Aug. 1977 Vol. 7 No.8

PRJC Special for August: The Jazz Minors At Marriott Twin Bridges Sat. Aug. 6, 1977 9-1 Members $4, nonmemhers $5 W t £ & ^ G a & wPjgfflk ^ b F k 5^j^R ^ w P ^ 5f\jj^ -^otk *9\®?^ *%?** ^Sof^ •^Sbt^- ^tuP* ^Sor^ ^T®r^

MEMBERSHIP APPLICATION, POTOMAC RIVER JAZZ CLUB

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RECORD COLLECTOR ( ) YES

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* MEMBER OF ORGANIZED BAND? '^ 5 '" INTERESTED IN ORGANIZING OR JOINING ONE?

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DESCRIBE YOUR JAZZ INTERESTS BRIEFLY (What styles interest you, etc.)

[ ] Individual membership - $7.50 per year. Member is eligible for all benefits of the PRJC, including all discounts offered and the right to vote in the general election and to hold office in the club.

[ ] Family membership - $10.00 per year. Both husband and wife are eligible for benefits described above. Children under 18 are eligible for all discounts. (A single person buying a family membership is eligible for all benefits described above; discounts offered will be extended to one guest when that guest accompanies the member.)

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Mail to: Doris B. Baker Membership Secretary 7001+ Westmoreland Rd. Falls Church, Va. 2201+2 Buzzy's Gig Ends Tail gate Rambling: One of the longest running gigs in PRJC history, long predating the club's exis­ Vol. 7 No. 8 tence, came to an apparent end in mid- August 1977 July, when the Stutz Bearcat JB got the Editor - Ted Chandler pink slip from Buzzy's Pizza Warehouse Contributing Editors - A1 Webber in Annapolis. Citing economics as the Dick Baker reason, management indicated satisfaction Ed Fishel with the band, but pointed to lack of Cover Art - Kevin Mitchell parking space and a location off the PRJC President - Harold Gray beaten track as factors militating against large enough crowds to maintain the gig. TR is published monthly for members of Few of what crowds did gather each the Potomac River Jazz Club, a nonprofit week were PRJC members. group, dedicated to preservation of The Stutz Bearcats, whose personnel traditional jazz and its encouragement had remained remarkably constant over the in the Washington-Baltimore area. Signed past year, have developed into a hard­ articles appearing in TR represent the hitting, crisp band with a metronomic views of their authors alone and should rhythm section and a tight, often uproar­ not be construed as club policy or ious front line. opinion. Led by clarinetist Chuck Brown, the Articles, letters to the editor, and band includes Joe Shepherd - tpt; Gerry ad copy (no charge for members' personal Nichols - tbn; John True - po; Bill ads) should be mailed to the editor at: Nelson- bass; and Gil Brown - drums. The 7160 Talisman Lane band, formed as the Basin St. JB, was Columbia, Md. 210^5 originally put together by the late Lou Weinberg from musicians who got togethet- • • • • at the PRJC open jam session. It was the latest in a long succession of trad­ The RECORD CHANGER L i v e s itional bands that have occupied Buzzy's I cannot think of any announcement bandstand as far back as 1962, by some that would make me prouder than this: accounts. The Stutz band had been at the Starting with this issue of TR, we pizza joint for two years. are happy to announce the reprinting The folding of the Buzzy's gig leaves of historical material of great import­ traditional jazz in parlous condition ance from the pages of the late Gordon in Maryland. About the only Maryland Gullickson's great magazine, The Record gigs left for PRJC bands are the South­ Changer. Material included in this ern Comfort engagement at Shakey's in first of a continuing series is a report Rockville and the continuing gig of the of an interview with the Black composer Bay City 7 at Baltimore’s Nobska Rest­ of Jazz Me Blues and many other classic aurant . a A jazz songs, Tom Delaney, and one of TR Goes 3rd Class a series of columns that appeared in With this issue of TR, you will be the Record Changer by Gully's good friend, receiving it by Third Class mail Roy Carew. Both of these features rather than by First Class. This is an appeared originally in 19^ . experiment to see if, by use of this Some heartfelt thanks are due to a _ kind of mail service we can expand our number of people involved in this project. service to you while maintaining some Among them: Ruth Gullickson, Gully's wife, kind of reliable mailing schedules. who gave her permission for use of these This will allow us to expand the historic articles; Orin Keepnews, who size of TR modestly from time to time bought the Record Changer from Gully and as occasion may warrant, and include who added his okay to the project; Jeff new features. Bates, who procured clearances and helped One thing, however, should be kept select material, and Rod Clarke, who in mind. With first class mail, we made the material in his files at the received undeliverable copies back. National Museum of Traditional Jazz Under the new system this is no longer available. Incidentally, Rod is missing possible, so unless you tell us, we some issues of the Record Changer, and will have no way of knowing whether asks that people search their attics you have moved or otherwise are not for copies they might be willing to receiving your TR. Also, there may donate to the Museum. TC A A be times when TR is a day or so later ■ than you normally receive it. These NEEDED: Picnic workers for Sat. Sept. 17• drawbacks, however, are minor and the All kinds of tasks - volunteers needed. possibility for a bigger, better TR Call Fred Wahler - 89^-6370. is the main reason for the move. A ▲ -3 But On The Other Hand An Editorial Outcry booth, there would be 17-year-old Johnny Just about the precise place where you Windhurst keeping up with the band on drive onto the on-ramp of the Mass. his cornet mouthpiece. Ruby Braff would Turnpike heading west from Boston's usually drop in and we'd groan a little Copley Square, I always say the brief­ because he still had not learned to est kind of RIP prayer. control his horn very well and was At that point, you drive across the not one of our favorites at the time. place where the bandstand used to be at One time Neil Hefti was there as a the Copley Terrace. The Copley (pronoun­ spectator and a number of us bullied ced COP-lee, never ever COPE-lee, for him into sitting in (a hopper, Hefti was God's sake) Terrace reached its zenith contemptuous of traditional jazz). To in the mid-40s, and in that brief period our shocked surprise, he not only knew housed some of the best jazz in a city Muskat Ramble, but took a pretty good which had jumped like mad since the days solo when it came his turn. But he a decade earlier when Bobby Hackett and snarled at us when he came off the Brad Gowans broke things up at the old stand. Theatrical Club (which was even before I don't know what this is all my time!). about. I just got thinking of the The Terrace bandstand was graced by Copley Terrace. people like Frankie Newton and Vic Dick­ A A enson, Joe Marsala, Ed! Hall, Wild Bill Davison, Art Hodes, Freddie Moore, Max Whatever Joe Shepherd did for the Govern­ Kaminsky, Pee Wee Russell, Ruby Braff, ment before he retired recently, it Buzzy Drootin, Bob Wilber, Johnny Wind- should have been in the diplomatic service. hurst, and Shirley Mhore (a tragic young The^ other day, Jazzbo Brown from Black singer who never could lose the Columbia Town asked Joe to frankly rate notion that we who loved her most were his kazoo playing. "well, Jazzbo," Joe seeking to injure her. John Kirby heard said thoughtfully, "I'd rank you about and hired her, but she soon afterward, third in the country." killed herself). Jazzbo could not contain his happi­ The Copley Terrace also was the home ness at the compliment. "Who are the of a band which was a precursor of the others?" He asked. New Black Eagles. The Charlie Vinal Joe smiled upon him and let him have Rhythm Kings were a group of semi-pro i'o ! '^°^n s o n McCree is second, and about musicians holding regular jobs off the 10,000 guys are tied for first," he bandstand. Howie Gadboys, the clarin­ said. etist, was a medical student; bassist A A John Fields and drummer Bill Burch drove EVERY KNOCK'S A BOOST OR (CONCEIVABLY) hacks. The band w a s named after a young VICE VERSA DEPT. That absolutely utterly cat from Quincy, wheelchair-borne - a marvy jazzmag, Jazzology, published by victim of polio. Charlie had recently the devine Bill Bacin said the strangest died but before he left us he established thing in its Apri1-May-June issue, 'wigs. such a reputation that Benny Goodman used It asked a question: "Is Tailgate Ramb- to go down to Quincy to jam with him when lings now a susidiary (sic) of Down Beat*'5" he came though town. The clarinet was TR never reads Down Beat, d'Ears, and Charlie’s axe. hardly ever reads Jazzology. Ears is The CVRK guys had all played with Char­ bewitched, bothered, and bemildred. What lie at one time or another and wanted to could dear Bill have been saying? Scads ensure that his memory would last. more next month. Anyway, they were the house band for A A Sunday jazz concerts staged weekly at the Fred Wahler’s got a problem - a problem Terrace by the Boston Jazz Society - most band bookers would dream of. He's bashes that were among the most musically got too many bands for the picnic! The productive sessions I've ever seen. Sept. 17 PRJC picnic has 14 half-hour Nat Hentoff, Chairman of the BJS Board, time slots between noon and 7PM, but was usually emcee and traffic cop for the Fred has 16 bands. Is there a solution sessions, which would by afternoon's end, short of drowning two traditional bands? usually see the Rhythm Kings, an invited Ah, but yes! Be prepared for a little guest star (playing for scale), and 6 or longer picnic this year. Fred has been 8 uninvited visiting firemen blowing their empowered to procure some lighting, and heads off before large and appreciative the result is that Blob’s Park (with a crowds. We'd have front lines like Wild name like that it's gotta be good) will Bill, Bechet, and Dickenson, or Maxie, swing for an extra hour. Remember the Ed Hall, and Brunis. Over in a side date -Sept. 17» noon- 8pm. --TC ▲ a

- 4- PRJC Gets Some Cul ture C COMMUNICATION The PRJC has joined the new Cultural Alliance of Greater Washington so that Dear PRJCers: traditional jazz will be represented The "Tarnished " has finally made it 6 among all the other performing arts for one decade of paying dues to the union groups of the region. The Alliance was and the fraternity of Pi Kappa Play the Saints. We changed drummers once 3 years suggested by Nancy Hanks, promoted by Patrick Hayes of the Washington Perform­ ago, and tuba players 5 years ago but other than that, the "Tarnished 6" has ing Arts Society, and organized in May been playing or jobs per month for by its Chairman, Delano Lewis of the 6 8 Capitol Ballet. 10 years. Aside from occasional trips, which Other cultural organizations on its include two performances for PRJC and a planning committee include the Smith­ guest appearance at the St. Louis Ragtime sonian, Arena Stage, Opera Society, Festival, the band plays mostly in National Theater, Wolf Trap, Kennedy Centre County, Pa., for the delighted Center, Folger Theater Group, Corcoran Penn State fans, local bar patrons, jazz Gallery, Torpedo Factory Art Center, Arlington Dance Theater, National Sym­ buffs, and shoppers in a recent grand phony, and the Jewish Community Center. opening of a supermarket. As a gesture to all the bar owners, Sam Jack Kaufman of the Musicians' Union attended the meeting and indicated local musicians, and friends who have his intention to join as did Sam Laud- over the years bought the band a round, enslager of the Kingsmen. It is prope-. or have just been moral support, the osed that financing come from dues as Tarnished 6 is throwing one. We would well as foundation grants, like to extend an invitation to the the proposed first year budget of $ - first 20 PRJC members who would dare to 80 $ would provide for a small staff venture to the hinterlands of Central 100,000 and such services to members as a Pennsylvania to hear the locally recog­ clearinghouse calendar of events, a news­ nized reigning Kings of Jazz. Beer and letter, central cooperative purchasing, food on the band - and probably all over printing for members, seminars and work­ the floor. Please RSVP Roger Munnell shops. These activities could lead to 814-355-963^> 645 E. Howard St., Belle- more bookings for jazzmen, so the PRJC fonte, Pa. 16823. Board named Harold Gray as its delegate If you plan to be traveling the area - to the Alliance. like that long postponed trip to Snow In a somewhat related development, Shoe, Pa., etc. - the band can be heard Joe Carley, leader of the Prince Georges at the Phyrst, a crowded college bar with County Studio Jazz Orchestra, proposes peanut shells on the floor, or at the the organization of the National Jazz exclusive (I really mean it) Toftrees Foundation as a means of getting public Country Club on Penn State home foot­ and foundation support for community jazz ball weekends. orchestras in the manner that most Locations of these spots are H-ll on a communities support symphony orchestras. 3-A map or State College, Pa, which is He urges that a National Jazz Orchestra 90 miles north of Harrisburg. Double­ be supported for the Kennedy Center on check before making the safari by calling the same basis as the National Symphony, me, or Phil Cartwright 814-238-5788. and that jazz be supported in schools and Roger Munnell colleges. PRJC congratulates Joe on his (Editor's Note - Hey, man, thanks, Roger. initiative and will be awaiting further That's a generous and unique offer, and developments. ▲ ▲ I'll bet you'll have some takers. And incidentally, thanks to Phil Cartwright B- h a u s Lists Changes for his part in really breaking things A shake-up in the schedule at the up on this year's PRJC boat ride. His Brat (see gig list for details) has splendid banjo was a real contribution resulted in one more night of exposure for PRJC bands, and some other changes. to a great ad hoc band. - TC) a a Rumors of more are floating - but at presstime, nothing definite. MUSICIANS WANTED! Library of Congress Largest change brings two newcomers Lunch Hour Jazz Concerts - Aug. & Sept. to the Brat lineup - Fatcat's Manassas Help boost jazz and PRJC! NOT a paying Festival Jazzers on Wednesdays, and gig. Can you help? Call Dave Little- Ed Fishel's Band From Tin Pan Alley field soonest. Home 723-9527; Office alternating Fridays with Bruce Weaver's 426-6057- NO Gang. The Open Jam remains the second Wednesday of each month. ▲ ▲

- 5- Resident’s Message Special events Fred Wahler 894-6370 (band contacts, liaison to other Reporting further on what your jazz club clubs) does for its members, recent decisions History and records Anna Wahler 894-6370 of the Board of Directors show steps Open jam John Doner 536-7674 being taken to increase your enjoyment Shay jam (3rd Fri) Dave Littlefield through our promotion of jazz. The 15 723-9527 Directors you elected meet the third Va. shy jam (1st Fri.) Frank McPherson Wednesday of each month in their various 938-4461 homes to handle the operational details Musician Directory Dave Littlefield of PRJC. Museum Rod Clarke 524-6780 Recent actions include the purchase Sound systems Dick Baker of an additional mike, a mixer, and Jim Neilsen (703)494-5978 adaptors to improve the sound system at Ray West 370-5605 Club events. Fred Wahler has reported -- Harold Gray that most recent special events, which Exhibit Year Old have attracted near-capacity crowds, have broken finacially even or made a little We're celebrating an anniversary this month. One year ago on Aug. 5, we money. Only one of the dance-concerts dedicated PRJC’s bicentennial project, lost money this year, indicating that more members are attending and bringing "The Story of Traditional Jazz," a 4- part audiovisual history of this music additional jazz fans with them. we love. At the opening ceremony in the A policy was adoped by the Board that Martin Luther King Jr. Memorial Library, those wishing to record music at Club events for commercial purposes must the National Museum of Traditional Jazz secure Board approval and meet its was awarded recognition by ARBA - the requirements, but that noncommercial Federal Bicentennial Administration. recordists may continue to tape so The exhibit was originally scheduled to run for months, but acceptance by long as they do not disturb perform­ 2 the local community and visitors from ances . elsewhere in the United States and In other actions, Johnson McCree's abroad prompted the library to extend it CPA firm was assigned the job of putting indefinitely. the Club's books in order and setting up A 1-year run for any exhibition is a guidelines for future treasurers. remarkable achievement. For an exhibit To assure that most of our members of this kind to be such a success, both renewed their memberships, two reminders high quality and constant maintenance were mailed and telephone calls were made are essential. For the quality we can to our overdue friends. As of the July 20 Board meeting, our total membership thank Rod Clarke, who conceived the idea and brought the exhibit to life. For was 948. the maintenance, the laurel wreathes Organizations wanting jazzbands for go to PRJC's John Morrisey, to Violet their dances and festivities often call the Club, and every effort is made to Lowens, Coordinator for the Arts for the Library, and her assistant, Valerie find a band that is interested. Two Taylor. fun projects which died aborning for lack of support were charter trips to I visit the museum almost every time out-of-town jazz festivals and a weekend I go into Washington. Parking is no problem. South on 10th St. past H, jazz cruise to nowhere, perhaps out of Baltimore. turn left on G Place, down the ramp, and under the library. Free. Metro makes These and other projects of your Club require much volunteer work on the part it easy if you're on foot. It's near of your officers and committeemen. Here the Red Line's Gallery Place station. at the midpoint of this term, it is ^ retain the advantageous tax status appropriate to list again the officers the iluseum now holds, we need a broad and leading workers for PRJC. Home phones base of public support - contributions from a large number of people. And are included. Call them if you have ideas or want to help. obviously, to mount other exhibits, v/e need money. Your contribution is tax- Pres. Harold Gray 966-5037 deductible . Small checks gratefully V.P. Dick Baker 698-8017 (radio received! contacts and 63O-PRJC hitline.) Send money! Send it to: Rec. Secy Mary Doyle 280-2373 Frank Higdon, Treas. Membership Secy Doris Baker 698-8017 National. Museum of Traditional Jazz Treas. Bill Hughes 978-4928 815 King St. TR Editor Ted Chandler (301) 730-6252 Alexandria, Va. 22314 Publicity Ken Underwood 591-9210 — Eleanor Johnson

- 6- A Private in the Great Saxophone War Chfpter 4 of Stuart Anderson’s Swing Era Memoir The Alvin Hotel was an ideal site for American restaurants (3 sessions a day those early sessions. The clientele at $25 a week) separated by prolonged consisted mainly of actors, waitresses, hiatuses during which little or no money vaudeville performers, card sharps, changed hands, I landed a job at The prostitutes, and musicians. The decor, Farm, a night club near White Plains, unlike that of the Waldorf-Astoria fur­ N.Y., at $40 a week. ther east, was plain. The walls were a I can honestly cite that engagement dull grayish brown, allowing the fly­ as one of the early turning points in my blown lithograph of the black horse, artistic life. It was one long jam the white horse, and the lightning to session, except for the times when we furnish dramatic contrast. Later, the had to play The Darktown Strutters' walls were painted a poisonous green, Ball for a local drunken friendly apparently to give the cockroaches a butcher who furnished meat to the prop­ nervous breakdown (a stratagem that rietor on easy credit. didn't work), since those hardy little George Hnida, an excellent musician, denizens continued to scamper about, was on bass; there was a good pianist the clicking of their busy feet agg­ whose name I can't remember. Johnny ravating the hangovers. Cunniffe was on trumpet; Rusty Jones The room was large - a suite in fact - played good swing trombone. Sal Pace and contained a piano. (I never did learn played alto and excellent jazz clarinet. the reason for that piano. Had it belonged Buddy Schultz was the drummer, and also to an early proprietor's daughter, and the band leader. He didn't bother us - had she studied with Nadia Boulanger, sitting back with a delighted, astounded and had she filled those faintly echoing smile on his face during the hectic spaces with Debussy's delicate traceries?) goings-on, hardly touching the drums. And what about the size of that room and An excellent leader,, my being 3 weeks behind in the rent in Each of us had his idols: George those depression days? The other music­ liked Pops Foster; the pianist was a ians said to me; "What entitles a schmuck Tatum fan. Johnny listened to Louis like you to a pad like this?" Armstrong, of course, as well as Wingy So we would set up. Bob Forrest, my Mannone and others - a broad spectrum. friend the drummer whom we had picked up Rusty Jones divided his allegiance on our erratic journey from 46th and between J.C. Higginbotham and Claude Broadway, would wrestle a suitcase out Jones; Sal liked Buster Bailey,, And so of the cluttered closet, dump the dirty it went. I listened to many tenor men - shirts, undershirts, and socks, pluck a Babe Russin, Happy Caldwell, and several pair of "fly swatters" out of his pocket, others - but Hawk had what I really open them up, and we would start. wanted. He was bigger than all the I'm trying to remember the tunes we others put together. played - Dinah, Honeysuckle Rose, and Musicians drove up from New York to the Blues - but does that matter? My sit in. Happy Lawson (also a Hawkins mind goes back to Bill King (a different man) and I fought gigantic battles. Gary Cooper from a parallel universe, But then the job folded up on New caught in our world?) slapping the bass - Years Day. stump, stump, stump, stump; Bob Forrest, a malicious smirk on his gangster face, * Those readers lucky enough to own stirring the boiling rhythm; Bill Long, the Columbia 4-record album, A STUDY IN humped over the keys, his left hand FRUSTRATION, The Fletcher Henderson grinding out a bass ostinato, his right Story, can check my remarks by listening hand flicking back and forth; Johnny to the following tracks: Raisin' the Cunniffe, his County Cork pickle face Roof (April 1929) in which Hawkins's squeezed to a point as he tried to force treatment is largely legato; Blazin' those frantic notes through a tightly (recorded about the same time) where he crammed mute; and me, stomping my right reverts to heavy tongueing; and My Gal heel into a dirty old pillow - playing Sal (1931) where he again slurs. It a thousand notes, tongueing some, slur­ seems obvious that in the course of those ring others (echoing Hawkins's contemp­ "fluctuations," Hawk was shaping the orary oscillations) --while the smoke style that carried him through the 1940s. (not stemming entirely from tobacco) (More about this later.)A A swirled around and bottles crashed in the courtyard. TROMBONE, bass (or tuba), drums (wash­ In the late summer of 1932, after a board) wanted for new working band. confused period of stints in Chinese- Dixie, swing, old songs, bluegrass. Call Dave Littlefield, 723-9527 after 4 pm. of this writing the show is booked up W y n d h a m Band a t M arriott through November with many interesting Tex Wyndham has something of a reputation programs. as a hard musical task-master with an eye The August schedule: (and ear) for perfection. This writer Aug- 7 - Sonny McGown -"Ed Hall" has no idea of the facts of the matter - Drummer/record collector McGown for all we know he keeps his bullwhip presents a program featuring the in the piano bench. clarinet artistry of Ed Hall in It should be noted however that: company with such jazz greats as Teddy c His band is remarkably well- Wilson, Gene Krupa, Wild Bill Davison, rehearsed and sharp; Claude Hopkins, Ralph Sutton and many n The band members seem to dig others. More prominent records will what they are doing and take pride in it; be featured along with some rare but □ You don't have the breath-taking exciting performances. repertoire the Wyndham band has without Aug. 14 - Don Farwell -"Emerson a lot of woodshedding. Parker Memorial" Of all the bands who have played this Parker was Washington's leading year for PRJC specials only the New Black traditional jazz authority from WWII Eagles clearly outclass the Red lion JB. til his death in 1957. He had a weekly And at least in repertoire, one wonders radio show and was president of the whether even the Eagles range across as DC Hot Jazz Society. Records from much material. among Parker's favorites, including (While one may legitimately wonder those of his special musical love, whether Little Orphan Annie is really Duke Ellington, will be featured. a jazz immortal, it was awfully good to Aug 21 - Hal Farmer - "Traditional hear such wholly neglected tunes as The Jazzbands of Australia" World's Jazz Crazy; Titanic Man Blues; Trombonist/recording engineer Farmer and Perdido St. Blues.) plays top jazzbands of his native Wyndham's cornet playing has bite and country. Featured are: Graeme Bell, authority. His singing, despite a slight Roger Bell, Ade Monsborough, and others tendency toward archness, is most often Aug. 28 - Bob Sauer & Sam Laudenslager clear and to the point and an aid to the "The Big Bands are Back" overall performance. Leaders of two area big bands play As to the rest of the band, Mike Mills and discuss the music of their bands on trombone, Rick Cordrey on piano, and and others in this area. A1 Back on tuba are towers of strength, In addition to our show and its other and imperturbable Bud Ahearn on banjo jazz programing, WPFW is scheduling lays down a steady rhythmic pattern. special programs to honor jazz stars on Jim Weaver on clarinet - and on the rarely their birthdays (How many of you caught heard bass clarinet - is an interesting the marvelous 22 hours of Louis on July if not particularly forceful musician. 4?) August specials include: Count Basie Jon Williams is carried as a washboard (8/2 1, 8-mid.); Les Young 8/27 (time to player and there is no drummer - a fact be announced); Charlie Parker (8/29, which makes the rest of the rhythm sect­ all 24 hours). Traditionalists, cheer ion work very hard indeed. up. There's a Jelly Roll special coming Make no mistake. This is a very good up in September! -Dick Baker a a band, one that grows on one. The crowd at the Potomac Room was smaller than some Jazz M inors Here 6th of the gatherings thus far this year, The Jazz Minors (unlike Big Spider Beck - but it was an enthusiastic one, and for see TR, Nov, 575 - they are minors not a beautiful change, the room was miners) are a group of Oregon teenagers comfortable, the drinks - overpriced - who dig the sounds of traditional jazz were readily available, and the general and have played them in places like the ambience favorable to good jazz. White House. -- Jazzbo Brown from Columbia Town A A They'll play for PRJC on Sat. Aug 6 at_the Potomac Room of the Marriott Twin PRJC-FM Off & Swinging Bridges. ^The group is set for the Mary- The PRJC radio show, "The Jazz Band Ball, ti land Inn in Annapolis for the week is now completely in our hands and runn­ preceding their PRJC appearance, and last ing more or less smoothly every Sunday spring garnered lots of publicity for themselves by playing on the White House evening (6:00-700 pm, WPFW-FM, 89-3 MHz). In addition to my chores as program lawn._They_have been on the jazz fest circuit this summer, getting ovations coordinator, I have now taken over the engineer's console for the show, so you'll at Sacramento and elsewhere. 4 4 all know who to blame the next time one Got those mean old I don't know where tune is announced and another played. As the action is blues? Call 63O-PRJC - 8- Why not place this ad on a "bulletin "board to remind your friends or _ co-workers of this great attraction prjc

p r e s e n t s

A U G U S T 6th

9 - 1

POTOMAC ROOM

TWIN BRIDGES MARRIOTT

MEMBERS $ 1 .0 0 NON-MEMBERS $5-00 A Pride of Prejudices

Scratch any occupational group hard and not look pained by 2 a.m. The turn­ enough and you can probably turn up a over was considerable among my female few eccentrics. Some groups you don't acquaintances in those days. need to scratch as hard as others. The A strain of music mania ran in the English clergy, for instance. Or music­ family. My Uncle Sid loved music in this ians . extravagant fashion. Though not an A notorious oddball in the annals of exceptionally religious man, he couldn't early jazz was Leon Ropollo, clarinetist pass a church of any denomination with­ with the New Orleans Rhythm Kings. He out going in. Not to pray. Just to look startled night club audiences in the at the organ. early 20's by wearing white socks with This was his thing; organs and church his tuxedo. He also reputedly practiced music. At 15. he quit Hartford High by putting his ear to telephone poles, School to work in an organ factory, and then playing along with the humming of from 17 on, he earned his living as a the wires. professional organist. From Ropollo on, clarinetists have When Uncle Sid eventually mixed music always been a little...well, different. with matrimony, the outcome was tragic. I remember one who played with the Good He died on his honeymoon in Bermuda at Time 6 a few years ago. A fine musician, the age of 40. I was 7 when Uncle Sid he just didn't know a lot of our tunes. died. Nine years later, when I threat­ When I offered to lend him records so ened to become as obsessed by "hot jazz" he could learn them, he was aghast. "I as he had been by organ music, he retur­ couldn't do that," he said. "It spoils ned to our household in spirit. At the my playing when I listen to jazz." time, I only owned 2 jazz records, and One of the greatest characters I my favorite by far was The Jazz Me Blues ever played with was a cornetist up in by Bob Crosby's Bob Cats. Sometimes, Philadelphia named Andy Mitchell. Andy when I had played it over and over again had gotten his education the hard way, for half an hour or so, to memorize a from the mines and mills of the Middle break by Irving Fazola, my father would West. He could charm birds out of the become mindful of a dangerous heritage. trees, and with any formal education "Remember your Uncle Sid," he would would have made a damn fine ambassador. shout, banging on my bedroom door. I But he could be stubborn. And just a knew what he meant, and I guess he was bit forgetful. right. We were playing a cellar club in I was lucky. I survived a honeymoon, Drexel Hill, Pa. in '65 called the and 40 is but a distant memory (was I Club Storyville, and for some weeks ever so young???). It's just that these Andy had been fighting his horn. His tunes keep going round and round in my tone was strained, and his face looked head. Round and round. Round and... like a piece of moustachioed sirloin — A1 Webber ▲ a when he blew. Every weekend we would suggest as tactfully as possible that the horn Participants in the shy jams held needed cleaning. And every weekend Andy currently in two locations in Va. and would retort with considerable heat, DC will recall that last month we "Goddamn it, I tell ya I cleaned it!" printed part of a play list of tunes to Then one spring Friday Andy was be used. We promised to continue the blowing like his old self again. Good list in this issue. True to our invari­ tone and execution. And his complexion able habit of often keeping our promises, had returned to normal. TR herewith continues the listing: Praise for his performance was greet­ Honeysuckle Rose (F); I'm Confessin' ed with disdain. "Course I'm blowing (Ab,F); Indiana (F); Jazz Me Blues(Eb); better," he growled. "Only reason I was Keepin' Out of Mischief Now (C); Lazy having trouble was there was a cleaning River(F); Muskat Ramble (Bb); Melancholy rag stuck in the horn." Baby (Eb); Sunny Side of the St. (C); To give the music the full measure of Original Dixieland One-Step (Bb-Eb-Ab); devotion the goddess deserves, one must Rockin' Chair (Eb); Royal Garden Blues pay a high price. Sometimes this means (Bb); St. James Infirmary (Ab-Fm); Some­ that innocent bystanders also pay a high day You'll Be Sorry (Eb); Sweet Ga. price. In my teens, for instance, I Brown (Ab); That's A-Plenty (F-Bb);Who's used to determine a date's true worth by Sorry Now? (Bb); and Yellow Dog Blues seeing whether she could survive 5 hours (Bb) . at a front table at Nick's or Jimmy Ryan's

- 10- put in notes like a rooster crowing— rom New York as far west as Pittsburgh, The Rfcord Changer, M a y 1944 ’cause the rooster is happier than you is. i)to the South, ending some place in But the way they do today just makes J'cxas. Jazz hie Blues caught 011 in royal me laugh— they steal from all over and fashion and created the fad for “Jaz.z everybody pats their hands like wild. But Shoes,” "Jazz Tirs” and “Jazz Ilose,” Nulcs o n Tom Delaney take me, I could get my derby— no which shopkeepers displayed in their blackenin' or nuthin' and do my song windows 011 Broadway. and dance act, and stop the show over Later on came our favorite Down By THURMAN AND MARY GROVE there.” (lorn pointed out a window to­ Home Blues written on the top floor of ward the marquee of the Roval Theatre 589 Oxford Street here in Baltimore. He was in a lonesome mood, just sitting there across the busy Pennsylvania Avenue.) with neck-bones simmering on the stove, ever recorded Jazz M e Mr. Tom led the way \ His eyes sparkled 011 speaking of his act and down to his last “thirty-five.” All up three creaky flights of 5 Blues. It was written — Song, Dance, and Comedy, and how right in New Orleans — at once it came to him. He snatched the stairs, finally swinging he changed it completely each swing empty neck-bone bag and set it down. open a door into a spa­ 1920. He was sitting on a around the circuit, so that hr could play bench in the warm sun­ Then went to his piano, c'hordcd it, and cious room. The scene the same house maybe three times a year. called his wife saying, “Baby, I thinks I was above Pierce’s __ light just outside his It was later when Jesse Means, a local got a hit,” and hummed it over. She “Three Star” Restaurant dressing room at the collector, brought Tom to our place fur said, "Daddy, just let’s get it to New on Pennsylvania Avenue i Lyric Theater, and Jazz a session, that he told us his career began in Baltimore where Tom M e Blues was his de­ with a group from Jenkins Orphanage in York," which he did for another success. Tom reveled in again hearing Ethel spends his idle moments. scription of that city and Charleston known as the Springfield In one corner was a rosy its atmosphere. It was Waters Down Home (Col. 14093). He Minstrels. It was then at the age of said she was under contract to him then chunk-stove fire. Two published by Edward B. twelve that he composed his first song, old-fashioned windows, Marks, and was Tom's and (or some years later but Down Home 1 Don't Knnii-’ W hat’s Wrong Between was the high point of her career. extending from floor to first break. And he told M e anti M y llaby. which he sang at ceiling, allowed a flood us— “Be sure to say that In early Spring of 1925 Torn tried his many shows and bazaars around Charles­ hand at recording, cutting four of his of sunlight to fill the Edward B. Marks gave ton. Upon leaving the Orphanage a few me my first breaks— still own numbers for Columbia. He was ac­ room. There was also a years later Tom didn't lose time entering companied at the piano by Fred Long- small table, a low cot does after over twenty show business. He and a chum from c.ovrrcd with an Army years through him, and shaw and all four are nearly entirely Charleston, named Henderson Mitchell, vocal, although Longshaw plays a beau­ blanket, and a battered he has come to my rescue formed a vaudeville partnership known tiful solo on the Bow-legged M am a side. uptight piano. The man who stood be­ in all my troubles. Be sure to say that.” as Mitchell & Delaney, working together These were released as You Ain't Living fore us was Tom Delaney. He said he “Well, Tom, did you ever want to be a until World War 1. Ba rnstorming was was born in Charleston, South Carolina, lough— cold hours aboard trains from one Right, Parson Jones, Bow-legged ■ M am a first-rate pianist?” (Columbia 14122) and Georgia Stockade in September, 1889; now at the age of city to another ail over New England, “Oh, no! Not like Fletcher (Hender­ Blues. I ’m Lcavin’ Just to Ease M y I Cor­ 55 he scents a picture of glowing health. down the Middle Atlantic Statcs--around son). I only made one mistake in life, ner/ M in d on Columbia 14082. One of He is a man of average stature, trim, and around, traveling not only the Keith eyes aglow with a youthful sparkle. and that worked to my advantage. I Tom's seemingly proudest possessions is a didn’t study music, and was better for it, and Orpheum circuits but smaller ones, gift from his son, a fine pianist, of the Tom Delaney is best remembered as ’cause if I’d gotten all over the keyboard. and, when billing was slack, one nighters Columbia 14122 recently located in the composer of words and music of Jazz I’d have started fopying and stealing a at dance halls or amusement parks. Al­ scrap collection. M e Blues, Down H om e Blues,Nobody little from you, a’littlc from all the oth­ though they kept moving, times were Pom continued in show business for Knows the Way I Feel ThisMorning, ers, and I would've lost my own touch. tough and money was sometimes scarce, some ten years more, all the while keep­ Absentmindcd Blues, Walk That Broad, It just comes natural with me— writing causing 10111 to comment. “We were ing up, as he does today, his flow of new and scores of other hits. At the tender music and lyrics too. Never write any thrown out of so many boarding houses, blues material, and maintaining contact age of 12 Tom first appeared in amateur over or any under, and see the way some we began to feel like baseball players.” with jazz history in the making. productions held in his home town. Then fellows do, work their lyrics time after Mitchell split the team when he decided Taik drifted to old musicians; one of took to the road, barnstorming, playing time till it stops ’em, and they can't make to set out for Chicago while Tom pre­ his warmest memories is of the help and theaters, dance halls, amusement parks, ferred the East. With sundry other part­ inspiration he received throughout his it go, with me looking over their shoulder ners Tom gradually began a rise to and cabarets, with his song and dance and I know just what lyric they want but career from another fine blues composer, act, later to become manager for a num­ don’t tell ’em. I wrote all my own wav, prominence. Tilings came easier and it Chris Smith, who ever urged Tom to im­ ber of years of Ethel Waters, touring with and that kept the singers close to me. was heaven indeed to spend seven years prove his lyrics and to make his songs the Henderson Band, doing a bit of re­ But sometimes they didn’t feel it like I playing for John J. Quigley at the Class worthwhile. He seemed fascinated in the Pavilion at Steeplechase Park on Coney cording himself, continually writing had, like my Southbound Blues that Ma talc of the finding of Louis’ teacher countless other blues numbers, being Rainey did (Para 12227). She just ruined Island. Bunk, and laughed in jolly fashion at the Back on lour, Tom wrote Jazz M e thrown in contact with just about all of it for me. Same way with Log Cabin mention of Joe Smith whom he called the Blues in New Orleans, using it in his the Jazz Greats, and being a part of and Blues with Trixie Smith on the Black “stealing trumpet player.” He recalled first-hand witness to the beginning and Swan. (Tom didn't seem to recall the shows on tlie way north. A week before that to his mind Jelly Roll was a sort of growth of Jazz to the present day. Clarence Williams' instrumental version his arrival in New York, Lucile Hegomin “Lucky Boy” and was a poor mixer- - Tom Delaney was pleased at the pros­ on O K 8572— which of course was a best recorded Jazz M e, and Tom planned us­ stayed lots to himself. This scents odd pect of talking blues, and just kept mov­ seller of its day.) Writing blues is a ing her in liis next tour, but before hr since Jelly as a collector hears him is ing about motioning with his cap as he deep-thinking feeling, and when you could get to New York she signed with nearly always distinguished by unbounded another management and slipped out of talked, sitting a bit on the table top then wake up in the morning like in Nobody geniality on his various band sides. On of his grasp. Instead loin secured Ethel jumping up to explain some new idea. Knows the Way I Feel This Morning, do hearing Dr. Jazz and other brisk Jelly Sometimes he sang some lyrics from a you have that one?" he asked, and Waters, who stayed with him for live Roll's Tom seemed most taken by the tune under discussion; his voice was full without waiting for an answer went on. years. Iter first tour, which T0111 man­ tempos which he referred to as “tough.” and steady and very plaintive. “I had ordered Woodward the pianist to aged and directed, used Fletcher Hender­ lie recalled early Henderson days and son’s Band of six pieces, anti covered He was eager to discuss his famous and how, when Coleman Hawkins joined the New Orleans Recollections band, ihc first appearance of his cheap guard and the two sat opposite me and asked me for a cigarette. ‘No, I haven’t battered sax was greeted with shrieks of From 1908 to 1912 I was cashier at the New Orleans branch of the Remington laughter. Tom said, “You don t mean a cigarette, pal.’ M y wife said to ask the Typewriter Company. In September 1912 I went on the road for the company, trav­ that that boy is going to play that guard, 'Is it all right to give them one?’ eling in Mississippi and Louisiana. During tha first year or two it cashier, one of the star city salesmen was Ashton Carroll, who made such a fine tiling?" to which Fletcher just smiled The guard said okay and when the candv record that the company promoted him to be manager of the Cincinnati branrh. and said, “Wait--he’s good.” butcher came through, I bought four Carroll did well in Cincinnati, hut the saying is, that after a person has im- Tom amazed all at his memory of re­ bibed the Mississippi River water at New Orleans, the Crescent City germ gets packs. I was drawn to the fellow who into the system, and after that one is never content to stay away from town. Be cording dates, various labels and person­ was taking care of them. 'What did thev that as it may, Mr. Carroll returned to New Orleans about 1911, after a year or nels. His memory of these matters is clear do?’ 'Playin’ craps and fightin'.' ‘What so in Cincinnati. One Saturday afternoon I was working in the office, and and vivid, and he could quote not only time did they get?’ ‘Mister, there ain't Carroll and a friend from Cincinnati were there also. Suddenly from the street try came the sound of a New Orleans band; a typical parade was marching up Baronne labels but the manner Jn which accom­ no time, they’ll keep them there as long Street. When Carroll heard the music, he immediately hurried to the front door, panying bands were listed, even on such 1i stened a moment and then called to his friend frrm ------———------as they can.’ I went up in the front of Cincinnati, 'Come here and listen. You won't hear Frnest Horhringer, who at the time was manager of the obscure labels as Arto and Black Swan. the car and sat there with a cigar and music like that anywhere else in the United States.’ Triangle Theatre. Another of Leclerc's compositions, However, Tom didn’t fully seem to real­ couldn’t get it off my mind. I was going He might have just snip) 'anywhere e ls e ', but the o r which there were several, was Sk'eet Cookie, a snrg ize the vast number of times Jazz M e incident serves to show that the distinctiveness of which was recorded by Marion Harris on Colun&ia AJ457 to Jacksonville for a hundred and sev­ New Orleans music was recognized in 1911 and earlier, (79961). (Not recorded in very hot style, by the has been recorded. His reactions to the enty-five dollar job, and they didn't know § § § Another couple of rntertainers were the Kingstons,Mrs. sundry versions played were interesting. where they were going. I leaned my brad In 1912 I went on the road for the Remington Com­ Kingston playing high class piano for her husband to pany, starting out in Mississippi,with mv headquarters sing to; later they were joined by their daughter, At the offset, however, it should be noted over against the st?at in front of me and at Hattiesburg, where my hotel, the Hotel Hattiesburg, Margaret, a very pleasant girl with teeth and smile that Tom still looks upon Jazz M e as a began to hum, ana the words just seemed was located a block or two from the principal business such as are often seen in dentifrice advertisements. vocal blurs rather than an instrumental to come: street. About half way to the center of town was a The first time I ever heard Trail of the icneso*e Pine one. He was not awarr his tune has been penny arcade, just about like most penny arcades, with was one evening when a singer brought the number to “Days arc dreary, nights seem long a shooting ga1lery,coin-operated cylinder nhonographs. Mrs. Kingston to try over. It was brand new, and the taken almost as a trademark of Chicago Down in Georgia on a Stockade farm end other catchpenny devices. Just inside the wide first time Mrs. Kingston had seen i t . * She started to style jazz. The lyrics have seldom been Doin’ time for a crime, they found me entrance stood an automatic roll piano, such as I des­ play it as written, but it was not in the singer's key, used since the pioneer Lucile Hegomin’s cribed in last month’ s Record Changer. It played the so Mrs. Kingston transposed it and played it without a guilty regular program of selections at a lively tempo, which fInw the first time over. version on Arto. Likewise, it is interesting Without one dime, guards all around in those days included instrumental rags interspersed 5 § § to note that of all existing versions of the me with a gun with pooulnr song melodies. As I went back and forth, Although New Orleans was the fountain head of hot tune, it has been recorded at least ten working the town and calling on the trade, I passed rag and jazt piano playing, the common folks there Shoot me down like a rabbit if I start and rrpassed the arcade, and got the full benefit of were just as susceptible to musical hnktim as they were times by white artists (usually Chicagoan to run. the automatic piano, which was going steadily from the elsewhere in the country. Merit always has a hard in nature) to each single version by col­ time the place opened, and I thus became familiar with time to win out over sentimentalism, affected or ored groups. At any rate Tom moaned thr numbers on the roll. One afternoon, after having genuine. I remember a ragtime playing contest that C h o ru s gone back and forth several times,I was making another was held in the Dauphine Theatre, I believe about aloud on hearing the Berigan Victor. trip toward the mein street and could hear the piano 1916. It was between white piano players, among whom “Five long years in a State stockade The Memphis Five on Columbia aroused going at the usual tempo and force,but I noticed, with were Irwin Leclerc, mentioned above, and Kid Ross, an­ no particular interest. The pace and Workin’ from sun to sun. a certain amount of interest, that the number then be­ other well known New Orleans player. There were other F.venin’ goes, mornin’ comes, ing played was a ragtime composition that I had not good players, and a considerable amount of good rag­ tempo of the fast driving versions by My daily task was never done heard before. As I neared the entrance I noticed a time and jazz was dashed off the piano,--Kid Ross gave Krupa (Dccca), New Orleans Rhythm little group of people standing on the aidewalk, lis ­ out with some very characteristic (enutne Basin Street Chippin’ boxes, Lawd, tening, and concluded that a new roj| had just been honky tonk music, and Leclerc slapped off some of hit Kings on Decra, the Decca MacPartland, stuff that would compare favorably with the best of Down on a turpentine farm. put on the machine. Imagine my surprise when I joined the Teschmaker UHCA, Charlie Pierce the crowd to find that the pinno was being played by a today's output. But neither one was the winner, the At night can’t raise my arm, award going by audience acclaim to a mediocre player Paramount, all seemed to hit the spot. negro boy about fourteen or fifteen years old. The Both legs shackled to a ball and chain playing was almost an enact reproduction of that who pounded out Yankee Doodle with one hand while The Original Dixieland version held a thumping out Dixie with the other. Plradin’ for mercy, but it’s all in vain. played automatically by the piano, the boy duplicating warm spot in his heart since it was the all the fancy interpolations and figures that came § $ § Ankles all swollen, can’t wear no shors, Jelly Roll Morton could mention having taken part one that was the big seller. Wingic’s vocal with the mechanical presentations. I asked a by­ I got the meanest kind of Georgia stander who the young negro was, and was told that he in many piano plsying contests, generally admitting(?) on his Bluebird sort of went over also lived a little way out of town, and that he had been with his usual modesty that he came out winner. His Stockade Blues.” admiration for Tony Jackson was unboi»>ded, but he told since it’s one of the few versions with {Copyright Edward B. Marks Music Corpora- able to play that way since he was about ten years old. I never heard him play .agnln, and have sometimes me with considerable pride that he had beaten Tony lyrics. lion—used by Pemission.) onre in a contest. Jelly Roll said that, as the other wondered what became of him. Much has been written regarding Bix’s contestants were seated on the stage while Tony was Some months ago, a great female rare § 5 5 playing, he (J e lly ) was seated near enough to the two conceptions of — one with The white Cabarets In New Orleans that I recall, Jazz M e piano to keep tellin g Tony, SOftO voce , 'You can’t singer appeared at the Royal. Did he go which were not located in S to r y v llle , and which the Wolverines— the other three years s ing pow.. . You can't sing now.' I don't know if that flourished between 1911 and 1919, were nearly all con­ to see her? “No,” he said. “She doesn't affected Tony'y playing any. but Jelly Roll won the after with his studio outfit. The Wolver­ tained in the small area bounded by Canal, Rampart, know me any more, and I'm a funny con test. ine version— Ilix stuff and all— left the St,Louis and Dauphine Streets. The names dn not come guy. When they’re on top, I don’t like to to my mind readily, but among many others there were ■ 5 § 5 composer rather rold, but we were It would have been sti/ange If Tony Jackson could seem to have my hand out, but I lets Anderson's.The Haymarket,The Orchard and the Cadillac. amazed when Tom went literally wild have been bothered by Jefly R oll's reverse coaching them come to me if they want. You see, I believe that The Heymarket was the oldest, as it over the Bix Oang side, praising the seems to have been operating on Customhouse Street while he was playing the piano. I remember that at Bill Rank trombone solo and marveling I believe in the Supreme Being, and I near Dauphine Street for many years. Some accounts the last place I heard him in New Orleans, Frank know He’ll watch out for me— and I have it that the word jazz originated in the billing parly's cafe, I believe, the piano was in poor repair; in particular at the smoother solo by at The llaymarket of a musical outfit that imitated think I’ll set out for New York some among other defects, there was a key in the bass that Bixie. Out of them all, Mr. Tom much Sta 1ebread Charley’ s Spasm Hand. When their popular­ would stay down every time it was hit, but thai never preferred this latter, and said it was en­ time soon— I've got a hundred and fiftv ity was at its height, cabarets seemed to spring up at seemed to bother Tony. He would keep going just as numbers— all new material, and I- want a moment's notice. All a small barroom had to do was smoothly as a well oiled machine, and when the key tirely his idea of exactly how he would to go barnstorming— just one more tour to clear out the back room, decorate it, put in a few would go down, Tony would pull it up without the want to do it if making the record him­ more lights, some new tables and chairs, put a piano slightest interruption.to his playing and singing. To self. and shake the hands of all my friends, in one corner, and hang out a sign. They were right me he was always remarkable. One night I sat there and maybe I’ll get the breaks again." good entertainment at times, and most of them were listening to the man who 'knew a thousand songs' put­ Of another of his big hits, Georgia very reasonable. I wish I could give a list of all ting out his usual high class presentation of good rags'and late songs, when a stranger stepped over to Stockade Blues, here is the story of its the performers that drifted into that lit t le world, played and sang their parts, and then drifted on. But the piano and requested Tony to sing tveri/body ’s D o in ’ composition: it is with them as it is with many other things in my Ft, which in my estimation is about the poorest effort “It was at a railroad station at a memory, --certain things stand out, but many other Berlin ever put forth,even if it did get very popular. southern town. They had two colored items I never burdened my mind with. One of the best I don’ t know that one.’ replied Tony, and the strang­ pairs of entertainers, and probably the best known, er walked away and out of the cafe. I looked at Tony fellows with a rope tied on them and were a couple of local boys, I.eclerc and McCormack. in surprise, and aaid 'You certainly ought to know they were taking them somewhere in I.eclerc played fine New Orlrans piano to McCormack’ s that song, popular as it Is.' Tony grinned at me and singing. Leclerc composed a good jazz piano number, replied 'Oh I know it all right,--but I hate the daw> Georgia, and I said to myself, ‘This is which was published, Trlanfle Jazz Blues, dedicated tol thi ng!' awful.’ So we got on the train and the NOISES, SOUNDS, AND SWEET AIRS THAT BRING DELIGHT. "Here we will sit, and let the sounds of music creep in our ears....." - The Merchant of Venice -

Hotline for jazz - 63O-PRJC JAZZ AT THE WINDJAMMER- Sun. 8-12 pm. - Marriott Twin Bridges Aug. 7 -» Bay City 7 Aug. 14 - Riverside Ramblers Aug. 21 - Storyville 7 Aug. 28 - Washington Channel JB Sept. 4 - Stutz Bearcats JB JAZZ AT THE CAPTAIN'S QUARTERS, Crystal City Howard Johnsons - Fri. 8:30-12:30 Aug. 5 - Federal Jazz Commission Aug. 12 - Federal Jazz Commission Aug. 19 - Washington Channel JB Aug. 26 - Washington Channel JB

REGULAR GIGS Mondays Federal Jazz Commission 8:30-11:30 Bratwursthaus, Arlington, Va. Bob Sauer's Big Band 8:30-12:30 Villa Romana, 3622 Old Silver Hill Rd. Silver Hill, Md. off Branch Ave (tel. 423-2310) Tuesdays Storyville 7 8:30-11:30 Bratwursthaus, Arlington Wednesdays Fatcat's Manassas Fest Jazzers 8:30-11:30 Bratwursthaus (N.B. - Wed. Aug. 10, PRJC Open Jam takes, over at B'haus.) Thursdays Riverside Ramblers 8:30-11:30 Bratwursthaus Fridays Band From Tin Pan Alley, alt. with Bruce Weaver's NO Gang - 8:30-11:30 Bratwursthaus Southern Comfort 8:30-12 Shakey's, Rackyllle Pike, Rockville, Md. Tony Macrk's Original Strawhatters 8:30-11:30 Waterview Inn, Edgewater, Md. Jim Riley, Jay Wachter - banjos & Wayne Mules - po. - 9-12 Buzzy's Pizza Warehouse, Annapolis, Md. Saturdays Bay City 7 - 9-1 "S.S. Nobska" The Inner Harbor, Baltimore, Md. Riley, Wachter, and Mules 9-12 - Buzzy's - Annapolis OTHER GIGS OF NOTE Johnny Maddox - piano - II Porto Ristorante, Alexandria, Va. - nightly ex. Monday Aug. 5 - Tex Wyndham's Red Lion JB. Hotel DuPont, Wilmington, Del. (res. advised) AUG. 6 - THE JAZZ MINORS - 9-1 - Marriott Twin Bridges (PRJC SPECIAL) Aug 2-5,7 - The Jazz Minors - King of France Tavern, Maryland Inn, Annapolis Aug.9-14 - Teddy Wilson Trio - " " " " " " Aug. 16-28 - Charlie Byrd Trio - " "

And remember: "At The Jazzband Ball", PRJC on the air - WPFW-FM, 89.3 MHz. Sunday evenings 6-700. WELCOME NEW MEMBERS!

Katie D. Nelson Stanley M. Dietz Silver Spring, Md. Washington, D.C. Joyce & Joe Cronin Justena & J.Hayes Kavanagh St. Peters, Mo. Washington, D.C. Dick Parks Marcia & William Gilmartin Reston, Ya. Bethesda, Md. Jess Sewell Thurl E. Stroup Birmingham, Mich. Rose Haven, Md. John Wolbert Col J.B. & Christieann McGurk Falls Church, Va. Alexandria, Va. Virginia & Herman Levy Marilu and Gene Blanc Potomac, Md. Potomac, Md. William A Bunter Willis M Morrisette Ellicott City, Md. Enfield, N.C. Mildred and Dan King Janet Coss Lakewood, Ohio Washington, D.C. Col. Peter Economy Lorraine and Norman Rosenberg Springfield, Va. Manassas, Va. Drag and Betty Nikolic John McDonald Arlington, Va. Rockville, Md. Jane and Roger Knaus Carolyn S. Black Suitland, Md. Washington, D.C. D.J. Mulholland Arlington, Va.

Ted Chandler, Editor Tailgate Ramblings BULK RATE 7160 Talisman Lane U.S. POSTAGE Columbia, Md. 2104-5 PAID WASH., D.C. PERMIT NO. 216

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