting. This en- Jose Pedilla, arr. Martha Mier abled the ever-enthusiastic James Shawcross to run through the “Sugar” Willie Erickson, piano & *vocal; Edd Burhans, *vocal; rest of his repertoire and delight us with a couple of “reruns” from Tom Brier, *upright piano prior meetings. The Partita No. 3 in C Flat MinorNicolai Shostakovich, arr. Johann We were also treated to the boogie-woogie stylings of Ken Sebastian Bach Hall, making his second appearance at SRS. *Mairzy DoatsMilton Drake, Al Hoffman, & Jeffy Livingston, 1943 Many thanks to Deborah Gale for keeping the meeting run- ning smoothly in Petra Sullivan’s absence, and to Bob and Bon- “Sugar” Willie Erickson, tuba; Cleve Baker, piano; Tom Brier, nie Gonzalez for the use of their sound system. Now here’s what upright piano was played: Coquette Gus Kahn – Carmen Lombardo & John W. Green, 1928 Tom Brier, piano Ken Hall, piano or *upright piano The Scorcher George Rosey, 1897 Dinah Sam M. Lewis & Joe Young – Harry L. Akst, 1925 Orion Neil Blaze & Tom Brier, 2008 *Avalon Al Jolson & Vincent Rose, 1920 Cookie-Cutter Rag Tom Brier, 2008 Some Of These Days Shelton Brooks, 1910 Cleve Baker, piano James Shawcross, piano Red Rambler Rag Julia Lee Niebergall, 1912 12th Street Rag Euday L. Bowman, 1914 Dream Again Pete Clute & Bonnie Otto Satin Doll I’d Give A Dollar For A Dime Andy Razaf & Eubie Blake, 1940 Johnny Mercer – Duke Ellington & Billy Strayhorn, 1953 Soft Shoe Shuffle Pete Clute RASPBERRY JAM BAND RASPBERRY JAM BAND Tom Brier, piano; George Preston, euphonium and *vocal; Mary Tom Brier, piano; Mark Meeker, tuba; George Preston, euphoni- Preston, violin; Julia Riley, flute & piccolo; Kitty Wilson, percus- um and *vocal; Mary Preston, violin; Julia Riley, flute & piccolo; sion Kitty Wilson, percussion Redneck Rag Brian March Alabama Jubilee Jack Yellen – George L. Cobb, 1915 *If I Had You *Bagdad Jack Yellen – Milton Ager, 1924 Ted Shapiro, Jimmy Campbell, & Reg. Connelly, 1928 Cleopha Scott Joplin, 1902 Do You Know What It Means To Miss New Orleans? Happy Feet Jack Yellen – Milton Ager, 1930 Eddie De Lange – Louis Alter, 1946 *You’re A Grand Old Flag George M. Cohan, 1906 *Radio Bob Marcus, 1969 Super Mario World 2 – Yoshi’s Island Koji Kondo Cleve Baker, piano If Someone Would Only Love Me Tom Brier, piano; *Kitty Wilson, washboard; **“Sugar Willie” Harrison Smith – Ben Garrison, 1930 Erickson, upright piano Chauncey’s Theme (aka Little Enough) Turk Murphy *Gustavo Tango L. Anton Triné, 2004 Medley: You Were Meant For Me Broadway Rag James Scott, 1922 Arthur Freed – Nacio Herb Brown, 1929 The Gateway To Michigan J. Paul Wait You Are My Lucky Star **The Entertainer Scott Joplin, 1902 Arthur Freed – Nacio Herb Brown, 1935 Get This Walter Blaufuss, 1913 The Lion Tamer Rag Mark Janza, 1913 Huskin’ Time George L. Cobb, 1914 Razor Blades Tom Brier, 1994 SACRAMENTO RAGTIME SOCIETY

By Nan Bostick Okay, so here's my list of things new Add your sustain pedal only when you can 'm not a piano teacher, but a week ragtime players (and plenty of profession- play the entire rag accurately with a steady Idoesn't pass without someone asking me als) should try to avoid: tempo and are ready to concentrate on for hints on learning ragtime. I find myself highlighting your phrasing and adding repeating the same advice over and over, so 1) Emulating a current artist: Observe more expression. maybe it's time I make a list. I admit to a and learn from today's professional players, 4) Learning a new rag by playing it over particular historical bent–I do my best to but skip thinking “I want to play like and over from start to finish: This guaran- be true to the composer and to attempt to him/her.” Won't happen and shouldn't. tees a perennially uneven performance. perform ragtime authentically. I avoid We love that you buy our CDs and sup- Play the entire piece once or twice just to swinging ragtime like the plague, particu- port our gigs, but copying a modern artist's determine which sections or passages make larly the classic rags. A little swing might be style hardly leads to confidence (much less you stumble. Then practice only those chal- okay for later rags, like the fox-trot rags of authentic ragtime playing). Sure, be in- lenging parts, nothing else, avoiding play- the mid teens (when jazz was beginning spired by others. Whenever I watch Mimi ing the entire rag until you can perform and dancers loved those dotted sixteenth Blais or Brian Holland or Morten Gunnar the hard parts with same comfort as the and thirty-second note riffs), but as a rule, Larsen perform, I want to race home to easier parts. if you plan to swing Joplin or Joseph Lamb the piano to smooth out runs, practice play- From the start, it's important to figure rags, call yourself a jazz player and don't ex- ing a true pianissimo, or work on phras- out why those challenging parts cause you pect to be favored by most ragtime produ- ing. difficulty. Chances are it's fingering. I al- cers. 2) Looking miserable while you play: ways begin by finding a comfortable and lo- I do improvise a little, but I always cre- It's not that hard to smile while you're play- gical fingering. If I see a twisted, rather ate improvisations based on ideas gleaned ing, but so many performers look as if than flat, relaxed hand, I try a different fin- from vintage ragtime piano rolls and old re- they’re in pain. Audiences can't help feel- gering. If I find I'm using the same finger cordings. During ragtime's heyday, more ing uncomfortable, or even bored, if you to play two consecutive notes in a run people heard ragtime from the band shell look miserable (or nervous) at the piano. (sometimes unavoidable in ragtime, espe- than from a piano, so I like to know which They can forgive a whole lot of goofs so cially with the thumb), it's a huge clue that instruments, violins? trumpets? piccolos? long as you make it look fun. Not long I've got the wrong fingering. When I fi- carried a particular ragtime melody, and ago, Randy Johnson videotaped a set I did nally get it all figured out, I mark the fin- which supported certain counterpoints or for the Rose Leaf Club. I botched notes in gering on my music, often in bright red bass lines the tuba? trombone? banjo? Emu- every piece, even lost my place on a pencil. It's embarrassing how many num- lating the flavor of such instruments on couple, and felt thoroughly mortified by bers, arrows, circles and “Watch it, the piano is just plain fun, not to mention my performance, but I smiled and hooted Dummy!” marks I write on my music— a great way to develop technique and a cre- it up throughout, and later, when I saw which reminds me of another bit of advice ative style. that tape, I had to admit: “This gal's really I always tell new ragtime learners: UC Santa Barbara's Cylinder Preserva- fun. I'd hire her in a minute.” It was a true tion site: http://cylinders.library.ucsb.edu eye-opener (or should I say “ear-opener.”) I is my absolute favorite for hearing and couldn't hear half the mistakes I thought downloading orchestrated ragtime record- I'd made. 5) Practicing and performing ragtime ings. You can search for particular titles, 3) Relying on the sustain pedal to cover faster than you’re able: If you can't play a composers, performers, years, or even sub- inaccurate playing: This is the most preval- passage slowly, you certainly can't play it jects. One could also spend weeks brows- ent (and most complained about) error in fast. Your tempo will naturally increase ing the Performing Arts/Music section of ragtime. Get real. The sustain pedal once you really have the rag under your fin- the Library of Congress American Memory doesn't hide mistakes. Worse: it sustains gers. But until then, practice at a turtle's site: http://memory.loc.gov/ammem/in- them, blending your goofs with your cor- pace and aim for accuracy. Otherwise dex.html. You can also download sheet mu- rect notes and achieving an inharmonious you'll program your fingers to play inac- sic from this site. Perfessor Bill provides ragtime mush. Yes, the sustain pedal seems curacies that are tedious to unlearn. Every sheet music covers (tons of them!) at ht- to increase your volume, but you're better time I return to a rag I learned incorrectly tp://www.perfessorbill.com and if he off developing hand and arm strength for years ago, I have to work out the same knows where the music is, he gives the those fortissimos and learning to play dumb mistakes time and again. Seems the link. Two other fun sites are: ht- softly so your fortes really shine when you initial way I train my fingers becomes my tp://www.parlorsongs.com/index.php and crescendo. I suggest roping your foot to the http://www.ragtimepiano.ca/index.htm. piano bench while learning a new piece. See Continued on page 6 SACRAMENTO RAGTIME SOCIETY

Continued from page 1 more advanced player has to challenge him- music is good for the soul, good for the self with much harder music to push his heart and just plain fun to listen to, but When playing a musical instrument, brain to the "work-out"” level. isn't it wonderful that we now find out it is you are increasing your aural awareness. While you are playing, your brain is also good for the brain. Now, don't you While listening to melodies, you are train- taking in the building blocks of music—har- feel a lot smarter knowing that! ing your ear for pitches and intervals, and mony, theory, and musical forms. Talk this is all happening on a subconscious about mental exercise! Even if you aren't level, a skill that can be honed not only by playing but are listening to music on a players but by listeners as well. deep level–maybe noticing if a piece is a RS's own masterful tuba player has just Then, think about the skills it takes to march, a rag or a cakewalk–you are build- received a big boost in her “other” ca- sight read a sheet of music. Your eyes have ing mental muscles. Playing an instrument S reer. This item was recently received as to follow the music while your hands obey opens up opportunities for social interac- part of a press release. different commands to produce the tion, too. Whether playing with or for sounds. You are strengthening your eye someone, you are sharing with others. The Yolo County Board of Supervisors muscles. All that self-correction you do has announced the appointment of Robyn Think of ragtime as a social communica- Truitt Drivon as Interim County Adminis- when you strike a wrong note, shows that tion tool. Even a lone performer is commu- your ears are working overtime, too. Sight trator. She will be filling this position upon nicating with an entire room and that the retirement of County Administrator reading uses some of the same skills used in communication goes both ways. How Sharon Jensen later this summer. Ms. learning a foreign language. Think about it! many times have you laughed with Mimi Drivon will also continue serving as A beginning language student learns a new Blais over her musical tricks, or interacted County Counsel, a position she has held word and when he hears it later in a conver- with a neighboring audience member since 2006. sation, he might translate it into English in when Tom Brier leaves the keyboard abso- his brain, construct an answer and find the lutely smoking? I am sure I'd get no argu- foreign words to convey it. For awhile, it is ment that ragtime is profoundly good for a complicated process. A beginning music one's well being. Those smiles from the student looks at each note (sort of like look- audience say it all. ing at each letter in a word), figures out And playing the piano keeps your fin- what the note is, figures out where it is on his message was recently received from gers limber. You've got oxygen laden blood his instrument and then plays it. Doing this Bill Jones the publisher of The Amer- cells marching to the outer extremities of T over and over again, the magic comes when ican Rag newspaper. your body. As you move to music, whether you can look at the note and “no translat- playing or tapping your toes, your pulse This is to let you know The American ing” is necessary. Your fingers go right to it. quickens and you just feel more alive. Rag has made arrangements with Bill The good news is that your brain gets a bet- Mitchell to be our Ragtime recording re- We've all known all along that ragtime ter workout if you are a novice player. A viewer. I'm sure you are all familiar with Bill as a very accomplished ragtime pianist and President of the Roseleaf Ragtime Club in Southern California. normally meets the last Sunday of the month. If you would like to Bill is ready to write reviews for us, and CDs and DVDs should be sent dir- receive the monthly newsletter, the subscription rate is $16 per year. ectly to him with a copy to me so I'll know The subscription year runs from August 1st to the following July they've been sent to Bill. I send the copies sent to me to the youth jazz camps we sup- 31st. Subscriptions beginning after August 1st may be pro-rated. port so those recordings can get into the hands of the young musicians at those Payments should be made payable to Sacramento Ragtime Society. camps. Bill Mitchell 224 Chinook Cir. Placentia, CA 92870-1412 Email: [email protected] The decision to review is at Bill's sole Merv Graham, PO Box 2286, Grass Valley CA 95945 discretion. (530) 273-0487 Don Jones, Publisher The American Rag 20137 Skyline Ranch Dr. Apple Valley, CA [email protected] 92308-5035 SACRAMENTO RAGTIME SOCIETY

by Hal Krueger piccolo. It was a BLAST indeed! of blowing the whistle during Nan, Robyn ay Area fans of Ragtime were treated After intermission, more tunes fea- and Pete’s performance of Nan’s composi- Bto a fun event when Nan Bostick and tured select expertise of the individual mu- tion Bean Whistle Rag. The program ended her talented team of “B’s and D’s”, consist- sicians Included was Pete’s Demon Drum, with Galen Wilkes’ composition Sedalia ing of pianists Chris and Jack Bradshaw, his jug-blowing and cheek-tap rhythm ac- Stomp with the Bradshaws leading the audi- Robyn Drivon (tuba) and Pete Devine (per- companiment. Sergey performed Rialto ence participation in raising hands in cussion, jugs & cheeks), presented what Ripples, again show-casing his incredible pi- “clap” at the appropriate time without miss- th was billed as a “Multi-Handed 4 of July Rag- ano accomplishments at the tender age of ing a beat on the piano keys. Following time Blast and U.S.O. Benefit”. Also fea- 14 years. the concert, the near- capacity crowd was tured was Sergey Smirnov, 1st Place th Chris was awarded the dubious honor treated to a good old-fashioned 4 of July BBQ, including the traditional watermel- on, hosted by the Church Pastor all for the mere price of $5 per person for the meal. This is the second consecutive year Nan has organized this fine event which has benefited the USO of Northern Cali- fornia to the tune of more than $2,000 cu- mulatively. As a volunteer and staff member in the San Francisco Airport USO center, I can vouch for how meaning- ful this support is in providing “a home away from home” for the military men and women who serve our country. The USO/SFO receives no federal or state gov- ernment or military funding and relies on private and corporate donations. The mu- sicians giving of their time and talent for this worthy cause was greatly appreciated. It was a fine way to spend the 4th of July, 2009 winner in his class of WCRS’ Youth Piano Competition last year. The program started with the B’s & D’s performing a rousing rendition of Mar- gery . Nan then demonstrated ragtime syn- copation, followed by several ragtime tunes performed by the entire group, inter- spersed with solo, duo and other combina- tions of musicians. Of special note during the first half of the program was Sergey’s playing Cataract Rag, the tune that won him the youth competition already men- tioned. The birthday of Kathleen McN- ulty, a loyal ragtime fan and supporter (as is her husband Omar Brubaker) was recog- nized with Pete Devine performing Happy Birthday and You’re a Yankee Doodle Dandy on his cheeks. A real highlight was the last tune before intermission, Stars and Stripes Forever, with Robyn Drivon playing on her tuba the notes normally associated with a SACRAMENTO RAGTIME SOCIETY

Continued from page 1 Continued from page 3 Leyland Trio, the Crown Syncopators, the fingers’ default setting forever. So now I by Hal Krueger Ragnolia Ragtette, The Raspberry Jam learn (and relearn) rags very slowly, focus- 've written in the past about "one never Band plus a line up of players that include, ing on fingering and accuracy before any- Iknows what surprises are in store" dur- Patrick Aranda, Andrew Barrett, the Brad- thing else. ing Ragtime events at Pier 23 in San Fran- cisco. shaws, Tom Brier, Crown Syncopators, the A word about tempo: the best ragtime Two recent ones come to mind: Drivons, Marty Eggers, Frederick Hodges, tempo for you is the tempo you can play 1) Marc Tassin, a grandson of "Ragtime" Vince Johnson, Carl Sonny Leyland, Larisa with comfort. We have plenty of show-offs Bob Darch, who came to town from Migachyov, Will Perkins, Stevens Price, dishing out rags at top volume and speed Michigan for a business convention and Tim Rotolo, Hal Smith, Keith Taylor, Alan to the point of losing the syncopation (not "just happened" to stop by at Pier 23. He Thompson, Virginia Tichenor and more. to mention a whole lot of notes and eventu- performed and sang a "camptown" tune Reserve your badge now through the ally audience appeal). As a general tempo during Marty Egger's intermission. Mother Lode Ragtime Society, 11310 Pro- guide, I ask: “"Could I comfortably march spect Drive #10, pmb 12, Jackson, CA or dance to this piece at this tempo?" If so, 2) Chase Garrett, a young man, 19 years 95642. Cash or checks only. For more in- I figure I've got it right. Then I ask: “"Can I of age, from Iowa who came along with formation, call 209-223-0867, e-mail jass- maintain the beat at this tempo?" and head Carl Sonny Leyland on June 30th, and he [email protected], or visit straight for my metronome and practice played a fantastic blues/boogie style the www.suttercreekragtime.com. So save the with that. likes of Carl's performances. An incredible talent! dates August 14-16th and we'll see you in 6) Attempting to learn too many rags at Sutter Creek, if not before at the pre-festiv- once: The problem here is that you never al get any of those numerous rags under your belt. So what if you keep playing the same ara French discovered that her pi- rags at our ragtime club gatherings? At least Mano was a Jesse French model, des- a month has passed since we heard you pite what the front label said, and did play them, and we'd rather watch you play some research on them. We happily welcome new SRS member confidently than shakily. Plus people enjoy Check out this interesting link: hearing you improve. I try to limit myself Jesse French Pianos http://www.frenchfam- Gary Hunsaker to learning no more than three new rags at ilyassoc.com/FFA/FAMOUS- Concord CA a time. Any more and I'd run out of time FRENCHES/JesseFrenchPiano.htm to refresh the rags I've already learned.

Jul 21 Virginia Tichenor Jul 28 Frederick Hodges Jul 22 Tom Brier and Kitty Wilson Aug 4 Virginia Tichenor Jul 29 Norm Gary Trio Aug 11 Crown Syncopators Aug 5 John Coccuzi Aug 18 Marty Eggers—Marty's 10th anniversary with Pier 23! Aug 12 Dr. Bach with Jim Maihack Aug 25 Frederick Hodges Aug 19 Frederick Hodges Sep 1 Virginia Tichenor Aug 26 Tom Brier and Kitty Wilson Sep 8 Frederick Hodges Sep 2 Pat Blucher's Nostalgia Sep 15 Marty Eggers For more information call 916-987-7434 or e-mail Sep 22 Crown Syncopators [email protected] Sep 29 Frederick Hodges

For more information call 415-362-5125J SACRAMENTO RAGTIME SOCIETY

Sacramento Ragtime Society events are starred (*) and up to date information can always be obtained from the society's web site at www.SacramentoRagtime.com. Please let us know as soon as possible about upcoming ragtime or ragtime related events so we may list them.

26* Sacramento Ragtime Society, Red Lion Sacramento Inn, 1401 Arden Way, Sacramento, 1:00–4:00 P.M. 916-457-3324

14-16 Sutter Creek Ragtime Festival, Sutter Creek, info: suttercreekragtime.com or 209-223-0867 See press release 17 Devil Mountain Jazz Band with Virginia Tichenor, Moose Lodge, 13233 San Pablo Ave, San Pablo 1:30-5:30 P.M. Info: nojcnd.org or 415-661-9893 30* Sacramento Ragtime Society, Red Lion Sacramento Inn, 1401 Arden Way, Sacramento, 1:00–4:00 P.M. 916-457-3324

7 Devil Mountain Jazz Band with Virginia Tichenor, Banjo Jubilee, San Jose. Info: jazznut.com 14 Royal Society Jazz Orchestra-Gatsby Picnic, Dunsmuir House, Oakland, 2:00-6:00 P.M. Info: 415-982-3326 or artdecosociety.org or rsjo.org 27* Sacramento Ragtime Society, Red Lion Sacramento Inn, 1401 Arden Way, Sacramento, 1:00–4:00 P.M. 916-457-3324

20-22 West Coast Ragtime Festival, Red Lion Sacramento Inn, Sacramento

Sunday Brad Kay, The Unurban, 3301 West Pico Boulevard, Santa Monica, 2:00–4:00 P.M. Sunday Devine's Jug Band, On the Corner Cafe, Divisadero & Oak, San Francisco, 2:00–4:00 P.M. 1st Sunday Friends of Scott Joplin—Ragtime Rendezvous, The Pub Above at Dressel's, 419 N Euclid St. St Louis, MO, 5:30–8:30 P.M. 1st Sunday Portland Ragtime Society, It's a Beautiful Pizza, 3342 SE Belmont St, Portland, OR, 2:00–6:00 P.M. 1st Sunday Classic Ragtime Society of Indiana, Even-numbered months (e.g. February, April, etc.) only. For more info contact Josi Beeler 317-359-6452, [email protected] or Irene Weinberg 317-578-7883, [email protected]. 1st & 3rd Sunday—Sacramento Banjo Band, Straw Hat Pizza, 2929 Mather Field Rd, Rancho Cordova, 2:00–4:00 P.M. 2nd Sunday Mont Alto Ragtime & Tango Orchestra–Tea Dance, Temple Events Center Uptown, 16th & Pearl, Denver, CO, Lessons 1:30–2:00 P.M. Dancing 2:00 5:00 P.M. Call 303-655-9413 or 303-449-5962 for more information. Last Sunday Rose Leaf Ragtime Club, Aztec Hotel, 311 W. Foohill Blvd., Monrovia, 2:00–5:00 P.M. Participating musicians free, $2 donation for others, 626-358-3231 or 818-766-2384 Tuesday Ragtime and Vintage Piano Music, Pier 23, San Francisco (See separate listing) Tuesday East Bay Banjo Band, Round Table Pizza, 1938 Oak Park Blvd. Pleasant Hill, CA 7:30–8:30 P.M. 925-372-0553 Tuesday Victorian Dances, Lake Merritt Dance Center Lounge – Oakland Veterans Bldg. 200 Grand Ave, Oakland, 7:00 P.M. Beginning & Intermediate classes and dance. $8, For more info: 530-759-9278 or www.vintagewaltz.com Tuesday Peninsula Banjo Band, Straw Hat Pizza, 1535 Meridian Ave, San Jose, 8:00–9:00 P.M. Tuesday Piano Ragtime Cutting Contest, Frederick's Music Lounge, 4454 Chippewa, St. Louis, MO, 7:00–9:00 P.M. Contestants appear on the Ragtime St. Louis TV show. For more information 314-968-2635 or [email protected] Wednesday Ragtime & Vintage Music, Straw Hat Pizza, Rancho Cordova, (See separate listing) Wednesday Craig Ventresco & Meredith Axelrod, Cafe Divine, 1600 Stockton St. (across from Washington Square) San Francisco, 7:30–9:30 P.M. 415-986-3414 2nd Wednesday—Marty Eggers & Virginia Tichenor, Hot Ragtime & Classic Jazz Piano, The Belrose Theater, 1415 5th Ave. San Rafael 5:30–8:00 P.M. 415-454-6422 or 510-655-6728, Wine bar, beer & light food available. No cover charge. Thursday Oakland Banjo Band, Porky's Pizza Palace, 1221 Manor Blvd. (corner of Farnsworth) San Leandro, 7:30–9:30 P.M. 510-357-4323 Friday Jerry Rothschild, Curley's Restaurant, corner Willow & Cherry, Signal Hill (So. Cal), 7:00–10:00 P.M. 562-424-0018 Friday Keith Taylor, Mad Matilda's, Baker City, Oregon. For more information call 541-519-4072 SACRAMENTO RAGTIME SOCIETY c/o Merv Graham PO Box 2286 Grass Valley CA 95945

SACRAMENTO RAGTIME SOCIETY Page 8

1st & 3rd Friday—Friday Night Waltz, 1st United Methodist Church, 635 Hamilton St. (& Cowper), Palo Alto, Lessons: 7:00–9:00 P.M., Dancing 9:00 P.M. to Midnight. 650-326-6265, [email protected] or www.fridaynightwaltz.com 2nd Friday Chico's Ragtime/Tin Pan Alley Sessions, The Terraces, 2750 Sierra Sunrise Terrace, Chico, 6:30–8:30 P.M. Contact: Bernie or Bob LoFaso 530-894-6854, [email protected] 4th Friday Vintage Dance & Waltz Lessons, Finnish Hall, 1970 Chestnut, Berkeley, $6 for dance; $8 lesson & dance 8:00 P.M. Lesson; 9:00 P.M. to midnight, Dance. For more info: 530-759-9278 or www.vintagewaltz.com 1st Saturday Bitterroot Valley Ragtime Society, Hamilton Public House, Victor, Montana, 4:00–6:00 P.M. For more info call 406-961-3245 or visit www.bitterroot-ragtime.com 1st Saturday San Francisco Starlight Orchestra, [Feb, May, Aug & Nov only] Strawberry Recreation Center, 118 East Strawberry Drive, Mill Valley, $20. 7:00–8:00 P.M. Complimentary Dance Lessons with Cynthia Glinka, 8:00–11:00 P.M. General dancing; Soft drinks and desserts available or BYO spread. Contacts: 707-973-6107, 415-485-5500 (Cynthia Glinka) or 415-285-8409 (Lucia & Duke Edwards). 1st Saturday San Francisco Banjo Band, Molloy's, 1655 Mission Road, Colma, 7:30 P.M. Info: 650-692-7878 2nd Saturday Valley Ragtime Stomp. Vitello's Restaurant 4349 Tujunga Ave. Studio City, CA , 1:00–4:00 P.M. Info, videos, and sign-up for e-newsletter via: http://www.valleyragtimestomp.blogspot.com 2nd & 4th Saturday Friday Night Waltz, Oakland Veterans Bldg., 200 Grand Ave. at Harrison, Oakland, 7:00 to Midnight 650-326-6265, [email protected] or www.fridaynightwaltz.com 3rd Saturday Mother Lode Ragtime Society, Sutter Creek Ice Cream Emporium, 51 Main St. (Hwy 49), Sutter Creek CA, 7:30–9:30 P.M. [Odd numbered months only] For more information call 209-267-0543 or [email protected] 3rd Saturday Cascade Ragtime Society Ragtime Jam, Noah's Ark, Winston, Oregon [Even numbered months only] 541-784-1261

Mondays The Ragtime Machine, KUSF, 90.3 FM, San Francisco. 9:00 10:00 P.M. Host: David Reffkin, www.kusf.org Sundays Syncopation Station, KDHX 88.1 FM, St. Louis, Missouri, 4:00 5:30 P.M. Host: Vann Ford, www.kdhx.org Thursdays Ragtime America, KGNU, 88.5 FM, Boulder, Colorado, 8:00 9:00 P.M. Host: Jack Rummel. www.kgnu.org Continuous Rocky Mountain Ragtime, Ragtime 24 hours a day, www.live365.com/stations/rmragtime