DOCSLIB.ORG

TAILGATE RAM BUNGS November 1978 Vol

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

TAILGATE RAM BUNGS November 1978 Vol. 8 No. 11 Rhythm Kings Reign at Marriott Summit to Swing Again There was a prayer meeting of sorts at Soprano Summit, the highly acclaimed^ the Twin Bridges Marriott last month. and innovative group which fell victim The Yankee Rhythm Kings, sometimes of the divergent professional goals of described as the other Boston-area band, its principal players earlier this year, were in charge of the proceedings. The will be reunited for a night at the 1978 gospel preached by this 8-piece, 2 Mannassas Jazz Festival, according to tpt/crt band is the Oliver/Armstrong/- impresario Fatcat McRee. Watters/Scobey edition. The YRK plays Bob Wilber and Kenny Davern are both from the Hot Five, Red Hot Peppers, and scheduled to appear at the festival on pre-1950 Watters books - putting them Friday evening, Dec. 1, and have promised in pretty good company. the one-night reunion. They will be Lest any inaccurate impressions be accompanied by Marty Grosz, the guitarist created, let the record show that this and singer who was part of their act for is not a re-creation or "sounds like" several years. Also in attendance will band. It is a fine group of talented be Wilber's new wife, singer Pug Horton, musicians at ease with themselves and and a galaxy of jazz players and singers. their work, playing a lot of fine tunes Veteran drummer Tommy Benford is in a relaxed but disciplined manner. signed for the three-day bash at the This band has done its homework - and battlefield, and others on hand will it shows 0 It is largely an ensemble include ex-Basie reedman Buddy Tate, band, providing a solid base from which trumpeters John Thomas and Billy Butter­ Blair Bettencourt launches occasional field; pianists Dick Wellstood, Sammy and tasteful 16 and 32 bar clarinet Price, Larry Eanet; singers Beverly solo efforts. Cosham and Maxine Sullian, and many The rhythm section is superbly solid, others. Organized bands appearing will and is given an opportunity midway be Sammy Duncan’s JB, the Sons of Bix, through each set to do its stuff while and Annapolis's Original Crabtowne the front line retires from the band­ Stompers. Also on the bill will be stand. Smoky Mokes gets the nod here, the house band, Fatcat's Manassas probably because I have a nearly worn- Festival Jazzers. through full, band version on a green The Festival will take place in Jazzman label by the original Yerba Manassas on Dec. 1, 2, and 3, this year. Buena group. Except for its mid-set Exact sites have not yet been completely spotlight period, the rhythm section worked out, but the Hayloft Dinner remained happily and in my judgement Theater and the Osborne High School appropriately unobtrusive. A tuba in auditorium seem to be likely spots with the hands, or on the lip, of a a couple of others yet to be chosen. frustrated trumpet player can become a PRJC SINGLES MEETINGS bit trying0 1st Sunday - Devil’s Fork Brunch; Bob Conners, trombonist and leader, 3rd Friday - Bratwursthaus, Arlington contributes a low-key master of Info - call Joe Godfrey 829-^664; ceremonies role with a steady-state Evelyn Franklin (H) 9^6-5325; (0) marching Turk trombone to create a rock 295-0952; or Jim Nielsen (H) 562- of Gibralta image. The band does few 7235, (0) 693-6500. vocals - more, I suspect, as a change- up technique than to satisfy any real N. VA. JAZZ FANS: New Sunshine LP - need. The Armstrong standard, Skeleton Too Much Mustard - Now Available at in the Closet, would have qualified in Giant Music, 109 E.Broad, FIs Ch. both departments, although my personal preference was Cakewalking Babies. There I seems to be an underlying principle in Important Note to all Jazz Clubs: this kind of music which holds that, if With this issue, Tailgate Ramblings uncertain, play it loud or play it fast; picks up a new address as well as a or better yet play it loud AND fast,, new editor. Please hereafter send all- The YRK are blessedly buying none of exchange publications to Ken Kramer this. The forte rarely reached triple at ^4-829 Randolph Drive, Annandale, and the temp never super "up." Even i Va.. 22003. | !________ J (cont. on p 3 ) rapidly. Good luck and quick recovery to both PRJC Board members. Another Aloha - Dismayed to learn that Amber and Mort Middleman of Baltimore, who Tailgate Eamblings rarely miss an event, may be moving to Florida. Amber’s good looks and superior November 19 78 dancing will be sorely missed by local Vol. 8 No, 11 dancers, as will Mort's steady presence. Editor - Ted Chandler Plan to come back for events. Renata Contributing Editors - Fred Starr Monroe, who moved last year to Norfolk, Jack Doyle came back for the picnic and announced Mary Doyle that wedding bells had rung for her. She PRJC President - Dick Baker (703)698-8017 is now Mrs. Bols. V.P. - Ray West (703)370-5605 Buck Creek Anniversary - The first anniversary of the Buck Creek gang was TR is published monthly for members of held in Wahler's basement right after the the Potomac River Jazz Club, a nonprofit picnic, since they got their name and group dedicated to the preservation of their start there. Many familiar faces traditional jazz and its encouragement in from B'haus and PRJC. Local media was the Washington-Baltimore area. Signed represented by Royal Stokes, John Lyon, articles in TR represent the views of and Sam Allred, who also sat in on their authors and should not be construed trombone. as club policy or opinion. Articles, YANKEE RHYTHM KINGS - The band members ad copy (no charge to members for class­ were hosted by Grays, Stimsons, Bakers, ified ads), and letters should be mailed Blossom Kramer, Don Rausch, Joe Shepherd, to the new editor: and the Doyles. We were ready for supper, Ken Kramer and they hadn't had lunch or much break­ 4-829 Randolph Drive fast after an exciting plane ride, but we Annandale, Va. 22003. managed. A good group. Paul Monat, one of the trumpets, was proud of his newly- Is It True What They Say . acquired horn which had been owned by the Picnic Flashback A grand time, even thgugh late Bobby Hackett. Tables were full, and a few coiffured heads didn't look the many turned out. Velveteen jackets were same after the rains came. Many thanks in (this item should be inoffensive, since to those who helped at the sales table I was wearing one), there was a sprinkling which did a thriving business in t-shirts, of various colors, and no one seemed to mugs, tapes, and buttons. However, sev­ be wearing the same style. eral of everything can be reserved for YOU'VE COME A LONG WAY BABY Highlight at you at Christmas. Imagine your gray­ B'haus - Lady drummer sat in with one of the haired mother (or is she blonde now?) bands._She provided champagne for the band ripping off the tinsel and exclaiming for being so kind. We hear she was good, over the PRJC logo. too! Sympathy Department - Really sorry Now that the series is over, get out to hear that Del Beyer, in the throes of and hear a PRJC band this month. Don't moving and renovating his house, has forget that another important election fallen off a ladder and was in/hospital besides the national and state ones is the with broken vertebrae. Lu Byers was also PRJC Board election. hospitalized with major surgery, but Mary H. Doyle according to reports is recovering PRJC MEMBERSHIP APPLICATION (Please Print) NAME SPOUSE'S NAME_________________________ _ STREET_____________________________ CITY _______________________________ ___ STATE AND ZIP_______________________ TELEPHONE NO. (optional) _ MUSICIAN?________WHAT INSTRUMENTS?__________________________________________ _ PRESENTLY MEMBER OF BAND?___________ CARE TO JOIN ONE?_______________________ DESCRIBE JAZZ INTERESTS BRIEFLY (WHAT STYLES, ARTISTS YOU PREFER. WHY? optional) PRJC DUES THRU 1979 - $10.00 Checks payable to Potomac River Jazz Club. Mail to: Doris B. Baker, Membership Sec'y 7004- Westmoreland Rd. Falls Church, Va. 2204-2 But On the Other Hand An Editorial Outcry A Heavy Word from the New Editor And so it's hail and farewell. I nearly refused to set up Ken’s Let me say this about Ted Chandler - remarks about me to be found elsewhere he performed an amazingly swinging on this page. I decided, however, it job as the editor of Tailgate would not be advisable for me to edit Ramblings. He broadened the role of the editor too sharply as there may PRJC, he stood up for what he be a time up ahead where I’ll need to believed, and he always wrote with depend on his editing. grace and feeling. In any event, he was far too generous. The new editor is me, Ken Kramer. There is in this final column, one Sure, I heard Bix live and just about thing to which Ken alluded that I’d all of the jazz greats. But I didn't like to address because I think it is know how great they were until the important. music they played sank in over the Traditional jazz is a form of jazz years. Like all great art, great jazz well worth preserving and extending. is ahead of its times, this indeed, is It is not - nor must it be allowed to one measure of its greatness. become - a cult. I think that some­ Enough of philosophy. Traditional times when we insist on the unique jazz to me is enjoyment, relaxation, primacy of "our" music we are endangering happy times.
Recommended publications
  • Frisco Cricket Published by the San Francisco Traditional Jazz Foundation Fall 2013 INTERNATIONAL = NATIONAL = LOCAL by William Carter

    Frisco Cricket Published by the San Francisco Traditional Jazz Foundation Fall 2013 INTERNATIONAL = NATIONAL = LOCAL by William Carter

    Frisco Cricket Published By The San Francisco Traditional Jazz Foundation Fall 2013 INTERNATIONAL = NATIONAL = LOCAL by William Carter We’re reminded, once again, of the perma- spent decades in Europe and South America. nent power of jazz to syncopate itself across time Our media-savvy correspondent Dave Ra- zones. From the earliest years, Storyville’s “ragtime” dlauer has rendered future jazz historians a service and “jazz” bands quickly reproduced themselves on by painstakingly tracking the elusive career of this San Francisco’s Barbary Coast, then in Los Angeles, peripatetic reedman (and sometime trumpeter). After Chicago, New York, Paris... Seeking jobs -- even on you peruse the Goodie story in this issue, be sure to ocean liners -- jazzmen tune your digital device joined the flood of their to his streaming site, recordings in seamlessly jazzhotbigstep.com for blanketing the planet more info and sound with a music that would recordings. come to be recognized as Another ex- America’s great cultural ample of the increas- gift to the world. ingly two-way com- Yet jazz also merce between national remains, a century later, and local events have firmly anchored to its been the appearances hometown venues. This of Loren Schoenberg in issue of your Cricket the South Bay. Once a celebrates the little- year for three years, this known career of Frank Director of the National “Big Boy” Goodie. His Jazz Museum in Harlem compelling life story has been presenting begins in Creole New fascinating free public Orleans and ends (like lectures at Stanford that of many another University’s Cantor classic jazz pioneer: Museum.
  • Palm Garden. DH Says B^/Was Fourteen Then, That the Year Was 192 0 F ^0^ [?]

    Palm Garden. DH Says B^/Was Fourteen Then, That the Year Was 192 0 F ^0^ [?]

    OARNELL HOWARD 1 I [of 3]-Digest-Re typed April 21, 1957 Also present: Nesuhi Ertegun, Robert Campbell Darnell Howard was born July 25, 1906, in Chicago [Illinois]. NE says Muggsy [Spanier] told him he [also] was born that year, but DH says Muggsy is older. DH was born at 3528 Federal Street (two bloclcs from Armour Institute, which is now Illinois Institute of Technology). DH began studying his first instrument, violin,, at age seven; he studied with the same teacher who gave his father some lessons; his fatlaer played ciolin, comet and piano, and worked in night clubs around Chicago; he was working at [Pony?] Moore's at 21st and Wabash/ when he became il-1. DH says Bob Scobey or Turk [Murphy] told him that NE was a first-rate photographer. DH's father played all kinds of music, as DH has. EH studied violin until he was fourteen years old, when he ran away from home. His violin teacher was anj:,old man named Jol-inson. DH joined the union when he was twelve; h^s was sponsored by Clarence Jones; DH wente to worX [with Jones?] at the Panorama Theater; instumnentation was violin, pianc^ comet and drums. The school board made DH i^uit because of his age. The band played for motion pictures; they read their music. DH made 1-iis musical debut when he was nine years old, playing in a chsrch/ with his mother playing fhe piano. DH was induced to run away from 'home because be couldn't work in Chicago; to went with John Wycliffe's [c£.
  • Istreets] Rampart Street; Then He Went Back to New Orleans University

    Istreets] Rampart Street; Then He Went Back to New Orleans University

    PRESTON JACKSON Also present: William Russell I [of 2]-Digest-Retyped June 2, 1958 Preston Jackson was born in the Carrollton section of New Orleans on January 3, 1904 at Cherokee and Ann [now Garfield] Istreets] (according to his mother). He went to "pay" school, then to Thorny Lafon [elementary] School, then to New Orleans University (WR says Bunk Johnson went there years before), which was at Valmont and St. Charles. His family are Methodist and Catholic. PJ moved to the Garden District; he attended McDonogh 25 School, on [South] Rampart Street; then he went back to New Orleans University [High s ]t School Division?] . In about 1920 or 1921, PJ told Joe Oliver he was thinking of taking up trombone; Oliver advised him to take clarinet instead, as PJ was a good whistler and should have an instrument more maneuver- able than the tromboneo Having decided on clarinet, PJ was surprised by his mother, wlio secretly bought him a trombone (August, 1920 or 1921) - PJ found but later that William Robertson, his first teacher, and a trombonist, had bought the horn for PJ's mother (Robertson was from Chicago) . PJ studied with Robertson for about six months; when he had had the horn for about nine months, he was good enough to be invited to play in the band at [Quinn's?] Chapel, where he remained four or five months, playing in the church band. Then PJ met some New Orleans friends and acquaintances/ including Al and Omer Simeon (from the "French part of town"), Bernie Young and 1 PRESTON JACKSON 2 I [of 2]-Digest--Retyped June 2.
  • Charlie Gaines

    Charlie Gaines

    THE RECORDINGS OF CHARLIE GAINES An Annotated Tentative Personnelo-Discography GAINES, Charlie; born: Philadelphia, Pennsylvania, 8th August, 1900; died: Philadelphia, 23rd November 1986 His son, Stanley, is a bassist, another son, the late Charlie Jr., was a trumpeter. Played in local brass bands until 1917, then worked in Philadelphia and Atlantic City with Charlie Taylor´s Band, also worked in Atlantic City with Charlie Johnson. Moved to New York in 1920, played in Wilbur Sweatman´s Orchestra, also joined Clarence Williams´ recording staff. Gigged at the Garden of Joy with various leaders, joined Sam Wooding at the Nest (c. 1923). Toured with Earl Walton´s Band before joining LeRoy Smith in 1925, for the next five years worked regularly with LeRoy Smith (including ‘Hot Chocolates’ revue), also free-lanced in New York; occasionally with Charlie Johnson, also recorded with Fats Waller in 1929. In 1930 returned to Philadelphia to lead own band, briefly rejoined LeRoy Smith in 1931, then again led own band in Philadelphia (accompanying Louis Armstrong in 1932). Brief excursion to New York in 1934 to record own composition ‘Ants In My Pants’ with Clarence Williams, then resumed leading in Philadelphia. During the 1940s continued long residency at Carroll´s; led own trio at the Hangover Club in Philadelphia during the late 1960s. Gigging in the mid-1970s with own quartet. (John Chilton, Who´s Who in Jazz) GAINES, CHARLIE (from: Fats Waller And His Buddies) STYLE Gaines does not play in a southern style. His style, though, is more rhythmical than melodical. His playing is somewhat quirky and a bit erratic, using long notes where you would not expect them, rather irregular.
  • The Afro-American Fiddler Theresa Jenoure Hampshire College

    The Afro-American Fiddler Theresa Jenoure Hampshire College

    Contributions in Black Studies A Journal of African and Afro-American Studies Volume 5 Special Joint Issue with the New England Article 6 Journal of Black Studies September 2008 The Afro-American Fiddler Theresa Jenoure Hampshire College Follow this and additional works at: https://scholarworks.umass.edu/cibs Recommended Citation Jenoure, Theresa (2008) "The Afro-American Fiddler," Contributions in Black Studies: Vol. 5 , Article 6. Available at: https://scholarworks.umass.edu/cibs/vol5/iss1/6 This Article is brought to you for free and open access by the Afro-American Studies at ScholarWorks@UMass Amherst. It has been accepted for inclusion in Contributions in Black Studies by an authorized editor of ScholarWorks@UMass Amherst. For more information, please contact [email protected]. The Afro-American Fiddler Cover Page Footnote The Author, a professional violinist and vocalist with a strong interest in multicultural art education, investigates the history of black violinists. This article is available in Contributions in Black Studies: https://scholarworks.umass.edu/cibs/vol5/iss1/6 Jenoure: The Afro-American Fiddler Theresa Jenoure THE AFRO-AMERICAN FIDDLER THERE IS HISTORICAL evidence of black violinists playing in both the European and African idioms from as early as the 1700's in America and Europe. The aim ofthis paper is to verify the widespread reign ofthe Afro-American violinist! fiddler in Afro-American music. The creation of the violin as we know it today is dated somewhere between 1500 and 1550 in Europe. However, it is merely one descendant in the Chordophone family and may be traced back to the Egyptian "Kithara" in Africa.
  • Spring 2013 Rambler.Pmd

    Spring 2013 Rambler.Pmd

    New Society Board Named, Key People Published by America’s Finest City Dixieland Jazz Society • San Diego, CA • www.SDjazzfest.org Recognized $5.00 Per IssueSpring (May) 2013 Vol. XXXI No. 2 America’s Finest City Dixieland Jazz Society elected its Board of Directors at the March meeting. The Keyboard Delights at Fest #34 2013 Board members are Bill Adams, Lovers of Piano Jazz will be Jane Brown, Alice Contreras, Myrna delighted with the lineup for the 34th Goodwin, Curtis McKee, Jim Annual San Diego Jazz Fest! New to McNaughton, Ruthe Monteith, Lisa the Festival are keyboard virtuosos Richardson, Carey Thoza, and Paolo Alderighi and Jason Wanner. Gretchen Haugen. Gretchen is the only Paolo has recorded and toured new member. She has served as our extensively in Europe, using Milan, Treasurer since last August and Italy as his home base. Jason is an coordinated the Badge Sales Office at alumnus of the Blue Street Jazz Band, the 2012 Thanksgiving Jazz Fest. Paul an instructor at the Sacramento Jazz Daspit and Hal Smith serve as AFCDJS Camp, a recent addition to the jazz Executive Director and Artistic party circuit — and a resident of San Director respectively. Diego! Although there are a limited Other featured piano soloists at the Jason Wanner number of positions on the official Festival include Boogie Woogie Hall Board of Directors for the Society, the Memphis Boys, playing the kind of Fame inductee Carl Sonny Leyland, many others help to make our Festival of Rockabilly music made famous by Ragtime experts Virginia Tichenor and and events throughout the year “The Killer” (Jerry Lee Lewis).
  • A Feminist Perspective on New Orleans Jazzwomen

    A Feminist Perspective on New Orleans Jazzwomen

    A FEMINIST PERSPECTIVE ON NEW ORLEANS JAZZWOMEN Sherrie Tucker Principal Investigator Submitted by Center for Research University of Kansas 2385 Irving Hill Road Lawrence, KS 66045-7563 September 30, 2004 In Partial Fulfillment of #P5705010381 Submitted to New Orleans Jazz National Historical Park National Park Service 419 Rue Decatur New Orleans, LA 70130 This is a study of women in New Orleans jazz, contracted by the National Park Service, completed between 2001 and 2004. Women have participated in numerous ways, and in a variety of complex cultural contexts, throughout the history of jazz in New Orleans. While we do see traces of women’s participation in extant New Orleans jazz histories, we seldom see women presented as central to jazz culture. Therefore, they tend to appear to occupy minor or supporting roles, if they appear at all. This Research Study uses a feminist perspective to increase our knowledge of women and gender in New Orleans jazz history, roughly between 1880 and 1980, with an emphasis on the earlier years. A Feminist Perspective on New Orleans Jazzwomen: A NOJNHP Research Study by Sherrie Tucker, University of Kansas New Orleans Jazz National Historical Park Research Study A Feminist Perspective on New Orleans Jazz Women Sherrie Tucker, University of Kansas September 30, 2004 Table of Contents Acknowledgments ................................................................................................ iii Introduction ...........................................................................................................1
  • Dickerson, R.Q

    Dickerson, R.Q

    THE RECORDINGS OF R. Q. DICKERSON An Annotated Tentative Personnelo - Discography DICKERSON, Roger Quincey Born: Paducah, Kentucky, c. 1898; Died: Glen Falls, New York, 21 January 1951 Raised in St. Louis, Missouri. Played in local theatres from 1928-20. Left St. Louis with Wilson Robinson´s Bostonians (1923), after extensive touring, the band gained residency at New York´s Cotton Club – by then violinist Andrew Preer was fronting the band. After Preer´s death in May 1927, the band worked for a time as The Cotton Club Orchestra, then became known as the Missourians. From 1930 they became Cab Calloway´s Orchestra – Dickerson left the band in 1931. Left full-time music and worked for man years as a taxi-driver, he suffered a long illness before dying of a throat ailment. (John Chilton, Who´s Who in Jazz) STYLISTICS STYLE Clearly a St. Louis / Western style player with the slightly stiff rhythm of that city´s musicians. Dickerson frequently uses a harmon mute and sometimes plays growl phrases. Plays very hot and certainly is one of the leading exponents of Western trumpet playing in Harlem of the time. TONE He owns a strong and sharp tone, especially when playing with his favourite harmon mute. VIBRATO Medium to fast and short vibrato TIME Dickerson plays with a good swinging and driving beat using retained off-beat effects. PHRASING He plays feather-light phrases all over the trumpet range. Obviously, he had listened to Bubber Miley and plays his own variety of Miley´s ‘Black And Tan Fantasy’ solo with great aplomb – and many blue-notes.
  • Tommy Tucker, Birmingham Town Hall Born Springfield, Ohio in 1933

    Tommy Tucker, Birmingham Town Hall Born Springfield, Ohio in 1933

    Tommy Tucker, Birmingham Town Hall Born Springfield, Ohio in 1933, the fifth of eleven children, Tucker achieved worldwide fame with his best-seller Hi-Heel Sneakers, subsequently recorded by over 1000 other artists. In the 1970s Tommy recorded for Birmingham’s Big Bear Records. Darnell Howard, Birmingham Town Hall Born Chicago, Illinois in 1895 Howard enjoyed a heady career playing with W.C. Handy, King Oliver, James P. Johnson and with Coleman Hawkins in the Fletcher Henderson Band. Photographed when visiting Birmingham with The New Orleans All Stars in 1966. Tubby Hayes, Earlswood Lakes, Birmingham One of Britain’s most celebrated jazz musicians, Tubby’s main instrument was tenor saxophone, he also excelled on flute and vibraphone. Played with established stars such as Ronnie Scott and leading bands at 15. Would have comfortably taken his place on the world stage had he not died at the age of 38. Alvin Alcorn, Birmingham Town Hall Born New Orleans in 1912, a schooled musician who enjoyed a parallel career as an actor, appearing The Benny Goodman Story. Featured in the opening scene of the 1973 Bond movie, Live And Let Die, where he played the baby-faced assassin who, when asked whose funeral it was, answered “yours” and sinks a knife into the man’s ribs. Jimmy Deuchar, Earlswood Lakes, Birmingham At the forefront of the 1950s British jazz modernists, trumpet player Deuchar from Dundee was right up there with his American contemporaries. He featured with The Dankworth Seven and Ronnie Scott, formed a world-beating alliance with Tubby Hayes and featured with leading European outfits of Kurt Edelhagen and Kenny Clark-Francy Boland Big Band.
  • Guide to the Duncan P. Schiedt Photograph Collection

    Guide to the Duncan P. Schiedt Photograph Collection

    Guide to the Duncan P. Schiedt Photograph Collection NMAH.AC.1323 Vanessa Broussard Simmons, Franklin A. Robinson Jr., and Craig A. Orr. Processing and encoding funded by a grant from the Council on Library and Information Resources. 2016 Archives Center, National Museum of American History P.O. Box 37012 Suite 1100, MRC 601 Washington, D.C. 20013-7012 [email protected] http://americanhistory.si.edu/archives Table of Contents Collection Overview ........................................................................................................ 1 Administrative Information .............................................................................................. 1 Biographical / Historical.................................................................................................... 2 Arrangement..................................................................................................................... 3 Scope and Contents........................................................................................................ 3 Names and Subjects ...................................................................................................... 3 Container Listing ............................................................................................................. 4 Series 1: Background Information and Research Materials, 1915-2012, undated..................................................................................................................... 4 Series 2: Photographic Materials, 1900-2012,

  • 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.
  • Herbert Humphrey Collection ARS.0106

    Herbert Humphrey Collection ARS.0106

    http://oac.cdlib.org/findaid/ark:/13030/kt0290346v No online items Guide to the Herbert Humphrey Collection ARS.0106 Finding aid prepared by Franz Kunst Archive of Recorded Sound Braun Music Center 541 Lasuen Mall Stanford University Stanford, California, 94305-3076 650-723-9312 [email protected] © 2011 The Board of Trustees of Stanford University. All rights reserved. Guide to the Herbert Humphrey ARS.0106 1 Collection ARS.0106 Descriptive Summary Title: Herbert Humphrey Collection Dates: 1960-1962 Collection number: ARS.0106 Creator: Humphrey, Herbert Collection size: 3 boxes: 43 7" open reel tapes Repository: Archive of Recorded Sound Abstract: The Herbert Humphrey Collection consists of 43 open reel tapes, the majority of which bear copies of commercially-released jazz and popular music. However, at least thirteen reels are of unusual broadcast material, including a series of San Francisco performances by jazz musicians Earl Hines and Teddy Wilson, biographical programs on various musicians on radio station KFRC, and an interview with Louis Armstrong. Language of Material: English 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 Herbert Humphrey Collection, ARS-0106. Courtesy of the Stanford Archive of Recorded Sound, Stanford University Libraries, Stanford, Calif. Sponsor This finding aid was produced with generous financial support from the National Historical Publications and Records Commission.