& « TAILGATE RAMBLINGS VOL. 2 NO. 1 meeting of the PRJC Board of Directors in April. J UNE, 19 7 2 It was decided that, when possible, officers of the club should be drawn from PRJC m em­ EDITOR - Alan C. Webber bers who are not band leaders or playing ART DIRECTOR - Thomas E. Niemann musicians. Hopefully, this will dispel ling­ CONTRIBUTING EDITOR - Edwin C. Fishel ering suspicions that the club exists to benefit PRODUCTION EDITOR - Dolores Wilkinson a clique of local musicians at the expense of other musicians. Tailgate Ramblings is published quarterly for Henceforth all dues, renewal memberships, members of the Potomac River Jazz C lub , new membership applications, and queries in an organization dedicated to the support o f regard to membership should be directed to: traditional jazz interest and activity in the Miss Eleanor Waite Johnson, Apt. #905, Greater Washington, D. C. and Baltimore 10201 Grosvenor Place, Rockville, Md. 20852. areas. Annual subscription and membership, Contributions to TAILGATE RAMBLINGS $5. Initiation fee, $2. Write to: (if any) and orders for records should continue M iss Eleanor Waite Johnson to be mailed to: Alan C. Webber, 5818 Walton Secretary Road, Bethesda, Md. 20034. The Potomac River Jazz Club Suggestions, complaints, e t c ., should be 10201 Grosvenor Place, #905 mailed to M rs. Anna Wahler, 3903 Buck Creek Rockville, Md. 20852 Rd. , Temple H ills, Md. 20031.

A. C. W. Articles, letters to the editor, and ad copy (for which there is no charge) should be mailed to: FROM THE EDITOR'S Alan C. Webber Editor ORANGE CRATE TAILGATE RAMBLINGS 5818 Walton Road Over the course of the past 12 months we Bethesda, Md. 20034 have put out five issues of this inconsequen­ tial little publication. Apart from amusing cartoons by the PRJC's co-founder and ex­ president, Tom Niemann, the first issue THE OLD ORDER PASSETH had precious little to recommend it. Modestly, I confess to having written The Old Bolsheviks of the Potomac River most of it. And, as Mr. Churchill once Jazz Club are fading from the scene as th e said of M r. Atlee, I have much to be modest club enters its second year. about. Tom Niemann hands over the presidency But we had to start somewhere, and Vol.l to Shannon Clark; Anna Wahler comes in as No. 1 of Tailgate Ramblings was at least a vice-president; Gary Wilkinson replaces Hal beginning. It went out to a total club m em ­ Farmer as treasurer; and Eleanor Waite bership of around 50 people. Johnson becomes secretary, replacing Alan Vol. H No. 1 isn't going to give Playboy Webber. or Down Beat much competition. But it Atty. W. Gilbert Carter joins the PRJC will reach some 220-odd subscribers (club Board of Directors as the club's legal counsel. members) and will be read by perhaps an­ Niemann and Webber will continue as art other 100. And, praise Allah, it is not so director and editor respectively of TAILGATE heavily burdened with my own prose. Nor RAMBLINGS. They will also remain Board will it be again if I can help it. members. What is the purpose of a paper such a s The above changes were voted upon at a this? Very simply, it is intended to be a IN THE GOOp OLD SUMMER TIME.. .HOT DAYS AND HOT JAZZ FOR PRJC MEMBERS

DON'T MESS ONE OF THESE CLUB-SPONSORED DIXIELAND BASHES......

June 23 (Friday) 8 - midnight. "Fun on the Carrousel" at Glen Echo Amusement Park, MacArthur Blvd. and Goldsboro Rd. Dixieland Jazz Band. Free beer, free carrousel rides. Bring the family. Kids under 16, free. PRJC Members $2; non-members, $2. 50. The show ^oes on, rain or shine.

August 5 (Saturday) 7 - 10:30 p .m . Dixieland on the C & O Canal. Free beer and set-ups. Canal boat leaves at 7 p.m. sharp, rain or shine. PRJC Members, $4; non-members,$5.

Sept. 16 (Saturday) 1 - 5 p .m . ANNUAL MEMBERS PICNIC AND JAZZ BLAST at Blob's Park, Md. Five Dixieland bands (count 'em, five). Free beer and set-ups, bring your own sandwiches. PRJC Members, $2; non-members, $ 2 .5 0 ; children under 16, free. Rain or shine. ■ - ...... - r

October 8 (Saturday) 7 - 10:30 p .m . Another C & O Canal boat ride, with Dixieland jazz, free beer and set-ups. PRJC Members, $4; non-members, $5. Rain or shine. If you have to pass up the Augist 5 shindig don't m iss this one.

means of communication for Washington/ or not, as to whether all the copy reflects an Baltimore area people who play, collect, or "official" PRJC viewpoint. This answer, are interested to some degree in a fairly now and so long as I am editor is: broad segment of American jazz, that slice HELL, NO! known generally as traditional, New Or­ The closest we have come to "official" leans or Dixieland jazz. dogma has been Tom Niemann's "Prez Sez" Our policy, stated again and again, is: to column. And if under the new regime there carry profiles of local traditional jazz bands; is to be any ex cathedra official club policy "wanted" and "for sale" listings (at no cost expounded it will, as in the past be clearly to the club members); to indicate to the best labelled as such, carrying the by-line of of our ability where traditional jazz can be a PRJC officer. heard (in clubs and on the air), and to bring Meanwhile, our pages remain open to together people who want to play the music, all com ers. If you think the late George professionally or just for kicks. Lewis was the world's greatest jazz clari­ And it goes without saying that we carry netist and want to make a pitch for this view­ reports of PRJC activities. But this isn’t point in print, let's see the color of your Chicago in the Twenties or Manhattan in the copy. If you think he was the worst, we're 52nd Street and Greenwich Village 1940's also open to that proposition, if you can back heyday. There just isn't that much local it up meaningfully. jazz activity to report. And, finally, if you think " Tailgate Ram- So we have gone the Sunday magazine sec­ blings should indulge in no critical commen- tion route and stuffed the crevices with fea­ taiy, drop me a letter and explain why. If ture material - essays, memories and what­ a sizeable number of PRJC Members feel not. All of it has either dealt with the Wash­ this sheet should be limited to pablum and ington/Baltimore scene or has been written boosterism, we - or rather my successor - by fellow PRJC members and carried their should try a new tack. One way or another, by-lines. let's hear from you occasionally. Even some The question has been raised, believe it hate mail would be welcome. If you've got a

- 3 - beef, about the club or about Hamblin";;, Mississippi rolled by in the background." don’t mutter into your beer. Let it all hang For PRJC cats who can down tools and out. head w est, Shanhasthis advice: A1 Webber "Anyone flying out can get along fine with­ out a car if they stay at Stouffer's Riverfront Inn, or The Belair East. Both are within MEET ME IN ST. LOUIS, LOUIE, easy walking distance of The Goldenrod. There are also several excellent restaurants A T THE ST. LOUIS RAGTIME FESTIVAL within walking distance. To name a few — Trader Vic's in the Belair East; Top of the True Believers who can make it will be Tower in Stouffer's; The Becky Thatcher kicking up their heels in St. Louis, M o ., Showboat; and the Steamboat Lt. Robert E. June 7 - 11, at the eighth annual St. Louis L e e ." Ragtime Festival. A11111 aboard.. . And send back some The Goldenrod Showboat, tethered at the copy on the good times to TAILGATE levee at the foot of Locust St. will be fairly RAMB LINGS! busting at the seams with trad jazz bands and A. C. W. ragtime ivory plunkers. The former will include the Happy Jazz Band, the Salty Dogs (the "original" crew, we understand), and Dan Havens’ Mudcats. MISS LIL A special attraction from Los Angeles will be the Dawn of the Century Orchestra, By Jerome Kuykendall an honest-to-Scott Joplin ragtime band. Arlington, Va. Shannon Clark of the PRJC, who supplies above info, says it costs $3. 50 a head to Lillian Hardin Armstrong, second o f board the Goldenrod Showboat and that drinks Satchmo's four wives, influenced his career are inexpensive. Bands play from 9 p.m. to greatly and was a competent musician in her 1:30 a.m . , with ragtime pianists doing their own right. Both pianist and composer, she thing between sets. Action goes on simul­ attained some fame in the Twenties but then taneously in three rooms on the boat, which passed on to relative obscurity and died in sounds delightful but frustrating. Shannon Chicago last summer just a few weeks after and Germaine Clark are old hands at these Louis died in New York. Mound City bashes, and Shan says they are Louis met "M iss Lil" in 1922 when he left old home weeks for jazz fans. Recalling last New Orleans and went to Chicago to play se­ year's festival, Shan relates: cond cornet in King Oliver's Creole Jazz "When the bands were resting, the piano Band. Still in her teens, Lil was the piano players were playing - our own Bob 'Jelly player in the Oliver band. Roll' Greene, Eubie Blake and Dave Jasen Supposedly, Lil was chosen by Oliver to from New York, Dick Zimmerman from Los meet Louis at the railroad station because Angeles, Bob Seeley from Detroit, Butch Louis' train was due to arrive while the band Thompson, Mike Montgomery, Knocky was playing and Oliver felt that the piano was Parker, Bob Ackermann and Trebor Tiche- the instrument which could best be spared. nor. There were many other fine piano play­ Louis, however, in his autobiographical book ers there who were not listed on the program, entitled Satchmo - My Life in New Orleans, and an equally large number of Dixieland does not support this romantic story. He musicians from all over the country." says that no one met him because he did not After the sessions aboard the showboat, arrive on schedule, having stayed in New "from somewhere a few folding chairs ma­ Orleans for one more gig in order to acquire terialized and an impromptu session was held some pocket money before departing for on the bricklined river bank, as old mighty. Chicago. Actually, Oliver had been at the station to meet him at the time when he should while Lil remained with King Oliver. have arrived. Shortly after Louis joined the Henderson In any event, Louis soon was in ;ouch with band it opened an engagement at the R ose- Oliver and played with him and the other land Ballroom. Louis soon inspired the band members of the band, including Lil, the next with his driving style and amazed them with night. Louis was an immediate success, and his phenomenal skill. It has been said that by the time that first evening was over, he the orchestra played with an "estatic free­ was favorably impressed by the band's girl dom" which brought virtually every jazz pianist. He wrote: musician in New York to the Roseland to "F o r a woman Lil Hardin was really listen to them. Coleman Hawkins and other wonderful, and she certainly surprised me great musicians in the band learned much that night with her four beats to the bar. from Louis and did not hesitate to say so. It was startling to find a woman who had The Henderson band was a big band com ­ been valedictorian in her class at Fisk posed of reading musicians, truly an elite University fall in line and play such good group. Their music was fully arranged. jazz. She had gotten her training from Joe Improvisation was confined to solos, but the Oliver, Freddy Keppard, Sugar Johnny, driving concordance of the band was magni­ Lawrence Dewey, Tony Johnson and many ficent. Fletcher Henderson and his men may others of the great pioneers from New not have known it, but with Louis with them, Orleans. If she had not run into these they were either playing or at least presaging top-notchers she would have probably swing music. married some big politician or maybe About a year later, Louis returned to Chi­ played the classics for aliving. Later cago with the satisfaction of knowing that he I found that Lil was doubling after hours had virtually taken New York by storm and at the Idleweise Gardens. I wondered how had earned the respect of every jazz musi­ she was ever able to get any sleep. I knew cian who had heard him. We can only won­ those New Orleans cats could take it all der whether Louis realized that if Lil had not night, but it was a tough pull for a woman." taught him to read he could not have taken a Louis and Lil became good friends and Lil seat in Fletcher Henderson's orchestra. has unabashedly admitted that she was a help To narrate the next step which Lil took to the young cornetist in many ways. One was and the effect thereof on her husband's carea-, seeing that he obtained clothing which was we quote from Theodore E. Kalem, writing more stylish than that which he was wearing for Time-Life Records: when he arrived from New Orleans. Another "Lil Armstrong****conceived the supervising his diet so that he lost 50 pounds. idea of a small recording-studio group Most important of all, she taught Louis to read to be called 'Louis Armstrong's Hot music. F iv e .' This alone would qualify Lil as Time went on and Louis was happy with his the patroness saint of jazz. Between music, his friends, and the recognition he was 1925 and 1928, some 70 recordings in receiving. One day Oliver told Lil that he all were issued under various names in­ realized that Louis played better trumpet than cluding the Hot Five, the Hot Seven and he did, but that as long as Louis stayed with Louis Armstrong & His Savoy Ballroom his band, he would never get ahead of h im Five. These Fives and Sevens are the (Oliver). Even before this, Lil had been urging Magna Carta of jazz. They are the jazz Louis to quit the Creole Jazz Band and strike addict's Parthenon, his Mecca, his Holy out on his own, confident that he would have of Holies. To hear Louis on these records much greater success if he did. How right is like watching Zeus hurling thunderbolts. she was. Satchmo entered this period as a major Louis and Lil were married in 1924, and in talent and emerged as an awesome Titan." that year Louis made the break and went to The rhythm section of the Hot five con­ New York to join Fletcher Henderson's band sisted only of Lil at the piano and Johnny St. Cyr playing the banjo. Somehow they managed death Lil was still living in the house at 421 to support the horns so successfully that the East 44th Street, Chicago, which she and absence of drums and a bass instrument is Louis had bought in 1927. no great loss. The front line, which deserves our reverence, was one of the greatest ever assembled. Louis, trumpet; Johnny Dodds, clarinet; and Kid Ory, trombone. Although Louis and Lil were not divorced until 1938, it is probable that they did not live together more than half of the 14 years during which they were married. It is now difficult to determine when they were separated and it is probable that there was no definite date of separation; perhaps WHAT A FRIEND WE HAVE IN RADIO Louis simply came and went from his home as he pursued his career in Chicago and in Many PRJC members have rendered fine other parts of the country. se.rvice to the club in soliciting new members. It is also now difficult to say just when the | FaiBr gentlemen, however, have been out­ two ceased playing together. Perhaps the standing in this respect, and we thank them musical separation was as gradual as the sincerely. marital. They are the WMAL Hot Four, PRJC Mem­ Lil wrote about 150 songs and is credited bers Felix Grant, Hardin and Weaver and by some \vith having written Struttin' With Bill Mayheu, and, in Baltimore, PRJC Mem ­ Some Barbecue, although Louis has generally ber Harley Brinsfield of WBAL-AM. been deemed to have been the composer of it. They have beat the drum for the PRJC long She made many recordings with Louis, and and loudly on their respective programs, and made a considerable number after they parted. our membership roster shows the results. It seems that, like many jazz musicians, If PRJC had an Honors List or something Lil faded out of sight in the thirties, although akin to it, lo, these five names would lead it is certain that she continued in her field all the rest. at least intermittently. She led a six-piece band of her own at one time and later formed A .C . W. an all-girl band and did many singles. In the early and m id-fifties she toured Europe a number of times. In her later years she was LET'S PUT THE "BALL" BACK retired and played publicly only occasionally for charities or special events of some kind. INTO THE JAZZ BAND BALL She and Louis remained good friends throughout their lives and she attended hi s By John "Sootty" Lawrence funeral in New York in July, 1971, a few weeks Alexandria, Va. before her own death. Louis was her only husband. (Drawing on 40-plus years of experience as a On August 27, 1971, Lil was playing the jazz cornetist, Scotty Lawrence unloads some piano at a memorial service for Louis at the home truths which we all could ponder profit­ Civic Center Plaza in Chicago when she suf­ ably. ACW) fered a fatal heart attack. She was 66 years old at the time. Art Hodes, one of the small The jam session has always been an inte­ number of remaining jazz greats of the twen­ gral and important part of the jazz scene. ties (who, in December of last year, played In such sessions musicians get a chance to at the Manassas Jazz Festival), had just pre­ play with others with whom contact is sel­ ceded her at the piano. At the time of her dom made on gigs. Sessions are tailor-made

- 6 - for exchange of musical ideas that are (or may be even more frenetic. This can lead should be) stimulating to participants; and to loss of interest by both players and listen­ they provide occasions that should make for ers, and the session can deteriorate into a musical growth of both performers and real drag. listeners. Solo spots offer opportunities for personal The unplanned spontaneous jam sessions expression, of course, but there is always belong to the past, the days when compatible the strong temptation to slip into sheer ex­ musicians employed in different clubs would hibitionism, and many yield to the temptation get together to play for kicks, and a few This is more likely if a tune has been kicked chords struck on the piano were enough to off at breakneck speed. As the number of get things rolling. Circumstances have solos increases, there is an almost irresis­ changed, and it has become necessary to pre­ tible tendency to lose the theme on which plan jam sessions. But surely preplanning improvisations supposedly are based. As is no reason why jam sessions shouldn’t jell the theme disappears, choruses take on a and produce some of the exhilarating musical sameness and the band may as well be play­ and social rapport that all jazzmen seek and ing the same tune all night. Boredom is an that happen just often enough to keep some of almost certain result, and the jam session us blowing horns - sometimes long past the is doomed in short order. point when we should have hung them up on At many sessions, the participants (and the wall. Unfortunately, however, jam ses­ consequently the listeners) do not appear to sions today do not always produce acceptable be having a real "ball" in the sense of true jazz. Far too often, performers and listen­ musical enjoyment. I lay much of the blame ers are left with a sense of a promise un­ for this on the frequent tendency to stress fulfilled and a feeling that the evening would competition among players instead of coop­ have been better spent in front of the stereo. eration. At best, such competition produces I've wondered why this is and have come to a kind of neural "high" which causes th e some conclusions concerning jam sessions uninitiated listener to bang his beer mug on where nothing really happened. the table (though never on the beat). At worst, Too often, I think, participants lose it can - and usually does - rule out any chance sight of one of the great opportunities, i.e., for the relaxed "leaning back against th e the chance to explore the resources of the chair" jazz that traditionalists have every music by the whole band. By this I mean right to expect as the aim of the band. that they neglect the possibilities of the en­ Another factor that detracts from the qua­ semble - the exciting result of each instru­ lity of the group effort is the habit of some mentalist contributing appropriately and players of gstting bugged over strictly minor economically in the idiom of his particular considerations. Is it a major catastrophe horn. that the tempo picked up on the last number ? This is not to say that solos are of se­ Is it of earth-shaking importance that one condary importance or that solo flights con­ of the hornmen missed a choid change in the tribute little to the success of a truly swing­ 25th bar? Should the trumpet player commit ing session. They contribute much. But hari kiri because he hit a clinker while trying they should not be stressed at the expense a phrase that not even Raphael Mendez would of good ensemble playing. The usual rou­ guarantee every night? If 100% precision is tine consists of a perfunctory ensemble your bag (as player or listener) then the re­ chorus followed by a long string of solos hearsal hall rather than the jam session is (sometimes too long) and another perfunctory where you should be. out chorus by the group. In last-chorus There are problems, of course, in trying playing, the aim often seems to be to play to set up a successful jam session. The re­ higher and louder than the other members of pertoire may be restricted by the limited the band; and if someone decides there should number of tunes known to all the players; and be more than one out chorus, the final effort even after a tune has been agreed upon, one

7 - player may be unwilling to really dig in;o it as secretary - even though we will have re­ because he is bored with it. (Most jazzmen tired to private life ere you read this. would rather not play any more chorust s on Explanation of this confusion, as some of Muskrat or Bill Bailey.) Yet the tune need you brighter sparks doubtless already appre­ not be the limiting factor it is sometimes hend, is that we had quite a wad of certifi­ thought to be; though a particular melody may cates printed and letters xeroxed. And in have been oveiplayed, there is always room these days of two-buck hamburger we didn't for creativity within the idiom. The idiom like to dump 'em . itself is inexhaustible, I believe. Regardless of whose name or names are Or perhaps one of the musicians may not on material you receive, it is legal, above be on the same precise stylistic wavelength board, bonafide, and comes to you with the as the others and thus may fail to make his best wishes of the PRJC Board of Directors. part "fit" acceptably. But none of the problems is insoluble. As A. C. W. it is, jam sessions are infrequent, and when they do happen it is up to all participants to PRJC WELL REPRESENTED help solve the problems and make the most of each session through cooperation musically AT NEW ORLEANS JAZZ FESTIVAL and otherwise. We all know that it is almost a tangible thing when true jazz feeling per­ By Shannon Clark meates the stand and the music has that re­ Laurel, Md. laxed intensity characteristic of the times when "something is happening." These times Sixteen Washingtonians visited the City are worth striving for. that Care forgot, to attend the 3rd annual It is worth the effort to put the "b a ll" back New Orleans Jazz and Heritage Festival, into the jazz band ball. 26-30 April. The Johnson McRees Fred Wahlers, Del Beyers, Robert Redding Shannon Clarks, Eleanor Johnson, George Mercer, and Rod Clarke, represented the PRJC. Florence Jenkins, Bill Smith, and Bob Greene also attended and will soon join up, we hope. Opening night was "Jazz on the River" with the World's Greatest Jazz Band from New York City, alternating with Papa French and his Original Tuxedo Orchestra from CONFUSED? SO ARE WE Heritage Hall, playing while the steamer President cruised the M ississippi. Yank The fresh winds of democracy which are Lawson chose a very appropriate tune to blowing through the PRJC Board may cause kick-off this great week of jazz when he some confusion to members who joined dur­ opened the first set with "A t The Jazz Band ing the spring of 1972. B a ll." One of the many highlights of th e For instance, in their membership pack­ evening was Blanche Thomas' vocals with the age they may receive a cheery letter of wel­ Papa French Orchestra. That gal really come signed by A1 Webber as secretary even belts out a song, and was a real crowd though he (me) has been succeeded as secre­ pleaser. tary by Eleanor Johnson. Thursday night was International Jazz Similarly, that strikingly handsome parch­ Cabaret Night, at the International Ball­ ment testifying to each member's devotion to room of the Fairmont-Roosevelt Hotel . truth, beauty and Dixieland jazz may bear This thrilling evening of jazz included Percy Tom Niemann's signature as prexy and mine Humphrey's Preservation Hall Jazz Band, solo pianist and blues singer Roosevelt ax. One exciting make-up group that I re­ Sykes, The George Finola Sextet from the call, was composed of a Swedish trumpet Maison Bourbon Club, clarinetist Raymond player, an Englishman on trombone, a Burke, accompanied by pianist Armand Hug German clarinet player, an Italian on ban­ from The Royal Orleans Hotel, trumpeter jo, a Dane on drums, and a piano player Wallace Davenport1 s Band from the Paddock from Holland. All just blowing up a storm. Lounge, and Papa French's son with the There were jazz fans there from all over Storyville Jazz Band from Crazy Shirley's the good old U.S.A, including a large con­ Club. The entire program was well pre­ tingent led by Floyd Levin, president of The sented and enthusiastically received by a California Hot Jazz Society, and the Ron near capacity crowd. Especially noteworthy Goings from The South Bay New Orleans Jazz was the‘trumpet work of Wallace Davenport Club in Los Angeles, Jeff Leiapold, presi­ and the piano solos of Armand Hug. dent of The St. Louis Jazz Club, also brought Friday evening was "Jazz at the Ball­ many of his club members with him. At the room ," in the main ballroom of the Jung end of the festival, one fan from our group Hotel. The Louis Cottrell Orchestra from was heard to remark, "T h is has been a week Economy Hall opened the program, followed long happy hour." A tired but happy group of by The Murphy Campo Sextet from T h e jazz fans departed the Crescent City, secure Famous Door. Our own Bob Greene played in the knowledge that hotel reservations had a tribute to Jelly Roll, and was followed by already been made for next year. All of us a quintet led by Wild Bill Davison and Bar­ will certainly know exactly what is meant ney Bigard. Next came The New Orleans whenever we hear "D o You Know What It Ragtime Orchestra, and Percy Humphrey's Means To M iss New O rleans." Preservation Hall Jazz Band closed out this sterling performance. Highlights of the program were Barney Bigard's clarinet solos, and Bob Greene's piano. Saturday night was the "night of stars" which featured the more progressive side of jazz. Since those of us from Washington dig the more traditional stuff, nobody went, hence no report of the action. All of the New Orleans bands playing in and around Bourbon St. were a part of the JAZZ IN BRITA IN I Festival. This is a pleasant change from past New Orleans Festivals, and is as it THE SCENE TODAY should be. Now, if you didn't get enough good By Dan Priest sounds in the evening, there were ja m Chevy Chase, Md. sessions every afternoon at either Economy Hall, Heritage Hall, or Preservation Hall, Traditional jazz in Great Britain is very plus sessions every night after the evening much alive. Two trips to London and a num­ programs. The city of Toronto sent three ber of discussions with musicians and jazz very fine traditional jazz bands: The Cli­ promoters have convinced me that the Eng­ max Jazz Band, The Metro Stompers, and landers do very well by the native American Kid Bastian's Camelia Band. Paris, music. France, sent a jazz band from the River- As John Boddy, panjandrum of trad music boat on the Left Bank which was thought by in England said, "In the 1950's there was a many to be the best band at the Festival. real boom for trad here. Every bar that A whole plane load of jazz buffs flew over could squeeze in a bandstand hired a jazz from the Continent, each bringing his own band and there would be lines of customers around the block. Some of the music was and occasional skill. It was clear that the 200 pretty bad, but a lot of it was good and the people at the club were delighted with the musicians who came out of that period and sounds and knew the tunes. who are still playing form the nucleus of the Nelson and other itinerant U. S. jazzmen English effort today." often tour with bands like Martyn's through­ Things have calmed down quite a bit since out Britain and then, like as not, do several that "heyday" but you can still hear a good months of one-nighters in Europe. bit of old Dixie in England; not only in London "It's a big scene over on the continent," but in the countryside as far north as Scot­ said Boddy, ' They have jazz clubs in Ger­ land, and political winds permitting, as far many, all of Scandinavia, Holland and they west as Belfast. love English bands and when we can add an Most of the jazz is heard today in private authentic U. S. jazzman, they really turn out. " clubs such as the Osterly Soccer Club, the When English trads are not digging the Amersham Jazz Club, the Croxley Club and scene in clubs, they turn out for "Riverboat the Reading Club and so on through a list that Shuffles" and steam up and down the Thames reads like a journey out of Ivanhoe. Many drinking " 'arf and ’arf" and "bitter" and British fans belong to the British Jazz Society listening to the sounds of Dixie. Then, in a which gives them a free subscription to the collective spasm, all of the bands get together "British Jazz Tim es," a tip sheet that lists in frenetic three-day bashes which produce a the club and bars that are featuring jazz, and lot of music and undoubtedly some legendary also allows them to go to the local clubs and hangovers. get a discount at the door. I dropped in at The British, while acknowledging their the 100 Club in London and the tab for a non­ debt to the U.S., feel quite secure with their member was $1.50. There was dancing, "a own performance. "I don't know of any white licensed bar" and at 11 p.m. we were told U.S. traditional band that is playing any bet­ "Time, ladies and gentlemen, time. " ter than some of our bands," says Boddy. What do they hear when they go to a jazz Could be. Jazz can be learned. As American club? Some pretty fair jazz. It is largely originators die off and are not replaced by the American jazz scene - - spirituals, classic U .S. musicians, it could be that the U. S. will jazz tunes, American pop tunes from early one day be importing bands from Germany, periods - - but occasionally there would be a Sweden and England to play our traditional homegrown tune. jazz. Could be. The names of the bands give their legacy away: Frog Island Jazz Band, Society Syn- copators, Southern Stompers and the Ne& JAZZ IN BRITAIN II Iberia Stompers. While life is not all joy in Europe for a ONLY YESTERDAY jazzman, it is not the worst thing in the world. John Boddy points out that many trad men play By A 1 Webber two or three nights a week for fees that seem to hover around $30 per man per night. "In When I went into the Army in the summer a land where the average weekly wage is $ 6 6 ," of 1943, I lent my record collection to a pe­ Boddy said, "that means that there are a num­ tite blue-eyed blonde in Watertown, Conn. ber of British cats who are making it." "for the duration." My most recent trip (March '72) found me It turned out to be forever. I never saw at the 100 Club listening to the Barry Martyn those treasured Commodore and Blue Note Band. It's not really an English band since 7 8 's again. If the blonde - now a Westches­ the front line was made up of New Orleans ter County housewife and not so petite - still trombonist Louis Nelson and Yoshio Toyama — has them, they aren't weighing heavily on certainly not English born — on cornet. The her mind. band played all of the standards with verve A year later I started collecting again

- 10 - from scratch, this time in England. After a wasn't Bunk at all. Just Van Johnson, the one-sided encounter with a mortar shell i n movie star. Normandy, I spent the remainder of the war I went up to London almost every weekend in the placid English West Country with a to hear the Lyttleton band and over the course medical detachment. There I learned that of several weeks struck up a friendship with the British love of tradition could be a boon a 17-year-old kid who said he played trom ­ to jazz record collectors. bone "a little." Once a record appeared in a British re ­ One weekend he asked me to come and cord catalog, there it stayed. And over the hear his band rehearse at a studio in Bays- course of the next year or so I amassed a water. I did so, and it was an embarrass­ couple of score Bessie Smiths, Hot Fives and ment all round. I've never heard such awful Sevens, Mortons, King Olivers, Spaniers et sounds produced by six instruments. al on Parlophone and HMV. I lost touch with the young trombonist, but Live jazz was at a premium in Britain I guess he is doing pretty well. His name is during the war. But when I went back in '49, Chris Barber, and from the early 1950's to squeeze the last drop out of the GI Bill at into the 1960's he led one of England's most Oxford, the "trad" boom was on with a noted traditional jazz bands. vengeance. From 1952 through 1954 I worked in London Premier trad band of the day, and one of as a newsman, playing trombone whenever the finest New Orleans style groups I have I could. In '53 I found m yself in a uniquely ever heard, was led by cornetist Humphrey international situation. A New England Yan­ Lyttleton. They held forth weekends at a kee, I was working in England for the Irish dingy little walk-down restaurant at 100 Ox­ News Agency, playing Dixieland trombone ford Street in London (later transformed in­ with a Cockney jazz band. And our gigs were to The 100 Club mentioned by Brother Priest). usually at Jewish youth clubs. The only rhythm section name I can re­ Fleet Street is a long way from C anal call 20-odd years later is drummer George Street. But I'll wager I could go back to Lon­ Webb. It was the front line that was memor­ don and in five nights hear five pretty passa­ able. Besides Lyttleton, it included clarinet­ ble traditional jazz bands without straying too ist Wally Fawkes (the noted newspaper car­ far from the sound of Bow Bells. toonist "Trog") and the Christie brothers, Ian on trombone, Keith on second clarinet (or maybe it was the other way around). Their book was based on multistrain blues, U P F O R GRABS stomps, rags, and marches. And despite the time-worn cliches about English rhythm sec­ (Items more or less musical for sale or tions being wooden, they played with tremen­ swap. Free listings to PRJC Members. dous drive. Send 'em to The Editor) The premises at 100 Oxford Street (Mack's Restaurant was the name then) were dry. Tea TAPE LIBRARY of 150 piano rolls recorded and soft drinks were the only stimulants. But from Griffith 88-note player piano; foxtrots, when Lyttleton and his mob were tearing into ragtime, waltzes, classical, novelty, popu­ "Panam a" or "Chattanooga Stomp" you didn't lar, etc. Recorded non-professionally at need a jug to work up a head of emotional 3 3/4 i.p. s. but with good fidelity. All tapes steam. labelled with names of rolls. All rolls com­ One night at Mack's there was considerable plete. A gold mine for music lovers. Entire stir when someone yelled: "Bunk Johnson set of 150 rolls just $20 postpaid. David just came in." (Bunk had died not long before Robinson, Jr. , 355 Dranesville Rd. , Hern­ this). For a moment there was a great hub­ don, Va. 22070 (phone 437-1147). bub and much craning of necks, followed by a murmer of general disappointment. It WOULD LIKE TO TRADE tapes in the follow- ins categories: Dixieland; honky tonk piano; new labels. First off, here's the rundown boogie woogie; Spike Jones. Tell me what on BLACKBIRD: you have in these categories and what cate­ 12001: Eddie Davis and His Dixie Jazzmen gories you want in return. I'll send list on (tunes include: Kansas City Torch, Louisi­ request. David Robinson, Jr. (address as ana, Jazz Me Blues, etc.) above). 12002: The Chicago Footwarmers (tunes in­ clude Nagasaki; Angry; Sunday; Love Me or WANTED - banjo/guitar man who can solo and Leave Me; Some of These Days, etc.) fill on rhythm; also piano man who can cut 12003: The Original Salty Dogs (Tunes in­ honkytonk, ragtime, boogie and stride styles. clude Daddy Do; Irish Black Bottom; N ew Above musicians wanted for skiffle group or Orleans Shuffle; Mississippi Rag, etc. "spasm band." We have clarinet, washboard, 12006: Gene M ayl's Dixieland Rhythm Kings washtub bass, drums, and kazoo. Also look­ (Tunes include Doctor Jazz; Doin the N ew ing for jug player. This will be a real fun Lowdown; Oh, Baby; Friendless Blues, e tc .) band, and we'll play things that haven't been 12007: Wally Rose - piano solos (the famed heard for years. If interested, call George West Coast ragtimer plays Peace & Plenty Mercer, 529-4823 after 5 p. m. Rag; Cannonball Rag; Pickles & Peppers; St. Louis Tickle and many other fine rags) OLD TIME RADIO ON TAPE - The Shadow, 12009: Ted Waldo’ s Gutbucket Syncopaters The Whistler, Lux Radio Theater, Amos 'n (considered by some to be the finest reviva­ Andy, Lum and Abner, Jack Benny, etc. list band now playing, the Waldo gang rip Also jazz concerts and remotes. ..Artie into Sidewalk Blues; Cakewalkin' Babies; Shaw, Benny Goodman, Satchmo, Jack Tea­ At the Jazz Band Ball, e tc .) garden, Eddie Condon broadcasts, etc. For information call George Mercer, 529-4823 after 5 p.m. Join NOSTALGIA INCORPORA­ TED and help bring back old time radio.

W A X IN M Y EARS

We are happy to announce discount prices for PRJC Members on two new label s - ,k,' I ;? ™ © BLACKBIRD AND CHIAROSCURO. Price per LP to members is $4. 20 postpaid. Presently available on CHIAROSCURO are We are no less happy to announce that in ' the following: an era of rising prices we are saying to hell C -101: The Quintissential Earl Hines (these with common sense and are bringing our pri­ fine piano solos got a 5-star rating in Down ces down on three labels. Beat) Henceforth, PRJC Members will be able C -102: Bobby Henderson (Harlem stride to buy Solo albums (Larry Conger's Two piano solos) Rivers Jazz Band, Vols. 1,2,3, and 4 and C -103: Mary Lou Williams (Piano solos by an album of Ralph Sutton piano solos) and veteran distaff keyboard wizard) George Buck's star-studded Jazzology and C -104: Willie "The Lion" Smith (piano solos, GHB labels for a mere $4 per LP. recorded live at Blues Alley in D. C.) Now for the goodies available on the two C -105: Bobby Hackett and Vic Dickinson

- 12 - (live at the Roosevelt Grill; 5-star rating Shakey's, 1471 Rockville Pike, Rockville, in Down Peat) Md. (881-6090). Mondays, 8:45 - 11:45 p.m. C -106: Don Ewell (piano solos by the man The Goodtimers - singalong plus jazz. many consider the number one traditional jazz pianist) Bratwursthaus, Parkington Shopping Center, C -107: Maxine Sullivan with Earl Hines (re­ Arlington. Mondays, 7:30 - 11:30 p.m., corded live at New York's Overseas Press various area Dixieland bands and solo Club) pianists. C -108: Eddie Condon Town Hall Concerts, 1944 (if you were fighting the wars and Bratwursthaus, Manassas Shopping Center, missed these concerts, here's your chance) Manassas, Va. Thursdays, 7:30 - 11:30 p.m. Regardless of what record prices were various area Dixieland bands and solo mentioned in the catalogs and flyers you re­ pianists. ceived when you joined the PRJC, these prices apply to records ordered through the Ridgeway Inn, Cantonville, Md. , Sundays, club until further notice. So if you collect, 7:30 - 11:30 p.m. Bay City Seven. or plan to, clip this column and file it for future reference: Shakey's, 7131 Little River Turnpike, Annan- AUDIOPHILE - $4. GO; HAPPY JAZZ -$4.60; dale, Va. (256-8500). Chuck Liebau's band. G. H. B. - $4. 00; JAZZOLOGY - $4. 00; FAT Tuesdays, 8 - 11:30 p.m. CAT RECORDS - $4.60; DEE BESS RECORDS - $4.00; SOLO RECORDS -$4.00; Trolley Car Pizza Depot, 12102 GeorgiaAve , BLACKBIRD - $4. 20; CHIAROSCURO -$4. 20. Wheaton, Md. (942-6262). DickWeimer's If you have lost, or did not receive, GHB, New Orleans Gang, Wednesdays, 7:30 - JAZZOLOGY AND FAT CAT catalogs, send 11:30 p. m. a card (for GHB and JAZZOLOGY) to: George H. Buck, 2001 Suttle Ave., Charlotte, Buzzy's Pizza Warehouse, 231 Hanover St. , N.C. 28208. Annapolis, Md. (301 268-1925). Buzzy's For a FAT CAT catalog, write: Johnson Dixieland Band, Fridays and Saturdays, 9 - McRee, P.O. Box 458, Manassas, Va. 22110. 12 p. m. To order any of the labels mentioned, make check payable to Alan C. Webber and La Boheme Restaurant, Rt. 50 and Patrick mail to me at 5818 Walton Road, Bethesda, Henry Drive, Falls Church, Va. Wednesday Md. 20034. You will receive your order through Friday evenings, Country Thomas' postpaid from the record companies. Allow Rose Room Trio. Saturday and Sunday eve­ two weeks for delivery. nings, "World's Third Greatest Jazz Band. A1 Webber Sunday afternoon jam sessions (JE 4-4600).

Ramada Inn, 5910 Princess Garden Parkway, Lanham, Md. Sundays 7-11 p.m. Rudy Adler's Capital City Jazzband. TAKE ME TO THE LAND OF JAZZ

At press time, traditional and near-tradi­ tional jazz could be heard in the D.C./Balti­ T W O B A R BREAKS more area at these places and times: If this issue is late, blame PRJC Member Blues Alley, rear 1073 Wisconsin Ave. , N. W. Dean W orcester. Dean very kindly lent the (337-4141). 9:30 p.m. - 1:30 a.m., Monday editor a stack of Record Changers from the through Saturday. "N am e" mainstream and late 1940's and early 1950's. With all that traditional, plus local talent. good reading, all those memories crowding

- 13 - in, it wasn't easy to sit down, brace up, and FLASH s a Bratwursthauses in Arlington and start pounding the typewriter. Ifanasgqsnave resumed jazz, activ itie s, Mon­ days and Thursdays (see page 13)..'. ..B ill Get your kicks from Bix? The Jazz Blast Cannon says ca rd -ca rryin g PRJC Members 'w ill reports formation of an international B i x erb $1 of the~~^7**cm^^^^T^-^^a^^Tue^TT- Beiderbecke Memorial Society. Annual mem­ berships are $5. Write: Dan O'Dette, presi­ V n u r s d ^ dent, The Bix Beiderbecke Memorial Society, 906 W. 14th St. , Davenport, Iowa 52804. PRJC Member Ewing D. Nunn recorded Larry Conger's Two Rivers Jazz Band in March. Plans to record barrelhouse pianist Merle Koch and, maybe, Turk Murphy, some­ time soon.

A word to Arlington, Alexandria, McLean and other Old Dominion PRJCers: We would like to pitch some club jazz brawls over in your neck of the woods. But we need cheap accommodation with bar facilities (under $80 rental for an evening). We took a helluva Anyone want copies of Sept. and N o v ., 1971 hosing at the College Park Legion Hall April issues of Tailgate Ramblings to round out your }st. If you know a lodge or legion hall with file? We have a few left over. Send an . 8£ a piano and reasonable rental, please phone stamp for each issue you want to the editor, our Social Chairman Dan Priest at OL 6-5217 one per customer (per issue, that is). and be a PRJC Hero. Forty-Four PRJC Members have allowed as how they would like to contribute to ol' Tail­ gate. I'm still waiting for 32 of them to make good their threat* I have to read Bacin's Jazz- ologist to find out what's going on in D. C. And that damn fine print is hell on the eyes.

Ed Sullivan and Marty Edwards, editors of Thfe Jazz Blast are getting.ready to launch a traditional-oriented jazz club up in North I THOUGHT I HEARD____ Jersey. More power to 'em. Jazz shows on the air in the Greater PRJC Member George M ercer swears he Washington area include these of interest to will cut down to four packs of Raleighs a day traditionalists: if he can find a stride pianist to play in the skiffle group he has been trying to organize Felix Grant, Mon, thru Fri. 8 p.m. to mid­ since 1927. night, W M AL-AM , 630

Why can't traditional jazz in the area get The Harley Show, WBAL-AM, 1100, Mon, sympathetic reviews in the Washington press ? thru Fri., 10 p.m. till midnight. Is Spiro right about "the media" ? Think about it. And let me know. Fat Cat's Jazz, Sun. 6-7 p.m., WPRW-AM The jazz jet set: Scotty Lawrence to Scot­ 1460 land for three weeks in May; clarinetist Dick Weimer off to the Continent (we couldn't pin Jazz Anthology; George M ercer, Sat. 3 p.m. him down any more than that) for three months. W AM U-FM , 88.5

- 14 - POTOMAC RIVER JAZZ CLUB MEMBERSHIP APPLICATION

(Please type or print)

NAME DATE

ADDRESS ______(Street) (City) (state & ZIP)

RECORD COLLECTOR?______MUSICIAN?______

IF MUSICIAN: WHAT INSTRUMENT(S)?______

DO YOU READ MUSIC?______

NOW A MEMBER OF A REGULARLY ORGANIZED BAND?______

INTERESTED IN JOINING OR FORMING A BAND?______

INTERESTED IN JAMMING OCCASIONALLY?______

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

DO YOU HAVE OTHER COMMENTS OR SUGGESTIONS WITH REGARD TO FUTURE P.R.J.C. ACTIVITIES?

WOULD YOU BE INTERESTED IN CONTRIBUTING ARTICLES TO THE CLUB PUBLICATION "TAIIEATE RAMBLINGS"? REGULARLY OCCASIONALLY

I enclose check for $7.00 initiation fee ($2.00) and first year membership □ dues ($5.00) □ I enclose check for $5.00 membership renewal

SIGNATURE

Make checks out to the Potomac River Jazz Club and mail with this application to:

Miss Eleanor Johnson Secretary^Potomac River Jazz Club 10201 Grosvenor Place #905 Rockville,Md 20852

- 15- ta ilg a te ramblings 5818 Walton Rd Bethesda Md 2 0 0 3 k

h ptrtSL I C) RENE**' "V 9 VftUR I PR3C \ HEf1&BR5HlP\ I *7? ?? I

HOORAY FOR DIXIELAND JAZZ