Collection of Jazz Articles

Total Page:16

File Type:pdf, Size:1020Kb

Collection of Jazz Articles 1 Table of Contents Adams, Dolly 3 Albert, Don 6 Alexis, Richard 12 Allen, Red 14 Almerico, Tony 16 Anderson, Andy 27 Bailey, Buster 38 Barbarin, Paul 39 Barnes, “Polo” 43 Barrett, Emma 48 Barth, George 49 Bauduc, Ray 50 Bechet, Sidney 65 Bechet, Leonard 69 Bigard, Barney 70 Bocage, Peter 53 Boswell, Sisters 84 Boswell, Connie 88 Bouchon, Lester 94 Braud, Wellman 96 Brown, Tom 97 Brownlee, Norman 102 Brunies, Abbie 104 Brunies, George 106 Burke, Ray 116 Casimir, John 140 Christian, Emile 142 1 2 Christian, Frank 144 Clark, Red 145 Collins, Lee 146 Charles, Hypolite 148 Cordilla, Charles 155 Cottrell, Louis 160 Cuny, Frank 162 Davis, Peter 164 DeKemel, Sam 168 DeDroit, Paul 171 DeDroit, John 176 Dejan, Harold 183 Dodds, “Baby” 215 Desvigne, Sidney 218 Dutrey, Sam 220 Edwards, Eddie 230 Foster, “Chinee” 233 Foster, “Papa” 234 Four New Orleans Clarinets 237 Arodin, Sidney 239 Fazola, Irving 241 Hall, Edmond 242 Burke, Ray 243 Frazier, “Cie” 245 French, “Papa” 256 Dolly Adams 2 3 Dolly‟s parents were Louis Douroux and Olivia Manetta Douroux. It was a musical family on both sides. Louis Douroux was a trumpet player. His brother Lawrence played trumpet and piano and brother Irving played trumpet and trombone. Placide recalled that Irving was also an arranger and practiced six hours a day. “He was one of the smoothest trombone players that ever lived. He played on the Steamer Capitol with Fats Pichon‟s Band.” Olivia played violin, cornet and piano. Dolly‟s uncle, Manuel Manetta, played and taught just about every instrument known to man. Dolly‟s musical education began early under the tutelage of her mother, father and Uncle Manuel. She was playing the piano at age five, but in a few years was also performing capably on guitar, bass and drums. Her first professional jobs were with Uncle Manuel. She remembered going on a job with him and helping him carry his four or five “regular” instruments. At one time, probably with the early Tuxedo Band, a young Louis Armstrong was in the band when Dolly was even younger. Manuel tried to teach Louis how to play two trumpets at once, something that Manuel was a master at. Louis couldn‟t do it. “My chops are too think,” Louis said. Dolly married Placide Adams Sr. And soon began raising a musical family. Placide Sr. Was a general contractor, and while Dolly taught the children their musical ABCs, their father instilled in them his mechanical knowledge. Place Jr. said that his father was not a musician, but he did play one blues number on the piano when he thought nobody was around. 3 4 Placide Jr. recalled that he would crawl under the house to listen to him. Dolly taught all seven children something about music. Carl played trombone, but only when a jazz funeral passed the house. Odolie played piano, as did Robert, but neither ever played professional. Calvin played bass, although not professionally either. Dolly had a great memory. She memorized every note of the seven page score of “Poet and Peasant” and played it at night for the kids before they went to sleep. “Us kids would be fooling around the piano while my mother was cooking and if we made a mistake, she would take time out to correct us, saying, „No, do it like this.‟ “Mother was a very talented woman. She could play anything and write anything and was a sight-reader. She never had to look at a piece of music twice. She was also a master seamstress. She made many of our clothes, including our First Communion suits. She wrote her own shows and produced them with members of the family starring. She wrote a show called „tumbling tumbleweeds‟ and we performed it al All Saints Church in Algiers. She also wrote poetry and song lyrics. “Mother and her brothers had their own band in the early 1930s which included Baptiste Mosely on drums and Joe Butler or Lewis James on bass. She played at a lot of private parties and was a „Silent Movie‟ pianist at the old Lyric Theater.” By the late 1930s, sons Justin and Gerald joined their mother‟s band. They played mostly at West Bank clubs, including the Varsity Club, Gay Paree and the Moonlight Inn. Their main competition was Kid Thomas and his band, who were at the Moulin Rouge. 4 5 Placide Jr. came into the band around 1941 when he was just thirteen years of age. They later played the “Million Dollar Room” at Sixth and Danneel Streets. When the job was finished at night, Dolly would go home and the three brothers would go to the Dew Drop Inn and jam all night with other musicians. Placide Jr. recalled the consequences of those all night sessions: “The next night Justin, Gerry and I would be pretty sleepy on the band stand. Mother brought a water pistol and if one of us dozed off, she would squirt us in the eye to wake us up.” Dolly continued to lead “The Adams Family Band” during the 1940s and 50s., but was also in demand to play engagements with the Bocage brothers, George Lewis and Papa Celestin. In 1962 they were frequently employed at Preservation and Dixieland Halls. On January 22, 1965, Dolly played a job at Preservation Hall. After a string bass solo on “The Saints,” Papa John Joseph turned to Dolly and said, “That number just about did me in.” With that statement he collapsed and died, falling on Dolly‟s foot. Her grand-daughter was in the audience and became hysterical. “It was a terrible traumatic experience for my mother and she would very seldom play publicly after that. Shortly after that she had the first of a series of strokes and heart attacks which almost totally disabled her.” Although the family tried to get her interested in music again, she refused to sit at the piano. She spent her last years under the close care of her sons Justin and Calvin. About a week before she died, she asked Placide Jr. to get their friend Walter Lewis to come over and tune the piano. 5 6 She thought she might start playing again. Unfortunately, this was never to be. Don Albert and His Ten Pals by Richard Allen Fall, 1972 Texas has produced much jazz, blues, white folk and gospel music. Who can forget musicians like blind Willie Johnson, Teddy Wilson, Blind Lemon Jefferson, Peck Kelly, Hersal Thomas, or Jack Teagarden” Ragtimer Scott Joplin was born in Texarkana. Western swing originated in the Fort Worth- Dallas area. There is a boogie woggie piano style known as “Santa Fe” which centered around Houston, Galveston, Sugarland, and Richman, Texas. We know too little about the early blues and religious music of this state; furthermore, we know almost nothing about the music Scott Joplin heard when he roamed around Texas as a youth. There is even a type of Negro Cajun music, called Zydeco, or sodico, which has moved into Houston. Moreover, cowboy songs are strongly identified with the state. Why did this flowering take place? Because the oil and natural gas boom which began in 1901 has supported good-time music? Texas had, and still has, big spenders. The high rolling oil men loved to show their generosity in honky tonks, speakeasies and ballrooms. Since 1925 the state has led all others in mineral production. This wealth comes for the most part from oil and gas. 6 7 The ethnic groups, including the Negroes, Germans, Anglo-Saxons, Mexicans and Cajuns that settled in Texas were all musical. The mixing of their cultures made for a healthy musical climate. Doubtless the proximity of New Orleans had its effect. Jelly Roll Morton, Bunk Johnson, Leon Rappolo, Punch Miller and Wingy Manone were a few of many Orleanians who worked in Texas. Another example of New Orleans musicians in that state was Don Albert and His Ten pals, A group organized in New Orleans in 1929 but headquartered in Texas for its entire existence. Mr. Albert was born in the Creole section of New Orleans on 5 August 1908, of a most musical family. His real name is Albert Dominique and Natty Dominique is his uncle. The shorter name seemed more suitable for a band leader. His father was a singer, and numerous cousins and in-laws were and are musicians. Don began his musical career as a singer, but decided his voice was not good enough. He took up cornet at about the age of nine under Nelson Jean whose playing Don admired. Mr. Jean gave him two lessons consisting entirely of horn cleaning. This seemed pointless, and he asked his cousin Barney Bigard to take him to Luis “Papa” Tio for more study. Next he studied under Milford Piron, brother of the bandleader Armand Piron and a cousin by marriage of Don Albert. Mr. Piron taught him sight- singing for a year and a half without allowing Don to touch his instrument. Don played his first job, a Mardi Gras parade, with Big Foot Bill Phillips. Mr. Piron heard about this and there were no more lessons from him. He felt that his students should learn 7 8 the fundamentals before becoming professionals. Don also had a few lessons from the famed Creole cornetist Manuel Perez. Don played on the lake boat Susquehanna, and while waiting for the return trip to New Orleans from Mandeville heard for the first time Buddy Petit, a cornetist he admired. Other favorites on hot cornet from the twenties were Chris Kelly and Punch Miller.
Recommended publications
  • Navigating Jazz: Music, Place, and New Orleans by Sarah Ezekiel
    Navigating Jazz: Music, Place, and New Orleans by Sarah Ezekiel Suhadolnik A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy (Musicology) in the University of Michigan 2016 Doctoral Committee: Associate Professor Charles Hiroshi Garrett, Chair Professor David Ake, University of Miami Associate Professor Stephen Berrey Associate Professor Christi-Anne Castro Associate Professor Mark Clague © Sarah Ezekiel Suhadolnik 2016 DEDICATION To Jarvis P. Chuckles, an amalgamation of all those who made this project possible. ii ACKNOWLEDGEMENTS My dissertation was made possible by fellowship support conferred by the University of Michigan Rackham Graduate School and the University of Michigan Institute for the Humanities, as well as ample teaching opportunities provided by the Musicology Department and the Residential College. I am also grateful to my department, Rackham, the Institute, and the UM Sweetland Writing Center for supporting my work through various travel, research, and writing grants. This additional support financed much of the archival research for this project, provided for several national and international conference presentations, and allowed me to participate in the 2015 Rackham/Sweetland Writing Center Summer Dissertation Writing Institute. I also remain indebted to all those who helped me reach this point, including my supervisors at the Hatcher Graduate Library, the Music Library, the Children’s Center, and the Music of the United States of America Critical Edition Series. I thank them for their patience, assistance, and support at a critical moment in my graduate career. This project could not have been completed without the assistance of Bruce Boyd Raeburn and his staff at Tulane University’s William Ransom Hogan Jazz Archive of New Orleans Jazz, and the staff of the Historic New Orleans Collection.
    [Show full text]
  • The Solo Style of Jazz Clarinetist Johnny Dodds: 1923 – 1938
    Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2003 The solo ts yle of jazz clarinetist Johnny Dodds: 1923 - 1938 Patricia A. Martin Louisiana State University and Agricultural and Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the Music Commons Recommended Citation Martin, Patricia A., "The os lo style of jazz clarinetist Johnny Dodds: 1923 - 1938" (2003). LSU Doctoral Dissertations. 1948. https://digitalcommons.lsu.edu/gradschool_dissertations/1948 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected]. THE SOLO STYLE OF JAZZ CLARINETIST JOHNNY DODDS: 1923 – 1938 A Monograph Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College In partial fulfillment of the Requirements for the degree of Doctor of Musical Arts in The School of Music By Patricia A.Martin B.M., Eastman School of Music, 1984 M.M., Michigan State University, 1990 May 2003 ACKNOWLEDGMENTS This is dedicated to my father and mother for their unfailing love and support. This would not have been possible without my father, a retired dentist and jazz enthusiast, who infected me with his love of the art form and led me to discover some of the great jazz clarinetists. In addition I would like to thank Dr. William Grimes, Dr. Wallace McKenzie, Dr. Willis Delony, Associate Professor Steve Cohen and Dr.
    [Show full text]
  • In 191^B Played His First Professional Job. He Bought a Sax on August 3/ and Played His First Job on September 3
    PAUL BARNES 1 Reel I [of 2]--Digest-Retype June 16, 1969 Also present; Barry Martyn, Lars Edegran/ Richard B. Alien Paul Daniel Barnes, whose professional name is "Polo" Barnes/ was born November 22, 1903., in New Orleans/ Louisiana. When he was six years old, he started playing a ten cent [tin] fife. This kind of fife was popular in New Orleans. George Lewis, [Emil-e] Barnes and Sidney ^. Bechet and many others also started on the fife. In 191^B played his first professional job. He bought a sax on August 3/ and played his first job on September 3. He had a foundation from playing the fife. As a kid, he played Emile Barnes' clarinet. There were few Boehm system clarinetists then. 'PB now plays a Boehm. Around 1920 PB started playing a Boehm system clarinet, but he couldn't get the hang of it/ so he went back to the sax/ which he played until he got with big bands. He took solos on the soprano sax [and later alto sax], but not on the clarinet. He is largely self-taught. He tooT< three or four saxophone lessons from Lorenzo Tie [Jr.]. Tio was always high. PB learned clarinet from Emile Barnes. PB wanted to play like Sidney Bechet, but he couldn't get the tone. PB played tenor sax around New York/ baritone sa^( [and still occasionally alto]. [Today PB is still playing clarinet almost exclusively--RBA, June 7, 1971<] His first organized band was PB's and Lawrence Marrero's Original Diamond Orchestra. It had Bush Hall, tp/ replaced by Red Alien; Cie Frazier [d]; Lawrence [Marrero] / [bj?].
    [Show full text]
  • Johnny Hodges: an Analysis and Study of His Improvisational Style Through Selected Transcriptions
    HILL, AARON D., D.M.A. Johnny Hodges: An Analysis and Study of His Improvisational Style Through Selected Transcriptions. (2021) Directed by Dr. Steven Stusek. 82 pp This document investigates the improvisational style of Johnny Hodges based on improvised solos selected from a broad swath of his recording career. Hodges is widely considered one of the foundational voices of the alto saxophone, and yet there are no comprehensive studies of his style. This study includes the analysis of four solos recorded between 1928 and 1962 which have been divided into the categories of blues, swing, and ballads, and his harmonic, rhythmic, and affective tendencies will be discussed. Hodges’ harmonic approach regularly balanced diatonicism with the accentuation of locally significant non-diatonic tones, and his improvisations frequently relied on ornamentation of the melody. He demonstrated considerable rhythmic fluidity in terms of swing, polyrhythmic, and double time feel. The most individually identifiable quality of his style was his frequent and often exaggerated use of affectations, such as scoops, sighs, and glissandi. The resulting body of research highlights the identifiable characteristics of Hodges’ style, and it provides both musical and historical contributions to the scholarship. JOHNNY HODGES: AN ANALYSIS AND STUDY OF HIS IMPROVISATIONAL STYLE THROUGH SELECTED TRANSCRIPTIONS by Aaron D. Hill A Dissertation Submitted to The Faculty of the Graduate School at The University of North Carolina at Greensboro in Partial Fulfillment of the Requirements for the Degree Doctor of Musical Arts Greensboro 2021 Approved by __________________________________ Committee Chair 2 APPROVAL PAGE This dissertation written by AARON D. HILL has been approved by the following committee of the Faculty of The Graduate School at The University of North Carolina at Greensboro.
    [Show full text]
  • Brian Casserly, Who Also Goes by the Name "Big B" Plays Trumpet, Trombone and Is Also a Vocalist with the Band
    Cornet Chop Suey – Biographies The Cornet Chop Suey Jazz Band has enjoyed a meteoric rise in popularity since its arrival on the jazz scene in 2001. The band's unique front line with Brian Casserly on trumpet, Tom Tucker on cornet, Jerry Epperson on reeds and Brett Stamps on trombone is driven by a powerful rhythm section consisting of Paul Reid on piano, Al Sherman on bass and John Gillick on drums. Best known for a wide variety of styles, Cornet Chop Suey applies its own exciting style to traditional jazz, swing, blues and "big production" numbers. Every performance by Cornet Chop Suey is a high-energy presentation and is always a memorable experience for the audience. Named after a somewhat obscure Louis Armstrong composition, Cornet Chop Suey now has six CD's available. The "St. Louis Armstrong" CD includes many of the tunes performed in the special Louis Armstrong show. The band is in great demand at jazz festivals, jazz cruises, conventions and concerts around the country. Brian Casserly, who also goes by the name "Big B" plays trumpet, trombone and is also a vocalist with the band. A professional musician since the age of 14, Brian has played for many greats in the music business, including Tony Bennett,Tex Beneke, Stan Kenton, Chuck Berry and even Tiny Tim. He has also played the prestigious Monterey Pops Festival for several years. An in-demand session musician, Brian has performed in many commercials, recordings and musicals in the U.S. and Canada and is the past musical director for the S.S.
    [Show full text]
  • Whicl-I Band-Probably Sam; Cf
    A VERY "KID" HOWARD SUMMARY Reel I--refcyped December 22, 1958 Interviewer: William Russell Also present: Howard's mother, Howard's daughter, parakeets Howard was born April 22, 1908, on Bourbon Street, now renamed Pauger Street. His motTier, Mary Eliza Howard, named him Avery, after his father w'ho di^d in 1944* She sang in church choir/ but not professionally. She says Kid used to beat drum on a box with sticks, when he was about twelve years old. When he was sixteen/ he was a drummer. They lived at 922 St. Philip Street When Kid was young. He has lived around tliere all of his life . Kid's father didn't play a regular instrument, but he used to play on^ a comb, "make-like a. trombone," and he used to dance. Howard's parents went to dances and Tiis mother remembers hearing Sam Morgan's band when she was young, and Manuel Perez and [John] Robichaux . The earliest band Kid remembers is Sam Morgan's. After Sam died, he joined the Morgan band/ witli Isaiah Morgan. He played second trumpet. Then he had his own band » The first instrument he.started on was drums . Before his first marriage, when he got his first drums/ he didn't know how to put them up. He had boughtfhem at Werlein's. He and his first wife had a time trying to put them together * Story about }iis first attempt at the drums (see S . B» Charters): Sam Morgan had the original Sam Morgan Band; Isaiah Morgan had l:J^^i', the Young Morgan Band.
    [Show full text]
  • (WR Has Heard Recordings of Lprenzo, Jr., Made When He Played The
    1 PAUL BEAULIEU Also present: William Russell I [of 4]-Digest-Retyped Ralph Collins June 11, 1960 (Interview conducted at liome of Paul Beaulieu on[1134 N.] Robertson Street Paul William Beaulieu was born on Burgundy Street in the French » ^ Quarter of New Orleans on October 20, 1888. His father was an amateur flute player. PB's first instrument was piano, which he studied with Ellen Myers [spelling?], beginning when he was eight or nine years old. He studied solfege with Mrs. [White?], when he was attending Straight University (which was tlnen-on Canal between Tonti and Rocbe'blave-Straight merged with New Orleans University to form the present Dillard University). When PB was a teen-ager, "he studied cello, the clarinet and the saxopl'ione. He studied cello with a French artist who was in New Orleans with the French Opera Company; PB had begun studying harmony with the French artist shortly before the latter left town. PB continued harmony study with Professor Louis "Papa" Tio (brother of Lorenzo Tioy Sr., and uncle of Lorenzo Tio/ Jr.). Lorenzo, Sr., moved himself and his family from New Orleans to Bay St. Louis or Pass Christian [Mississippi]. He and his brother, Louis, were cigar makers. Both brothers played all the reed instruments. Lorenzo, Sr., could tongue very rapidly; .he had a sweet tone; he was an excellent musician. He taught his son, Lorenzo, Jr. to play. (WR has heard recordings of Lprenzo, Jr., made when he played the [A. J.] Piron band.) PB doesn't know where the Tio family came fr om originally, but he.says they [Lorenzo, Sr./ and Louis] got their musical education at a conservatory in Mexico; they also spoke Spanish and French fluently.
    [Show full text]
  • GIVING a JAZZ RECORD AS a GIFT by Eric Myers National Times, December 7, 1980 ______
    GIVING A JAZZ RECORD AS A GIFT by Eric Myers National Times, December 7, 1980 ______________________________________________________________ The National Times opera critic JOHN CARMODY, Sydney Morning Herald jazz critic ERIC MYERS and rock writer SHANE NICHOLS prepared this guide to records most likely to be gratefully received. They cover a range of tastes and should be available. ______________________________________________________________ f you are buying a jazz record as a gift, you should determine the style preferred. There are so many different, although related, idioms I congregating under the banner of "jazz" that it is rarely possible, these days, to buy a "jazz" album that suits all tastes. Duke Ellington At Fargo 1940 Live (Book Of The Month Records 305622). If the recipient likes big band jazz, you could do no better than the three-record set Duke Ellington At Fargo 1940 Live (Book Of The Month Records 305622). This was a performance at the Crystal Ballroom, Fargo, North Dakota, on 1 November 7, 1940. Many critics believe, with some justice, that this particular line-up of musicians was the greatest that Ellington ever assembled. This was a special performance - the first night Ray Nance played in the trumpet section, having just replaced Cootie Williams, who had left to join Benny Goodman. Rex Stewart is also in the section. The saxophones include Barney Bigard (clarinet), Johnny Hodges (alto) and Ben Webster (tenor) among others; Tricky Sam Nanton and Lawrence Brown are among the trombones; and the great Jimmy Blanton is on bass. It is a distinguished line-up, and the band roars through the Ellington repertoire with all the qualities that made it the greatest big band in jazz.
    [Show full text]
  • Ernest Elliott
    THE RECORDINGS OF ERNEST ELLIOTT An Annotated Tentative Name - Discography ELLIOTT, ‘Sticky’ Ernest: Born Booneville, Missouri, February 1893. Worked with Hank Duncan´s Band in Detroit (1919), moved to New York, worked with Johnny Dunn (1921), etc. Various recordings in the 1920s, including two sessions with Bessie Smith. With Cliff Jackson´s Trio at the Cabin Club, Astoria, New York (1940), with Sammy Stewart´s Band at Joyce´s Manor, New York (1944), in Willie ‘The Lion’ Smith´s Band (1947). Has retired from music, but continues to live in New York.” (J. Chilton, Who´s Who of Jazz) STYLISTICS Ernest Elliott seems to be a relict out of archaic jazz times. But he did not spend these early years in New Orleans or touring the South, but he became known playing in Detroit, changing over to New York in the very early 1920s. Thus, his stylistic background is completely different from all those New Orleans players, and has to be estimated in a different way. Bushell in his book “Jazz from the Beginning” says about him: “Those guys had a style of clarinet playing that´s been forgotten. Ernest Elliott had it, Jimmy O´Bryant had it, and Johnny Dodds had it.” TONE Elliott owns a strong, rather sharp, tone on the clarinet. There are instances where I feel tempted to hear Bechet-like qualities in his playing, probably mainly because of the tone. This quality might have caused Clarence Williams to use Elliott when Bechet was not available? He does not hit his notes head-on, but he approaches them with a fast upward slur or smear, and even finishes them mostly with a little downward slur/smear, making his notes to sound sour.
    [Show full text]
  • [Cost?] of Lessons. His Father Told Him He Played French 2 EDMOND SOUCHON, M.D
    EDMOND SOUCHON, M.D. 1 I E of 3]\--Digest--Retyped February^17, 1962 Also present:William Russell Dr. Edmond Soucl-ion II, grandson of Edmond Souchon I, son of Marion Sims Souchon, was born October 25, 1897^ in New Orleans, s, on St. Charles Street at First Street. He can remember as far back as wl-ien he was four years old, as he pointed out in an article he recently wrote about xToe Oliver [in the Jazz Review.RBA]. Discussion about memory. His first memory of music was of the singing of two cooks, who followed [succeeded?-] each other at fhe Souchon residence; they were Aumontine [spelling?] and Adele; both had fine contralto voices, and both sang hymns in the same style of Mahalia Jackson. ES remembers funeral parades [i.e., funeral £ processions]7 the cook would take him to see them; they started at the Bulls Club and always passed Terrell's Grocery (wbere ES and cook jtoined second line) on First Street, on their way to a cemetery on Washington Avenue. ES was impressed by the young Joe Oliver, who played in those parades; ES says Oliver worked in the neiglrborhood, on Magazine at First or Third? WR says it was at Second, that he took pictures of all four corners there, that Bunk Johnson showed him one that it was not, but that Louis Keppard, who worked with Oliver in those days [identified the correct house?]. ES admired Oliver's white teeth; Oliver always chewed a hunk of tar. ES's mother played piano a little; once s1'ie played a waltz and a mazurka for liim and told him that was tTne sum total of $5,000 [cost?] of lessons.
    [Show full text]
  • Understanding Chronic Pain, Psychological Changes, Opioid Dependency and Alternatives
    Issue 58 | Volume 18 | Fall 2018 Understanding Chronic Pain, Psychological Changes, Opioid Dependency and Alternatives INSIDE: Annual Charity Bicycle Ride Isn’t Just About Fundraising page 14 Blood Brother’s First-hand Experience with Medical Marijuana page 26 EXECUTIVE CORNER Dear Friends, ver the course of the past eight plus Assisting, educating, and advocating for the Oyears we have been blessed to have our bleeding disorders community since 1994. Hemophilia Treatment Center nurses in our Issue 58 | Volume 18 | Summer 2018 lives. EXECUTIVE LEADERSHIP Without a bleeding disorder and likely with Board Chair | Josh Hemann other conditions, patients may not become President & CEO | Kimberly Haugstad, MBA familiar with the nurses they see. But our HTC nurses have been with us through a lot, from PRODUCTION TEAM hospitalizations to hemophilia camp.w Editor | Emily Roush-Bobolz Art Direction | Michael DeGrandpre Our HTC has three nurses, all of whom have Design & Layout | Kristin Mitchell Design, Inc. played a significant role in our journey so far. Michelle Krantz with Copy Editors | Kit Salisbury, Ann LeWalk To my daughters, Kinzie and Jayla, they are a the University of Iowa Children’s Hospital HTC Informative Communications Manager familiar face at camp and our annual clinic visit. with Josh’s daughter, Kyle McKendall During every hospital stay or procedure, Kinzie Kinzie. Contributing Writers has been able to count on seeing one of her nurses or hearing from them Catherine “Andy” Anderson, HFA staff afterward to check in on her. They know Kinzie! They know she loves to Emily Roush-Bobolz, HFA staff play sports. They know Michael Bishop, HFA staff she can be clumsy, and Sonji Wilkes, HFA staff Kyle McKendall, HFA staff they know she has a big heart.
    [Show full text]
  • Fourth Grader Takes on Challenges of Dyslexia
    First Lady Rivalries Gov. Roy Cooper’s wife, East, South, West Kristen, visits Hallsboro-Artesia. and WHS square uuSEE PAGE 8A off on the diamond. uuSEE PAGE 1B The News Reporter Published since 1890 every Monday and Thursday for the County of Columbus and her people. WWW.NRCOLUMBUS.COM Thursday, March 29, 2018 75 CENTS Fourth grader takes on challenges of dyslexia By Diana Matthews science and math, but he said his friends, cousins and sister says he wants to be a farmer and after second grade he was He now receives “clap and tap” [email protected] the best part of the school Emma Gray. “Sometimes I of some sort someday, but he diagnosed with dyslexia. That therapy from Carla Brown. Us- day is “when we go outside.” jump on the trampoline for knows he has other choices was when his parents began to ing a program called Interac- Part III of a series Because Price has dyslexia, two hours,” he said. as well. At least he is pretty recruit all the help they could tive Metronome, Brown leads Price Wheatley had his 10th reading is difficult, but that Last summer he helped har- sure he doesn’t want to be a find to give Price a good edu- Price in rhythmic listening birthday in December and is hasn’t dampened his enthusi- vest watermelons from a patch teacher, preacher or writer. cation in spite of his learning and reading exercises. in Amanda Tedder’s fourth- asm about the future. his father, Brent Wheatley, Those occupations all require difficulty.
    [Show full text]