2019 Winter Rambler.Pmd
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2019 Sspring Rambler.Pmd
AFCDJS Names New Director JAZZ RAMBLER AFCDJS is excited to announce Published by America’s Finest City Dixieland Jazz Society • San Diego, CA • www.SDjazzfest.org Bill Adams as our new Executive Director. Bill joined our Board of $8.00 Per Issue Spring (May) 2019 Vol. XXXVII No. 2 Directors in 2005 and was elected President in 2010. Since becoming a member of the Board, Bill has been Festival #40 Will integral in expanding our role in the community. He’s worked closely with several local schools’ music programs, Be a Real Swinger! promoted AFCDJS’s monthly workshops, ran booths for local events As the Duke Ellington composition For more traditional-minded and sound for our monthly concerts, says, “It don’t mean a thing if it ain’t Festival patrons, Saturday night and taken on multiple roles in got that swing.” The 40th Annual San festivities will also feature a Trad Jazz producing our annual SD Jazz Fest. Diego Jazz Fest will feature plenty of Showcase, including the Chicago No task is too big for him — as a that musical style. This year, the Cellar Boys, Grand Dominion Jazz member of the Festival Steering Festival, which runs from Nov. 27 – Band, Titanic Jazz Band and the Yerba Committee as well as the “go to” Dec. 1, 2019 at the Town & Country Buena Stompers. Other sets through- operations person for the event, he Hotel on San Diego’s Hotel Circle, will out the weekend will feature multi- helps choose the bands we’ll hear feature swing groups on Friday and instrumentalist Katie Cavera, pianist every year while making vendor Saturday. -
Dave Loomis Leads His Good Herb Jazz Band for Our
September 2018 Volume 43, Number 7 After Eugene, his family moved to DAVE LOOMIS LEADS HIS Kent, Washington where his father took a job at Boeing. Dave attended Kent Me- GOOD HERB JAZZ BAND FOR OUR ridian High School in 1975 and joined the band, which played a modern style of big SEPTEMBER 16TH CONCERT band music. There, he checked out music scores from the library, taking special note by John Ochs & George Swinford of how the arrangers voiced the different instruments. His first effort at arranging right time to play traditional must have pretty good because after re- jazz. “My musical parameters viewing it, the school band director handed were set in front of me at an him an envelope and said, “Here’s a check early age,” he recalls. “Dad for $50.” was a disc jockey in the Navy Dave enrolled as a music major at up in Adak, Alaska during the Western Washington State College where Korean War, playing Dave he played trombone and studied orchestra- Brubeck for Oklahoma cow- tion. In 1978, he accepted full-time work at boys. He joked that they gave Boeing and continued in music as a side- him death threats for playing man. Bands with which he was associated too much jazz.” the next few years included the New Deal More to the point, Dave’s Rhythm Band, the Jon Holte Swing Band, parents were fans of the Lu Wat- the Uptown Lowdown Jazz Band, and the ters and Turk Murphy bands, Castle Jazz Band of Portland, then led by and he was raised listening to cornetist Ernie Carson. -
Recorded Jazz in the 20Th Century
Recorded Jazz in the 20th Century: A (Haphazard and Woefully Incomplete) Consumer Guide by Tom Hull Copyright © 2016 Tom Hull - 2 Table of Contents Introduction................................................................................................................................................1 Individuals..................................................................................................................................................2 Groups....................................................................................................................................................121 Introduction - 1 Introduction write something here Work and Release Notes write some more here Acknowledgments Some of this is already written above: Robert Christgau, Chuck Eddy, Rob Harvilla, Michael Tatum. Add a blanket thanks to all of the many publicists and musicians who sent me CDs. End with Laura Tillem, of course. Individuals - 2 Individuals Ahmed Abdul-Malik Ahmed Abdul-Malik: Jazz Sahara (1958, OJC) Originally Sam Gill, an American but with roots in Sudan, he played bass with Monk but mostly plays oud on this date. Middle-eastern rhythm and tone, topped with the irrepressible Johnny Griffin on tenor sax. An interesting piece of hybrid music. [+] John Abercrombie John Abercrombie: Animato (1989, ECM -90) Mild mannered guitar record, with Vince Mendoza writing most of the pieces and playing synthesizer, while Jon Christensen adds some percussion. [+] John Abercrombie/Jarek Smietana: Speak Easy (1999, PAO) Smietana -
Jazz Man Records Discography by Cary Ginell Discography Consists of Original Jazz Man/Crescent Issues Only, Except for Unissued Titles
Jazz Man RecoRds discogRaphy by caRy ginell Discography consists of original Jazz Man/Crescent issues only, except for unissued titles. In these cases, their first release is listed. All issues are 10” 78 rpm singles or 10” 33 1/3 rpm LPs, except for Jazz Man 501, which is a 12” 78. LU WATTERS’ YERBA BUENA JAZZ BAND San Francisco, Calif. - December 19, 1941 Lu Watters, Bob Scobey, cornets; Ellis Horne, clarinet; Turk Murphy, trombone; Walter “Wally” Rose, piano; Clarence “Clancy” Hayes, Russ Bennett *, banjos; Dick Lammi, bass; Bill Dart, drums. (Rose, Bennett, Hayes, & Dart only on MLB- 111) MLB-106-3 Muskrat Ramble* (Ed Ory) Jazz Man 3 MLB-107-2 At A Georgia Camp Meeting* (K. Mills) Jazz Man 4 MLB-108-2 Original Jelly Roll Blues* (Jelly Roll Morton) Jazz Man 4 MLB-109-3 Maple Leaf Rag* (Scott Joplin) Jazz Man 1 MLB-110-2 Irish Black Bottom (Percy Venables) Jazz Man 2 MLB-111 Black & White Rag (George Botsford) GTJCD-4409-2 MLB-112-2 Smokey Mokes* (Abe Holzman) Jazz Man 3 MLB-113-2 Memphis Blues (W.C. Handy) Jazz Man 2 JM 1 & 2 co-issued in Great Britain as well. San Francisco, Calif. - March 29, 1942 Wally Rose, piano; Russ Bennett*, Clarence Hayes, banjos; Bill Dart, drums MLB-117 Hot House Rag* (Paul Pratt) Jazz Man 17 MLB-118 Temptation Rag* (Harry Lodge) Jazz Man 7 MLB-119-3 Black & White Rag (George Botsford) Jazz Man 1 Lu Watters, cornet; Bob Scobey, cornet, trumpet*; Ellis Horne, clarinet; Turk Murphy, trombone; Walter “Wally” Rose, piano; Clarence “Clancy” Hayes, Russ Bennett, banjos; Squire Girsback, tuba; Bill Dart, drums. -
Ory Discography Files/1 Sid Diskografin Master Fix 2 .Pdf
1922-1 948 Part A – SIDEMAN IN THE STUDIOS Notes about Part A 1921/1922* In this first section I have attempted to compile all of Ory‟s June early recordings from 1922 to 1928. Mostly, these were as a Recording for the Spikes brother‟s Sunshine Records at the Nordskog Record sideman, with only the initial Nordskog/Sunshine session ever Company, Santa Monica, Los Angeles. appearing under his name. The band (or vocalist‟s) name that heads each entry is the one which appeared on the original SPIKES' SEVEN PODS OF PEPPER ORCHESTRA** label. In the previous editions of this discography I included all Mutt Carey, tpt. Fred Washington, pno. Kid Ory, tbn. Ed Garland, sbs. formats (78s, 45s, EPs, LPs, cassettes, videos and CDs). Dink Johnson, clt. Ben Borders, drs. However, in this current volume I have limited the entries to the original issue (whether 78 or other format) and CDs. 3009A*** ORY'S CREOLE TROMBONE In this section I have omitted any recordings that others have 3009B SOCIETY BLUES proposed to feature Ory, but do not sound like Ory to me! ROBERTA DUDLEY In some cases the trombone player that have been suggested Roberta Dudley, vcl; Orchestral accompaniment. have included John Thomas, Henry Clark, Roy Palmer, Al Wynn, 3007A KROOKED BLUES Geechy Fields and Charlie Green. These are just six of the many muscians identified as Ory. 3007B WHEN YOU'RE ALONE BLUES Further details can be found in Part G „Non Ory and Is it Ory?‟ RUTH LEE Ruth Lee, vcl; Orchestral accompaniment. Sometimes there was more than one take in a recording 3008A MAYBE SOME DAY session and where there is doubt as to which take was used, I have listed the most issued side and marked it with a (?). -
Frisco Cricket
Frisco Cricket Published By The San Francisco Traditional Jazz Foundation Spring 2014 A Heyday of Jazz In San Francisco © William Carter 2014 “Hey, Oxtot! You guys want to keep working to be linked to the mafia, eyed the transaction ap- here or not?” The jazz joint fell into a hush. Emilio's provingly. After closing, the cop on the beat (Robert phlegm-filled anger settled down with the smoke over Mitchum) sometimes came in for a friendly free drink the startled patrons and while the bartender (Jimmy wobbly tables. Stewart) topped up half If this was film noir, empty whiskey bottles with Emilio was Sydney Green- a little extra water. street. Perched In his wheel- Everything was normal chair near the cash register, in San Francisco. with that eternal blanket No one knew who over his legs (he was widely had named the place Burp thought to keep a gun under Hollow, but it fit. A seamy the blanket) he glared at hole-in-the-wall on Broad- us as cornetist Dick Oxtot way -- the booming enter- (Peter Lorrie) led us quickly tainment strip of North back onto the bandstand. Beach — this joint was near At the piano Bill Erickson the bottom of the long list (Humphey Bogart) flashed of jazz rooms flourishing me a covert sidelong smile as in San Francisco around Oxtot stomped off Rosetta. 1960. A few doors down A drunken sailor was the modernist club, Jazz staggered in from the side- Limited. Across the street walk through the dangling was Barbara Dane’s folk beads that served as a door, music haven, Sugar Hill. -
Sparks January 2021
Sparks January 2021 Please attend our annual meeting Free to the Public via Zoom on Sunday, January 31, 2021 at 3 p.m. Our annual meeting begins with some business (see the agenda below) and then features a talk focusing on the city’s jazzy past. A Co-op Nightclub? Lu Watters’ Great Experiment A Presentation by Chris Sterba, Lecturer in American Studies, San Francisco State University Attend via Zoom with the following link https://us02web.zoom.us/j/88911070573?pwd=QXdydDl1TnZHVGMzLzduNVV4TlR2UT09 Meeting ID: 889 1107 0573 Passcode: 236872 One tap mobile +16699006833,,88911070573#,,,,,,0#,,236872# US (San Jose) +13462487799,,88911070573#,,,,,,0#,,236872# US (Houston) Lu Watters and the Yerba Buena Jazz Band By Chris Sterba Lu Watters and the Yerba Buena Jazz band perform at Hambone Kelly’s in El Cerrito in the late 1940s. Courtesy of Chris Treadway. The El Cerrito nightclub Hambone Kelly’s played a major role in the revival of New Orleans-style jazz during the late 1940s. The club was also unique in that it was run as a cooperative by the members of the Yerba Buena Jazz Band, who not only performed several nights a week, but also lived on the premises and cooked and served meals to hundreds of patrons. The driving force behind the co-op was Bay Area native Lu Watters, the band’s larger-than-life cornet player and founder. Tremendously talented, Watters toured the country with a swing band when he was a teenager and by his mid-twenties was writing arrangements for his own dance orchestras. Watters’ true passion, however, was the intense sound and freedom of early jazz, which was practically forgotten as a genre when big band swing took over in the late 1920s. -
San Francisco Traditional Jazz Foundation Collection ARS.0030ARS.0030
http://oac.cdlib.org/findaid/ark:/13030/c8vt1zt8 Online items available Guide to the San Francisco Traditional Jazz Foundation Collection ARS.0030ARS.0030 Franz Kunst, Erin Hurley, and Frank Ferko Archive of Recorded Sound 2012-2019 [email protected] URL: http://library.stanford.edu/ars Guide to the San Francisco ARS.0030 1 Traditional Jazz Foundation Collection ARS.0030ARS.0030 Language of Material: English Contributing Institution: Archive of Recorded Sound Title: San Francisco Traditional Jazz Foundation Collection Identifier/Call Number: ARS.0030 Physical Description: 371 box(es) Date (inclusive): 1930-2006 Language of Material: English Stanford Archive of Recorded SoundStanford University LibrariesStanford, California 94305-3076 Access Open for research; material must be requested at least two business days in advance of intended use. Contact the Archive for assistance. Publication Rights Property rights reside with repository. Publication and reproduction rights reside with the creators or their heirs. To obtain permission to publish or reproduce, please contact the Head Librarian of the Archive of Recorded Sound. Preferred Citation San Francisco Traditional Jazz Foundation Collection, ARS-0030. Courtesy of the Stanford Archive of Recorded Sound, Stanford University Libraries, Stanford, Calif. Source The San Francisco Traditional Jazz Foundation Collection was donated to the Stanford Archive of Recorded Sound by the San Francisco Traditional Jazz Foundation in 2008-2009. Sponsor This finding aid was produced, in part, with generous financial support from the National Historical Publications and Records Commission. Box numbers Box numbers have gaps. Also some contents of boxes were removed and placed in oversize folders, so the Extent includes the combination of the total box count and oversize folder count. -
Regional Oral History Office University of California the Bancroft Library Berkeley, California
Regional Oral History Office University of California The Bancroft Library Berkeley, California Charles Duff Campbell, Leon Oakley, John Gill, Bob Schulz and Linda Jensen, Pat Yankee, William Carter, Carl Lunsford, Richard Hadlock TURK MURPHY, EARTHQUAKE MCGOON’S, AND THE NEW ORLEANS REVIVAL Interviews conducted by Caroline Crawford in 2007-2009 Copyright © 2011 by The Regents of the University of California Since 1954 the Regional Oral History Office has been interviewing leading participants in or well-placed witnesses to major events in the development of Northern California, the West, and the nation. Oral History is a method of collecting historical information through tape-recorded interviews between a narrator with firsthand knowledge of historically significant events and a well-informed interviewer, with the goal of preserving substantive additions to the historical record. The tape recording is transcribed, lightly edited for continuity and clarity, and reviewed by the interviewee. The corrected manuscript is bound with photographs and illustrative materials and placed in The Bancroft Library at the University of California, Berkeley, and in other research collections for scholarly use. Because it is primary material, oral history is not intended to present the final, verified, or complete narrative of events. It is a spoken account, offered by the interviewee in response to questioning, and as such it is reflective, partisan, deeply involved, and irreplaceable. ********************************* All uses of this manuscript are covered by a legal agreement between The Regents of the University of California and Charles Duff Campbell, dated December 7, 2007 ; Leon Oakley, dated October 26, 2007; John Gill, dated February 29, 2008 ; Bob Schulz, dated February 5, 2009; Linda Jensen, dated March 4, 2009; Pat Yankee, dated May 12, 2008; William Carter, dated April 6, 2010; Carl Lunsford, dated February 23, 2010; Richard Hadlock, dated April 10, 2010.The manuscript is thereby made available for research purposes. -
The Odd Brilliance of P.T. Stanton (1923-87) by Dave Radlauer
Frisco Cricket Published By The San Francisco Traditional Jazz Foundation Summer 2014 When Rare Is Well Done by William Carter When musicians hang out and gossip, a the magazine online will have the special treat of certain few rare names tend to come up. We’ve all clicking on a lot of links to hear some wonderful performed with dozens material that is “rare” in of fine players, includ- both senses: recordings ing some great lead horn impossible to find any- players, over the years. where except via Dave’s But I’m using “rare” in audio streaming site; and another sense. saturated, subtly and Certain jazz guys overtly, with the serious have a peculiar twist of humor of the incompa- their inner timber such rable P.T. Stanton. that when they express He had it — was it — themselves musically, offstage as well as on. you know instantly. As did a very few others And when you work of his ilk (I’m thinking with them, at least in the Ray Ronnei and Jim front line, that timber- Goodwin). They could twist instantly affects only have been who they your own playing. As in were, and no one else call and response song. could ever be a whit like You can’t plan or know them. In life or in music. in advance the sponta- Storied: as in, to play jazz neous conversation you is to tell a story. will have with someone I’m so lucky to have — especially someone as played with him a few rare as P.T. -
Jazz Band Program
DDWI ilDlviE In New Orleans ~ s.o.s. 1217 JAZZ BAND Vol. 4 by Hal Smith How'm I Gonna Do It? comes from the same I'm A Little Blackbird is a comparative rarity in PROGRAM: NOTES period as Riverside Shake and Daybreak Blues. Traditional Jazz, despite a wonderful recording In response to a request from STOMP OFF pro- All three titles appear on the Bob Helm-led RIVER- done by Louis Armstrong and Sidney Bechet with Side A ducer Bob Erdos, the Down Home Jazz Band was SIDE ROUSTABOUTS session. Ev Farey wrote an Clarence Williams in 1925. It is one of the prettiest 1. RIVERSmE SR.AKE (Bob Helm) (a) ............ 3:55 assembled in New Orleans in October, 1989 to eight-piece arrangement of the tune and recorded tunes in Classic Jazz and was a particular favorite 2. AUlft &AGAR'S BLUES CN.C. Handy) (b) ...... 2:56 record another session featuring Y erba Buena it with his Bay City Jazz Band for GOOD TIME JAZZ of the marvelous California cornetist Ray Ronnei. 3. MANDY Orving Berlin) (b) .................... 3: 10 material. Our regular clarinetist, Larry Wright, in 1956. Following Ev's arrangement, Tom Fischer In our version, the arrangement is structured like 4. HOW'M I GONNA DO IT? (If I Don't Know What was engulfed in a time-consuming business deal contributes some introspective Helm-like clarinet. one of the "stretch-out" performances of the YBJB It la Tb.at You Crave) (Bob Helm-Weldon Kees) that obliged him to beg off from working with the Steve's piano solo features some lovely Morton during its latter days. -
Good Time Jazz Label Discography
Good Time Jazz Label Discography 10 Inch LP’s L 1 – Firehouse Five Plus Two Volume 1 – Firehouse Five Plus Two [1951] L 2– Firehouse Five Plus Two Volume 2 – Firehouse Five Plus Two [1951] L 3 – Ragtime Classics – Wally Rose [1952] Gladiolus Rag/Red Pepper Rag/The Pearls/Frog Legs Rag/King Porter Stomp/Easy Winners/Pineapple Rag/Cascades Rag L 4 - Turk Murphy Volume 1 – Turk Murphy [1952] L 5- Turk Murphy Volume 2 – Turk Murphy [1952] L 6 –Firehouse Five Plus Two Volume 3 – Firehouse Five Plus Two [1952] L 7 - Turk Murphy Volume 3 – Turk Murphy [1952] L 8 - Lu Watters and the Yerba Buena Jazz Band - Lu Watters and the Yerba Buena Jazz Band [1952] Muskrat Ramble/At a Georgia Camp Meeting/Original Jelly Roll Blues/Maple Leaf Rag/Irish Black Bottom/Smoky Mokes/Memphis Blues L 9 - Bob Scobey and the Frisco Band - Bob Scobey and the Frisco Band [1952] L 10 – Kid Ory and His Creole Jazz Band, 1944/45 Volume 1 – Kid Ory and His Creole Jazz Band [1952] Get Out of Here/South/Blues for Jimmie Noone/Creole Song L 11 – Kid Ory and His Creole Jazz Band, 1944/45 Volume 2 – Kid Ory and His Creole Jazz Band [1952] L 12 L 13 – Paul Lingle Piano – Paul Lingle [1953] L 14 – Bob Scobey and the Frisco Band Volume 2 – Bob Scobey [1953] L 15 – Banjo Kings Volume 1 – Banjo Kings [1953] L 16 – Firehouse Five Plus Two Volume 4 – Firehouse Five Plus Two [12/53] L 17 – Bunk Johnson and the Yerba Buena Jazz Band – Bunk Johnson [1953] Careless Love/2:19 Blues/The Girls Go Crazy/When I Move to the Sky/Ace in the Hole/Ory's Creole Trombone/Nobody's Fault But Mine/Down