I THE ARCHIVIST - f- EWSLETTER OF THE WILLIAM RANSOM HOGAN JAZZARCHIVE Vol. /fl, Nos 1·2, 1988 ...J/ �( � Of Ear, Heart And Arm

Eddie Edwards with the Original Jazz Band in 1917 from the LaRocca collection

A Tale of the Slide Trombone in Early Jazz Appreciating Jazz Discography

Once while I was rehearsing with a traditional jazz Though far from a household word, "discography" is band as trombonist, a spectator pianist approached me heard on a daily basis at the Hogan Jazz Archive , and with some good advice. He said, "Stay away from the for good reason. Rarely is an exhibit mounted, an third of the chord, especially in the lower register. You article written, or a project see, you are interfering with the clarinet part. Play more undertaken without some staff root and fifth." At first I was incensed at being told how member consulting a discography to play, but since my confronter was a fine musician to check a date, a personnel whom I respected, I chose to reflect on his advice. Until listing, or a label release number. the time of this confrontation, I was fairly arrogant about Some ongoing sponsored my "tailgate" trombone playing. I knew most of the projects, like the indexing of the traditional jazz repertoire and was confident on my Tulane Jazz Listening Library, instrument. I did have an annoying habit of dipping Into are primarily discographical in the roles of other instruments when I felt that those nature, requiring specific particular parts were not being fulfilled. I was actually information on band personnel, Photo courtesy or B. Matthews instrumentation, place and date playing tailgate trombone by accident. There was a Discographer Orin reason, which I was ignoring, for the trombone to be Blackstone, ca. 1'950 of recording, and label affiliations. present in the first place. The advice I received that day Others, such as the identification from my pianist friend caused me to re-think my of musicians in obscure photographs, benefit from i approach to ensemble jazz playing. This led me to the personnel listings and chronology provided continued on page 2 continued on page 3

Published �ml�uillly by'the .. ... ED!TOfUAL BOAAD: Or;· John J. Jpyce, �d Tiii�n Memorial Library Curtis o. Jeide, Arc�ll(e Curalor, Or.\lohn J. Joyce; Editor Bruce s; Raebum;Associate f · c�rator ' GUESTOQNfAJBUTQRS Tulane Aichara a: Allen, o,a 1-li��rian . , David Sa9el Be�: M�yg��� •·Al Rose ··· ;;�1,:�e. t�i�i4�-�;:unlW�Gii�aii_ ._·: · . ' .. -�. �- .,... . ·, E�·;;· begin looking into the origin of the tailgate cause no problem since the typical trombone trombone style. parts in dance orchestrations were We often hear stories about the origins of the often simple upper bass parts often doubled by term "tailgate" trombone. The usual tale is that in the bassoon or viola. Of course, the trombonist the days when bands traveled around on horse­ would love the opportunity to play the 'cello part drawn wagons, the trombonist had to sit on the since it was far more fun and interesting than the open tailgate of the wagon In order to have trombone part. This accounts for the story of enough room to fully extend his slide. This story trombonist Honore Dutrey playing 'cello parts is entertaining and probably an accurate account with 's Creole Jazz Band. Although of the origin of the term "tailgate•, but it gives us that story may seem unusual, it is actually not little Insight Into how the tailgate style originated. surprising at all given what was common in dance Once while visiting an elderly jazzman I was orchestras at the time. treated to an amusing story about such origins. On March 5, 1917, the Victor Talking Machine We were listening to a dixieland recording that my Company issued Victor Record #18255. This host had made during the 1950's. At one disc featured the notorious Original Dixieland Jazz particular point during an ensemble passage, the trombonist began to play some erratic rhythmic "pecks" in the lower register of his instrument, much in the manner of trombonists Roy Palmer and Santo Pecora. My host piped up enthusiastically, "You hear that? That's the real tailgate style! Do you know why?" I had to plead ignorance. "It's because,· he continued, "back in the days when the bands played on the wagons, the streets were full of cobblestones and were very bumpy. The trombone player had to time his playing just right so that he didn't knock his teeth out on a bump. So you see he plays, 'brrrup ... bruupp ...brupp brupp brupp." In traditional jazz, the trombone does have a certain role. The role is to be supportive. The Photo courtesy olthe Hogan Jazz Archive trombone provides both a countermelody to the The Original Dixieland Jazz Band, 1937, featuring E. lead (played by the cornet or trumpet) and a Edwards, tb; J.R. Robinson, p; T. Sbarbaro, d; H. Barth, rhythmic upper bass part. How this role came to b; L. Shields, cl; and N. L..aRocca, leader and tpt be Is really no mystery if one examines the role of the trombone throughout its use in ensemble music. Band playing two of their compositions: "Livery Since the late 1800's, composers and Stable · and ·Dixie Jass Band One-Step.· arrangers of military band music have pretty These two selections made up the first-issued much standardized the roles of various wind (though not first recorded) jazz phonograph instruments. The trombone, due to its range and record. This recording indicates that the roles technical tendencies was pretty much designated played by each instrument were well defined by a rhythmic part, providing strong punctuations 1917 and comparable to later dixieland bands. beneath the melody and an occasional counter­ Particularly well-developed was the work of melody. Most often in band music, the counter­ O.D.J.B. trombonist Eddie Edwards. His playing melodies were given to the euphonium, an reveals a solid knowledge of basic trombone instrument close in range to the trombone but technique, a good sense of phrasing, rhythmic with a warmer tone and equipped with valves so punch, and a keen ear. It Is not at all surprising that fast technical passages are easily executed. to note that, by 1917, Edwards had been playing The bassoon is also given the countermelody the trombone for ten years, as well as the violin from time to time. Its range is also close to that for sixteen years. It is also noteworthy that of the trombone. So, because of its similarity in among the ensembles in which Edwards played range to those two Instruments, the trombone has trombone were military bands. In a 1959 come to represent the roles of these instruments interview with Richard Allen, Edwards recalled a in less formal settings such as the jazz band. quartet in which he was violinist (along with the In the dance orchestras at the turn-of-the clarinetist Gus Mueller) and how he came to play century, the trombone filled a similar niche. the trombone. "Gus (Mueller) advised, 'Get a However, In place of the euphonium the dance trombone with it Eddie, from Sears-Roebuck.' orchestras used the 'cello as the countermelodist. Well I did get the trombone, but from Due to its similar range, the trombone was often Montgomery Ward: a shiny, B flat slide trombone, usedas a substitute for the 'cello when there was ·professional model for $9.90 post paid. Now to no 'cellist around. If that happened, the regular learn that thing, I bought an Imperial Method and trombone part would just be left out. This would got along fairly well with it ... However, I wished to

2 play all through the tune, never taking the May, 1945), by a group led by "Wooden" Joe instruments down to play contramelodies, Nicholas; thus, Jepsen and Bruyninckx both obbligatos. rhythmic beats, licks, breaks, pretty employ a "see reference" to Wooden Joe in their parts, growls, rough passages, tricks and so respective listings of 'The Original Creole forth." Stompers. • But the same name was used four Edward's comments suggest that he was years later by an essentially different band familiar with typical trombone parts in band and (except for clarinetist Albert Burbank) recording dance orchestra parts. A comparison of under the leadership of Herb Morand (AM 532, Edward's recordings to "B-flat Blues"/"Baby Won't You Please Come continued on page 10 Home" and Am 535 "Some of These Days"/"Eh La Bas," recorded in July 1949). Bruyninckx lists Appreciating Jazz, continued from page 1 these titles under Herb Morand while Jepsen in discographies. As reference tools they are an overlooks them entirely, not including them in his indispensable complement to biographical Morand listings. In the discography , encyclopedias, monographs, oral history The Revival (Tom Stagg and Charlie Crump, transcripts, pictorial essays, and vertical file 1973), both these bands are given under 'The holdings. Certainly, without the painstaking Original Creole Stompers," but their recording efforts of discographers, the problems of jazz date of July 13, 1949 disagrees with Bruyninckx's scholarship would be much less manageable. listing of July 12, 1949. During that same week For example, in the 1920s many subsidiary American Music recorded another Wooden Joe labels like Oriole, Jewel, Conqueror, Harmony, Nicholas band. under the leader's name. As if to Bluebird, and Silvertone offered musical willfully confound future discographers, Nicholas selections under generic band names like "Dixie made a recording session the following week with Jazz Band" and "Southern Serenaders." For the above-mentioned Morand band, minus whatever purpose -- as a marketing ploy, or to Morand. The name of the drummer on both obfuscate contractual obligations --the use of sessions is spelled "Albert Giles" by both Jepsen pseudonyms creates confusion for jazz and Bruyninckx and "Albert Jiles" by Stagg and researchers who, for want of a discography, Crump. The latter is presumably the correct would be hard pressed to guess which of spelling, as can be seen from the initials on the possibly three dozen bands might be the "Dixie bass drum in a photograph of the Morand band Jau Band" in question. Fortunately, housed in the Archive. discographical research into company files, when they can be located, has already isolated and identified most of the worst offenders. In the world of discography there are numerous anecdotes concerning rescue missions to save defunct label files from oblivion; sometimes they arrive just in the nick of time, other times, moments too late. There has developed, since the mid-1930s, a network of committed discographers whose efforts to gain access to record company files have proven generally successful. Early Victor files, for example, are "commendably complete," but this is the exception to the rule. When files are unobtainable, interviews with surviving sidemen must be used to establish personnel and Photo courtesy of Wm. Russell recording dates. Of course, memories are often The Herb Morand-led "Original Creole Stompers" at the A.M. recording session in July, 1949. Note the drummer's unreliable, and discrepancies are bound to occur, initials, 'A.J." (Albert Jiles), on the bass drum as a comparison of comprehensive discographies t by Brian Rust, Jorgen Grunnet Jepsen, and Walter Bruyninckx will show. Although each of these men is a respected specialist, Another discographical discrepancy concerns t circumstances prevailing in discographic research the personnel of the band on still make judgment calls inevitable, and experts Bluebird B-7389 ("Annie Laurie" /"Loch Lomond"), will differ. recorded in January, 1938. The "corrected" list of An appreciation of the problems facing the players given to Rust's 1978 edition of Jazz discographer can be seen in the discographical Records, A to Z (Bud Freeman, tenor sax, Clayton handling of the "Original Creole Stampers," a Duerr, guitar, and an "unknown Negro" bass name that was used by more than one band player) is contested by Jim Gordon in recording for William Russell's American Music "Unravelling Wingy" (IAJRC, October,1987). Label. The first use of the name was on AM 513 ·Gordon, citing a conversation with Doc Rando ("Eh La Bas"j"Up Jumped the Devil," recorded in (who played alto sax on the session), asserts that Rust's original listing (, tenor, Jack Le

3 Maire, guitar, and Artie Shapiro, bass) is the listing, coverage of national or stylistic variants, correct one. single artist bio-discographies, and studies The first discographies appeared in the 1930s: focused on women. The Hogan Jazz Archive's Charles Delaunay's Hot Discography (the first to collection of discographical materials Includes not use the word), published in Paris by the Hot Club only the latest discographical publications de France and Hilton R. Schleman's Rhythm On available, but also maintains a "discology" file Record, published in England under the auspices which houses auction lists, record company of the British music journal Melody Maker. catalogs, and memorabilia. An extensive These pioneering discographies lacked a collection of 78 rpm phonodiscs further allows for standardized format. Delaunay, for example, followed a rough chronology but provided neither continued on page 8 an alphabetical listing of performers nor the location of recordings. In a later edition, entitled New Hot Discography, more care was taken with On the Scholarly Side of the dates and an alphabetical list of artists, with Street biographical sketches, was added. In the ne� decade, new modifications were added by Orm Those with a serious interest in jazz scholarship Blackstone (Index To Jazz, 4 volumes, 1943-48) have known about Tulane University's William and Albert McCarthy (JazzDirectory, 6 volumes, Ransom Hogan Jazz Archive for more than a 1949-55). Index To Jazz benefitted from a generation. Unfortunately, until recent years their comprehensive alphabetical artist listing but, by number was all too small. Though during the listing records by catalog release number rather thirty years of its existence such scholars have than matrix number, made differentiation of various "takes" difficult. JazzDirectory (covering artist listings from A to L) provided matrix and "take" numbers as well as catalog numbers for initial and subsequent releases and also provided chronologically-sorted sessions. During the 1950s Delaunay and Blackstone both attempted updates of their discographies, but these works were never completed, primarily because of the difficulty of trying to keep apace of burgeoning record releases. In the 1950s discographical formats became more uniform, largely through the efforts of Brian Rust to consolidate the methods of his predecessors. Rust used the discography in Walter C. Allen's King Joe Oliver (1955) as his primary model. From the Music Collection, The Amostad Rust was the first to realize that for even a Research Center at Tulane comprehensive discography a "cut-off' date gave Five Creole Songs, sheet music cover (1942) it a fixed Integrity. For him, 1942 was a utilized its resources in a variety of ways, hitherto convenient year, both because of the hiatus in the Archive has had much traffic with patrons of a jazz recording caused by the AF of M. strike that different sort, I.e., performing musicians, media year and because it formed a neat closing point programmers, and museum exhibitors. for a "pre-modern" jazz discography. The result The prevailing academic attitude toward was greater manageability of sources, and the vernacular culture has unquestionably had much advent of comprehensive discographies relying to do with that. Only since World War II, for upon a well established, standardized format. example, have institutions of higher learning Rust's Jazz Records, A to Z, now in its fifth ceased to resist the notion of treating jazz studies edition, has been the standard reference in as a serious discipline, and even then somewhat discography since it attained widespread reluctantly. commercial availability in the 1970s. Jergen The Hogan Jazz Archive has undoubtedly Grunnet Jepsen's JazzRecords, 1942-1962 also played its part in weakening that resistance. appeared in the late 1960s, essentially picking up Increasingly throughout the 1980s, it has where Rust left off. The most recent endeavored to promote use of its resources by comprehensive discography, as yet commercially those conducting graduate research in jazz unpublished, is Walter Bruyninckx's Sixty Years Of history, especially PhD candidates. Recorded Jazz, available in looseleaf by The Archive is attempting to establish a subscription to the author, and covering the research-fellowship program and seeks to take a timespan of Rust and Jepsen combined. more active role in promoting and participating in With excellent comprehensive discographies professional conferences in history and music. In generally available, recent trends have been that connection, the present academic year has toward more specialized topics such as label

4 shaped up as something of a watershed, in that were Dr. Lawrence Levine (U.C. Berkeley), Dr. the Jazz Archive was directly involved with two Ronald L. Davis (Southern Methodist University), major conferences in New Orleans : the joint and Dr. Bill C. Malone (Tulane University). Its annual meeting, in October, of the American format was an open discussion with free Musicological Society and the Black Music participation by the audience. Society 0oined for the first time by the Black On that same Music Research Center), and, in November, the evening, the Archive, meeting of the Southern Historical Association. representing Howard­ For the first Tilton Memorial BIGGEST-��..--.~---~--.,.....~.,EVENT .;;;.,?WrPk (ll July 21-27 ,u·u. c�,,' conference, CMS Library, joined with commissioned the the history Archive to mount a ,. department and the 4 ... .._,._ �-;:;-./;;� ... ,.. o...... � multi-media Amistad Research �GOLDEN DRAGON:: exhibition of Center in co­ [ svrronIIUTlNl:E • 4 to s l'. • archival resources sponsoring a Adn""""'" 75<. , .. 12< lct.J 8'1c. related to the , tour /reception on the sn»nwJollT10 l' • 14 3 A • Ad,,,,..;o,, $1.00, tu IS.:.• lotAI $1.15 history of black 1 Tulane campus. MONDAY NlGHI 10 P M '" 3 A. M. music in New 'i. Visitors to the Archive ,\dmim<,n 6I.00.1ul5c t<>tal $1.1� Orleans. The Pholo from lhe R. C1awfotd collection perused an exhibit of li.lants or w.. ld, 8oht�III• Portrait of I. Barbarin at home rttt! . 1u&t,y ,00 Thu....t•t nu:t! ex h'b"t1 1 was about 1952 archival resources on nn_,.,...,m.,s1-1 ·m�·•·1u°'" augmented by the same theme, and i« ...... ,·n uu,' � trr S fow P.1, Oon

5 some amount of identifying information with them, all the personnel were known, a list of personnel but time and again, corroborative research at a recording session from a discography would indicates errors small and large in that data. be a less suitable tool to determine the identity of While recognizing the achievements of compilers an unknown person in a photograph. of well-known collections of historic jazz Unfortunately, some photographs resemble the photographs, it is apparent that much remains to following "worst case" more closely than they do be gained by a more thorough and systematic the Dreamland Orchestra photo: an enlargement investigation of these images. of a half-tone print of a publicity photo of a band, The goal with any photograph is to corroborate with a half-written identification on the back as with three documentary sources the identification of a band or individual contained In the image, as well as the place and circumstances under which the photograph was taken. The types of corroborative materials used and the sort of problems that arise in the research may best be illustrated by discussing some case studies of actual photographs from the Archive collections. For example, representing a "best case,· is a

Photo courtesyof the Hogan JazzArchive Professor Clarence Desdunes' Joyland Revelers,about 1928 in a newsprint copy "Clarence Desdunes' Joyland Revelers." The resolution of the photograph is so poor that individual facial features are Indistinguishable. Frequently, an initial step where no personnel are identified in a photo is to see if the photo in question or other photos of the band have been Photo from the Duncan P. ScheidtcoUectlon published. The principal compendia of vintage Composite publicity poster of the Cook Dreamland jazz photographs do not contain pictures of the Orchestra, 1926 complete Desdunes band, but both Rose and photograph of "Cook and his Dreamland Souchon's New Orleans Jazz: A Family Album Orchestra." The print is a composite publicity and Driggs and Levine's Black Beauty, White Heat photo consisting of a central image of the band have a picture of a portion of the Desdunes band. with surrounding portraits of the individual In some similar cases, it might be possible to members, each identified with printed captions. identify an individual on the basis of comparing In a case such as this, the identities of the band photographs where an Identification has been and Its members are self-evident, but research is made In a published or an unpublished source. still required to corroborate the completeness and This is always a risky method and can rarely spelling of the individuals' names. The serve to positively identify an individual. Many photographer and place of the photograph well-known or often-photographed musicians can (Bloom, ) are given on the print, as well be identified easily, but with lesser-known as the notice that the band is "Now playing at musicians, identification through this method is Harmon's Dreamland.• The principal missing less reliable. Difficulties can be compounded if element is a date. One method of dating a photo captions are inaccurate, as is sometimes photograph when the personnel are known, and the case. Remarkably often the skin tone and the the band is known to have recorded, is to make facial features of an Individual can be significantly use of a discography. In this case, Walter distorted by the photographic process or lenses Bruyninckx's Sixty Years of Recorded Jazz used. Since in the Desdunes photo the resolution indicates that Charles Cook's Dreamland of the photograph was simply too poor to venture Orchestra recorded with this personnel line-up a guess as to individual identities, comparing only in 1926, providing a fairly definite date for the photos was of no use. photograph. Discographies, like virtually all Most often, documentary evidence must be documentary resources used in corroborative sought in the Hogan Jazz Archive collections of research, have their limitations and are published materials, interview transcriptions, and themselves not without error. While a vertical files. The resources available at the discography proved useful in dating the "Cook Archive in terms of biographies and and his Dreamland Orchestra" photograph since autobiographies, specialist periodicals, oral

6 history materials, and the extensive cross­ Albert Nicholas was its nominal leader. This print referencing system of the vertical files are crucial is reproduced in Driggs and Levine, and a slightly to the success of the project. In the case of the different photograph taken at the same time is Desdunes's Joyland Revellers, a number of reproduced in Rose and Souchon. The difference prominent Jazzmen played with the band over the between the photographs is most apparent in the years and significant documentation is available in pose of Arnold Metoyer, who is holding his the Archive collections. Because of the particular trumpet in a different position. The personnel problem with the photograph, little in the way of pictured are not in doubt. Barney Bigard was a identification of personnel could be achieved. regular member of this band, as Driggs and However, research resulted in a list of twenty­ Levine point out, but he is for an unknown reason three musicians who could be among the ten absent from the photograph. Bigard suggests in people in the photograph and an approximate his autobiography, With Louis and the Duke , that date of 1927 to 1930. he "was in the men's room or something" when It sometimes happens that, in the enthusiasm the picture was taken. His tenor sax is prominent of pursuing research through the fascinating in the foreground. The date of 1921 given in byways of the Archive collections, methodological Rose and Souchon is at least two years too early. problems are ignored, particularly in terms of Driggs and Levine give 1923, but 1924 is possible. reliability of sources. Unfortunately, the original Albert Nicholas and Barney Bigard both state that identification of the band in the bad half-tone print they played at Anderson's cafe, at 125 North as Desdunes's Joyland Revellers is itself Rampart, not Anderson's annex; Driggs and uncorroborated, research having been unable to Levine give the address of the annex as the confirm the identification. The information location of the photograph. In each instance, the produced by research in this case will go into the contradictions of details seem minor, but in total Archive's band information file to await use by can significantly distort our view of an Image of any future researcher interested in the Desdunes distinct historical interest. band; nothing definitive was produced about the The project represents a large investment of photograph in question. research time that is always in short supply. For Luckily, most photographs in the Archive the researcher, there are the obvious pleasures of collections do not pose such difficulties. Usually, dealing with fascinating and attractive vintage the documentary resources of the Archive and the photographs, and the lure of interesting expertise of its staff are sufficient to afford fruitful sidetracks, particularly In the Archive's oral history research. Photographs of relatively obscure, collections. The importance of the visual short-lived bands can often have identifications documentation of jazz is at least two-fold; corroborated on most all points. Occasionally, photographs are an important aesthetic element however, a sizeable investment of research time in exhibitions and media treatment of jazz history, cannot corroborate the identity of an individual, or and are a useful tool in satisfying the need for an the date of a photograph, or some other detail. increasingly sophisticated understanding of jazz in its historical context. Making properly - -.--,------, documented photographs available to the public is an important part of the Archive's purpose, and --�.;-:.:.;::------it is to be hoped that this project can continue to " . 1_,..Jl"ll_..Jlll... rr-,1a ... 10:r,::r.:n • make contributions to our understanding of the visual record of jazz.

Ben Maygarden

' Photo from the Al Rosecollection ' The Emergency Relief Administration Band, February 2, 1935. The problem of identifying the band personnel in this picture is an obvious one

But more often a modicum of research can demonstrate that a familiar image has been wrongly captioned in its published appearance, as will be demonstrated by our final example, reproduced in "Picturing the Past" (p.15). The band pictured was known in 1923-1924 as Tom Anderson's Band after its employer, although

7 Appreciating Jazz... continued from page 4 October, and 1 o November 1987 at his inspection of many of the items listed in comfortable home near the shores of Lake discographies and provides opportunities for on­ Pontchartrain where he heard so many concert site discographical and jazz bands in his early years. As one can research. To gather, three interviews are not enough for such underscore the an experienced musician whose memory is as importance of good as his sense of humor. Hilarious and discography to almost forgotten anecdotes pour out of his jazz studies, the mouth. Archive recently Godfrey's father was a respected New Orleans mounted an cornetist who usually played spot jobs; however, exhibit of he was working as an orchestra leader in a selections from its Greenville, MS, theater when Godfrey was born ·; discographical on 2 February 1907. The family returned to New resources. Entitled Orleans when Godfrey was very young. "Discography and Godfrey'sgrandfather started a gift shop at Scholarship of Frenchmen and Decatur Streets, and eventually Jazz,· this exhibit Godfrey's father took over the business. This Photo cou�esy of J. Bradley traces the limited the time he could devote to music so he Wingy Manone, in the late 1930's evolution of did not play steady jobs from then on. He was discography also vice president of the local chapter of the through the contributions of its primary musicians' union and served on the chapter's practitioners and will continue to run through Board of Directors for many years. January, 1989.

8.8. Raeburn

Speaking of Jazz Godfrey Mayor Hirsch The Hogan Jazz Archive has interv·ews with many well-known drummers, such as Tony Sbarbaro, Baby Dodds, Zutty Singleton, Paul Barbarin, and Ray Bauduc. There are interviews with pianist (courtesy of the Library of Congress), Don Ewell, Armand Hug, Butch Thompson, Little Brother Montgomery, and the legendary Peck Kelley (courtesy of Jack Photo courtesy of the Hogan JazzArchive Recent photo of G. Hirsch at home with his bass drum Teagarden). Paul Barbarin also liked to play head from the Tulane Band vibraphone as some of the other drummers and pianists doubtless did, but there must be only one Godfrey's father took him to Spanish Fort to musician interviewed who tripled on drums, vibes, hear the concert band in which his father played, and piano. Godfrey Mayor Hirsch did this and but Godfrey would sneak off to hear Johnny many other things during his long career in the Bayersdorffer's jazz band nearby. Though he music business. He's most famous for playing was just a boy, his heart was already with jazz. vibes with Pete Fountain's swing-style combo for Not only did he tell this story during one of his about ten years. But he has also made his own own interviews, but he told it during one of Frank LP; worked in society bands, dance halls, Netto's which allowed Netto to add his theaters, and radio studios. His many years with comments, providing a too-rare example of the "Dawnbusters" show are still affectionately musicians cooperating during an oral history remembered by many listeners in the New project. Orleans area. He has appeared in films, managed Godfrey also turned out to be a prodigy on the for a famous bandleader of the thirties, played on piano. After lessons at home, he became so ships and in New York big bands with some of advanced that he was allowed the privilege of the most respected musicians there, written a studying with Eda Flotte-Ricau at Newcomb column for Down Beat, composed, and had his College at the then outrageous cost of five dollars own drum shop, which catered to all the a lesson. Eventually, he stopped these lessons, drummers in New Orleans and Tulane, and had a yielding to the powerful lure of ball games and rental business. These are only hints at his drumming. versatility as much has been omitted. While he was still in high school, Godfrey played Curator Curtis D. Jerde and this writer professionally with various bands. His abilities interviewed Godfrey Hirsch on 20 October, 27 were no doubt sharpened by his listening. For

8 example, he and his friend Wade Schlegel had for the Southern Music Company and as Eddie weekly tickets to the Orpheum Theater where Duchin's second pianist. Johnny Wiggs, in his they absorbed the music of the pit orchestra interview of 26 August 1962, says that Diaz. which played for vaudeville shows. Schlegel played beautiful jaz.z piano and was on Wiggs' recorded years later as Dave Wade (with Victor record of 10 March 1927. On "Ain't Love Raymond Scott, Artie Shaw, Red McKenzie, and Grand? (Don't Get Funky)," Diaz solos, and he Bert Shetter), as Wade Schlegel (with Hal Kemp), can be heard behind the other soloists (especially and as D. Wade Schlegel (with Fred Waring's the harmonica player), on this side and "Alligator Pennsylvanians). Blues (Lagniappe)." Wiggs' opinion and the After Godfrey graduated from Warren Easton in record help fill out Godfrey's brief picture of Diaz. 1926, he attended Tulane, where he played in the Recordings of interviews and music can support concert band and with the Tulanians, continuing and amplify just as printed documents do. this association for decades even after leaving in In 1931, when he was a drummer with Ear1 1927. Once, Godfrey even left his job at the Crumb's band, Godfrey met Louis Armstrorng Saenger Theater for two weeks to go to California when Armstrong's band replaced Crumb's at with the Tulane Band. Tulane should have been Suburban Gardens. Godfrey still harbors so much prouder of its band when Godfrey was a student affection for "Satchmo" that he keeps an for it included Michael E. DeBakey, who later Armstrong book with his family papers. gained fame as a heart surgeon; Herman Incidentally, Crumb's band included many of Kohlmeyer, now with Thomson McKinnon Godfrey's fellow members from the Owls. Securities; and the late Isidore "Deed" Newman, On 17 July 1937, after five years as who served as President of Maison Blanche and percussionist at the Saenger Theater, Godfrey President of City Stores Company and on went to with 's band. Tulane's Board of Administrators. While there, Prima made several films, but Godfrey quit Tulane after his freshman year Godfrey is not sure which include the band, and because he was already making sixty dollars a the reference books are not always clear. Some week as a musician and would have made only of the titles are Rhythm on the Range with Bing fifteen dollars as a graduate draftsman. In Crosby, Merry-go-round, and Start addition to leading his own band, he substituted Cheering with Jimmy Durante. Other stars in with the Owls and played at the Music Box Dance films with Prima are Gene Autry, Cab Calloway, Hall, 108 Carondelet Street, where he got his and Connee Boswell. David Meeker, Jazz;n the education in "playing by ear". In addition, he Movies (New Rochelle, N. Y.:c.1977), states that worked in pit orchestras, society bands and hotel there were three movies, Manhattan Merry-go­ orchestras. Benjie White, in his interview of 16 round, Start Cheering, and You Can't Have March, 1961 mentioned his talking to Godfrey at Everything (the last directed by the legendary an Exchange Club meeting. Musical friendships genius Norman Taurog) from this period that can last for years, and Godfrey kept in touch both featured Louis Prima and His Band. All were with musicians and other friends by joining made in 1937, the year Godfrey was in Los several organizations. Angeles. However, Meeker does not list Prima's Since the piano never stopped at the Music band members in this edition of his book. Band Box, there were two other pianists, Frank Pinero leader, drummer, and film collector Bob Walters and Horace Diaz. Pinero later worked with found an entry in the enlarged edition (New York: Godfrey in Louis Prima's band, and Godfrey says Da Capo, c.1981) which lists George Hirsch with that Diaz was an excellent arranger who worked Prima's band in the nine-minute Vitaphone Music

( Short Swing Cats Jamboree from 1938. The year �� . �� ,ti" - ll "J's � seems wrong, but it may have come from the �-. ·i, I t:f copyright date. Neither George or Godfrey ; , • I ' :�} �,. �( Hirsch are in this edition's index according to ;.> \ \ I • • • . - J:�, \ 'I•/JI "''' ,. '� Walters. Perhaps other collectors can add 7t " ', 7 , . -. information on these films which should contain ' I'!);' \ � . quite a bit of music. ,� A little work should turn up more films wi1th Godfrey. According to him, the bands personnel --� and instrumentation are the one of that period listed in discographies except that Godfrey also plays vibraphone and his first name is not George! Later discographers somehow changed his name, no doubt leading to Meeker's error. Such mistakes indicate the need for giving Photo from lhe Al Rose Colleelion sources of information in reference books and The Louis Prima Band, showing G. Hirsch on drums, verifying them. Ridding any discipline of an error 1937. is almost impossible. Once misinformation is printed, it is assumed to be correct. Some scholars only use early editions of a certain

9 discography for this reason! other times accented the beat like a bass drum." About 24 December 1937, the band returned to ..a New Orleans to play a brief engagement and then worked until April 1938 at New York's Famous Door where Prima, one of the first band leaders on 52nd Street after Prohibition, was already established. Godfrey thinks he made his first recordings then. Of the eight pieces the Prima band recorded on 17 January 1938 and 16 May 1938, !he Hogan Jazz Archive has only the 78 r. p. m. disc of "Doin' the Serpentine• and "Why Should I Pretend?". Godfrey's Intricately varied rhythm on "Doin' the Serpentine· set an Oriental atmosphere. No doubt his years of listening to vaudeville orchestras as a customer and as an usher and of playing in theater pits equipped him for this skillful use of his drum kit, combining jazz Photo from the LaRocca collection and show styles. Rick Mackie, the son of O.0.J.B. with E. Christian in London in 1919 Godfrey's friend, trumpeter Dick Mackie, cites Godfrey's snare drumming, along with Monk The trombonist of circa 1919 had to be aware of Hazel's drumming, as an influence on his own the art of "jazzing" on the trombone. This meant style. to be familiar with the glissando or smear. This "Why Should I Pretend?" has a xylophonist who "sliding" effect is produced when one note is held is surely Godfrey as he remembers that he while the trombone slide is extended or retrieved. recorded on xylophone with Prima but Godfrey This was hardly a recent development in the late does not recall which title. This writer wishes he teens; by the early 1900's dance orchestras and could comment further on this matter, but he can military bands featured comic selections in which not hear the record clearly in the Archive. Surely, the trombone was featured doing various some readers can add much more on these two glissandos. These numbers were called 1938 sessions. "trombone smears· and generally did not provide Godfrey is known to have also recorded with very interesting music. These "smears· were Richard Himber (replacing Adrian Rollini), Pete generally simple syncopated two-steps with the Fountain, and, as mentioned above, , 1is own trombone emerging for one measure at a time combo. Details on these sessions are in and then falling back into the ensemble until the discographies. Probably, he made other sessions next written "smear". The "smears" themselves with various leaders. were not even very interesting as they simply He made many transcriptions with Himber and would alternate from root to fifth and back again. the Dawnbusters. In fact, a collection of In February 1918, an interesting article appeared Dawnbusters transcriptions is in the Hogan Jazz in The Metronome Band Monthly (forerunner to Archive, but at the moment these discs can not Metronome Magazine of the 1930's and 40's) be heard because of a malfunctioning phono protesting the use of the glissando by cartridge. Some comments on the contents of trombonists. The article was entitled 'To Slide or these radio programs would be useful, interesting, Not To Slide". In it, author J.W. Holton takes the and more than merely funny. position that indiscriminate use of the "smear" from trombonists has a deteriorating effect on continued on page 14 true musical appreciation. He states, "Like the pedestrian on icy walks, it is sometimes easier to Of Ear, Heart .. continued from page 3 slip and slide than to place his feet on particular spots; so the amateur trombonist finds it easier to printed music of that era, further supports this. 'slip it' than to locate and strike accurately the Eddie Edwards' work with the Original Dixieland proper position for any particularnote.• Mr. Jazz Band was highly influential for many years to Holton's objections may have been to what he come and to this day still sounds fresh. It is very perceived as the simplistic blatancy of the interesting to hear the British recordings by the "trombone smear", but it also suggests that O.D.J.B. in which Edwards' temporary perhaps he was not familiar with the highly replacement, Emile Christian (who was actually a superior works of Henry Fillmore. cornetist) plays Edwards' parts nearly note for Henry Fillmore was a very important composer note off the original recordings. The comments and publisher in the first half of the twentieth of O.D.J.B. cornetist and leader, Nick LaRocca century. Besides his marches he is best (as retold by H.O. Brunn) sum up Edwards' style remembered for a series of ''trombone smear" quite well: "Edwards was actually three pieces that he published between 1908 and 1926. trombonists in one -- he played harmony part of As a matter of fact these works are still in print the time, counterpoint part of the time, and at today (published by Carl Fischer) and remain quite popular with military bands and trombone

10 soloists. The Fillmore "smears" are comic ragtime piece" to be written down and played the same pieces which feature the trombone playing both way each time. lead and counter melodies. The "smear", or glissando, is used extensively, but not inanely as in the other published "smears" of the day. One of Fillmore's most interesting "smears· is a 1908 work called "Miss Trombone". This piece is the most rag-like in the series and its first strain displays something quite special. In the third strain, Fillmore introduces a countermelody that is veryclose to a dixieland trombone part, not at all unlike that of Eddie Edwards.

Mi� Tmn1bo11e.

Photo courtesy of the Hogan Jazz Archive K. Ory, about 1946

ORV'S CREOLE TROMBONE

Photo counesy ol lhe Hogan Jazz Archive Sample page of "Miss Trombone,', one of Fillmore's published ·smear' pieces. The smears On small notes above) are indicated as a series of specific notes, to be slurred

Fillmore had some competition in the "smear" department in the composer Mayhew L. Lake, who wrote a fine work called "Slidus Trombonus." This multi-strain work is a compromise between the comic "smears" of Henry Fillmore and the more elegant virtuoso pieces by people such as Arthur Pryor. Both Fillmore and Lake published instruction books on "jazz trombone" playing by 1919. Photo courtesy of the Hogan Jazz Archive Neither Fillmore's "The Jazz Trombonist" or Lake's Sample page of "Ory's Creole trombone,' in published "The Wizard Jazz Trombonist" deal with how to form. Note that here the trombone •smears" are not improvise or even memorize a supportive precisely notated, but indicated by the shorthand trombone part. Instead they show all the possible "glissando" (i.e., slide) symbol glissandos available on the trombone and offer some hints about how to incorporate them into a Although much of the tailgate style came out of standard trombone part. the printed repertoire of the early twentieth Another fine early work for the trombone is the century, the true credit must go to the players now famous "Ory's Creole Trombone" written by themselves, for it is they who truly created it. It pioneer jazzman Edward "Kid" Ory. While Lake's didn't matter if the player could read music or "Slidus Trombonus" is a kind of formal burlesque not an instinctive player naturally "gravitated" to a and Fillmore's pieces were wild ragtime novelties, strong supporting line. However, one can be "Ory's Creole Trombone" is a simple, "down­ taught certain techniques, such as avoiding the home," swinging piece from start to finish. Its third of the chord in favor of root tones and fifths. melody is, indeed, creole in flavor. The trombone The trombonist can also learn that not only does is shifted back and forth from lead to his instrument provide a rhythmic support and countermelody. Its first strain is a "smear" strain countermelody, but also acts as an acoustical and in its third strain are some "breaks" where the springboard for the cornet and clarinet. These soloist performs some simple but demanding higher pitched instruments are literally boosted in pyrotechnics. In his various recordings of the their projection by the baritone quality of the piece, added so much of his own wit and trombone. But such knowledge does not, alone, charm that it could never be considered a "set make for a competent player. Certainly Eddie

11 Edwards and Kid Ory never worried about their By 1920, a dramatic shift in popular dance ·acoustical placement". Neither did a New music away from dixieland style was well Orleans trombonist named Georg Brunis. underway. Tailgate trombone playing, like Georg Brunis (originally George Brunies) was dixieland music, became a nostalgic considered one of the tailgate style's greatest anachronism. Although players like Edwards, exponents. Although he could not read music he Ory, Brunis, and Palmer were all active had a marvelous ear and was a natural player. throughout the 1920s, the tailgate style was no His style was simple and tastefully idiomatic. A longer reflected in the current printed dance glimpse into his thoughts on trombone playing music. The "modern" trombone part of the early can be seen in a 1958 interview with William 1920s was a more streamlined, elegant part.The Russell: countermelodies were less complicated and pitched in a higher register. By comparison, old style countermelodies were heavy and lumbering. They did not at all fit with the "modern" dance orchestras which were beginning to feature three saxophones. An interesting recording from 1920 by Ray Miller's Black and White Melody Boys captures the trombone in mid transformation. The trombonist heard on the Miller titles "Rose of Spain" and "Can You Tell" was New Orleanian Tom Brown. On these titles Brown can be heard shifting from lead to countermelody, the latter much different from the earlier style of Eddie Edwards. Instead of hitting hard and square on the beat, Brown's playing is light, agile and smoother than that of Edwards. His sense of

Photo COUrtMy ol s. Brown syncopation is less "raggy", his rhythmic figures G. Brunis, about 1922 tending to cross over the bar line, creating a more swing-like feel. A 1922 recording by the RUSSELL: "There was never anybody that Oriole Orchestra (Russo and Fiorito's) entitled actually showed you where the seven (slide) "Oriole Blues" features trombonist Roy Maxon positions were?" demonstrating further lightness and agility on the BRUNIS: "Nothing, that came natural • trombone. A 1924 recording by Jean Goldkette's RUSSELL: "Do you think about whether you were Orchestra entitled "In The Evening" features briefly playing in the fourth position?" some slick "modern" jazz playing by brash young BRUNIS: "I feel it." trombonist name . Dorsey was at RUSSELL: "You don't even think?" that time an ardent admirer of then preeminent BRUNIS: "My heart puts my arm there. Where modern jazz trombonist, Miff Mole. to put a shmeer (sic), where to put the right As tailgate trombone playing gradually gave way notes .. ." to the "modern music" it became a particular Obviously, Brunis was not one for strict applied style with roots equally imbedded in the adherence to decorum. He played totally by ear repertoire of turn-of-the-century band music and and resisted learning how to read music. This in the imaginations of its improvising pioneers. does not seem to have had a negative effect on Whether or not they could read music or were his playing or on his reputation in jazz history. even aware of the various influences does not really matter, for they played the way they felt. As I Georg Brunis put it, "It's all done by ear and heart."

D. Sager

Note: David Sager would like to hear from anyone who wishes to respond to this article or anyone who would like to share some views on any area concerning early jazz. He may be reached at 2641 LePage Street, New Orleans, Louisiana 70119.

T. Brown, 1938

12 South Rampart Street 400 block, the Eagle Saloon had a band under the tenuous direction of Frankie Duson, the The street, immortalized now by the Bob trombonist who couldn't decide whether his main Crosby Orchestra recording of the thirties, is no occupation was music or pimping. It was a kind longer recognizable to those who remember it in of dream band featuring the incomparable Buddy its heyday. The bulldozer has taken a fearful toll Petit on cornet and "Big Eye Louis" Nelson on the on this jazz landmark and New Orleans, which clarinet. They played seven nights a week. failed to preserve Storyville or even Louis Up South Rampart at Julia Street, on the second Armstrong's birthplace to its incalculable floor of a two-story structure, was the Red Onion economic and social cost, has missed one more Cabaret, the name of which has been used by so chance to save a potential tourist mecca. many "Red Onion Jazz Bands" for, lo, these many In the first three decades of the 20th century, generations. The original of these was on South South Rampart Street was the main stem of Black Rampart Street, was led by Edward "Kid" Ory, Society in New Orleans. If ever there was such a recently emigrated from La Place, La. to take his thing, it was a jazz neighborhood. Just a few place among the legends of Jazz along with his doors up from Canal Street, Uncle Jake's Pawn clarinetist . Sometimes Bunk Shop caught every eye with its dazzling windows Johnson would sit in. full of resplendent brass instruments, banjos, Elsewhere in South Rampart Street was the clarinets and even a few violins. During any posh Pelican Dance Hall where well-dressed afternoon, there'd be a line of musicians waiting couples would cavort through the latest dances, ·I to redeem their pledges in order to make their "The Grizzly Bear", The Bunny Hug", The Camel gigs that night. Uncle Jake stayed in business Walk" or the "Castle Rock". The leader of this until well into the fifties because the city has quasi-society band was Peter Lacaze, impeccably always been full of musicians. attired and wearing a romantic looking black eye Jake ltzkovitch was a kindly but firm gentleman patch that seems to have made him a hit with the who much preferred piccolos and flutes to pianos girls. The street was intersected, a block further and drums because they didn't take up too much down, with Jane Alley where Louis Armstrong was space and were easy to move around. People born. He grew up right in the middle of this did put piano's in hock, even though New South Rampart Street scene. Orleans piano players were always the most Nearby was the Astoria Hotel and Ballroom. prosperous of the musicians. Bandsmen who The house band, known as The Jones-Collins worked in Storyville's few cabarets for $1.50 or so Astoria Hot Eight, named for its co-leaders, Lee nightly stood in awe of a Jelly Roll Morton or a Collins and David Jones, would in 1929 Tony Jackson who could command $100 in tips participate in the first racially mixed recording during a four-hour tenure on a brothel piano session in the South. Here at the Astoria, the stool. elite of American Black show business would stay "I had everybody's stuff in here. Guys that got while performing on the city's many stages. famous later. Joe Oliver, Freddie Keppard, Papa Signed into the guest book were Ethel Waters, Mutt, Rena, Perez -- they all hocked with me. Sissie and Blake, Bill Robinson, Nat "King" Cole They got famous but they didn't get rich. Most of and the Mills Brothers, besides Fletcher 'em never even got their stuff out in the end. All Henderson and Jimmy Lunceford. Proprietor that I sold, of course," ltzkovitch told me. "Beansy" Fauria whose main income derived from By 1910, there were active, organized bands big-time gambling, was a mathematical genius working regularly in South Rampart Street. In the who, during World War I functioned as the odds-

Photo courtesy of Wm. Russell Photo courtesy of Wm. Russell The Eagle Saloon Building, as it looked in 1961 The Astoria Hotel as it looked in 1961

13 maker to the nation. characteristics of a neighborhood. So many of In the first eight blocks of South Rampart Street the street's denizens lived within a block of the there were never fewer than six shops where action. So many knew each other that there was voodoo paraphernalia and assorted concoctions a genuine community atmosphere. It was free of were to be bought. Little cheese cloth bags of tourists or "slummers". The fabulous music had gris, packets of "High John the Conqueror Root", its immediate, native audience. When Buddy Petit the bones of black cats, dried frog legs and stepped outside the Eagle Saloon to announce desiccated duckling feet were to be seen In opening time by blowing his famous theme, later orderly displays. The owner not only sold his copyrighted by Paul Mares as "Land of Dreams", voodoo necessities but also functioned as the people gathered from far and near to partake of guru for the block, always ready to dispense the treat. The Eagle always did a lot of business. mystic lore as "lagniappe." The Red Onion stayed open until 5 AM and all the Newsboys hawked "muggles" -- marijuana musicians on the street would go there after their cigarettes -- at three for a quarter which, I was own three o'clock closing times. assured by no less an authority than Wingy Manone, were of superlative quality. These were in the days before the Harrison Act when the sale of such substances was not yet illegal. However, drugs were not a significant factor in New Orleans life -- but booze was. The dawn's early light never failed to reveal huddled figures in doorways, others sprawled on the banquettes -- not necessarily derelicts, just ordinary folks with minimal discretion. Chief Gaster's order was "to retrieve the live ones and let the coroner worry about the rest." Most people then never thought of muggles as drugs like, say, opium. It was widely assumed that one drag on the pipe would hook one for life and "hop-heads" were thought to

be very dangerous and doomed. Photo from lhe Wm. Russell colleellon Every night was enlivened by at least one Gerber's pawnshop, former site of The Red Onion, taken "spasm band", at least one member of which in 1955 would be proficient at tap dancing, buck dancing or even the soft shoe. Instruments would be lead I haven't checked to see what they're planning pipes, strung cigar boxes, toilet seat guitars and to replace what was there on old South Rampart washtub basses. Enthusiastic crowds made the Street, but I'm sure you won't like it as well. No kid's nights profitable. Freddie Small, a blind office building will be as attractive as Uncle harmonica player recalled,"! was maybe eight, Jake's, no hotel can replace the Astoria. nine years old and I could make three dollars a night all to myself! There was lots o' sportin' people. They give you fifty cents quick as they Al Rose. look at you!." You'd never see a woman by herself on South Rampart Street. After all, it wasn't like downtown Hirsch, continued from page 10 in Storyville. These women were all with their men, dressed respectably. Lone men, however, Describing Godfrey's long career is impossible could be seen in tuxedos, overalls, Stetsons or in such a short article, but we should not forget white waiters' coats, occasionally the red cap of a his being Al Hirt's pianist. After Hirt left the Pullman porter. If a white man turned up, he was Dawnbusters show on WWL-AM, his band opened assumed to be an octoroon capable of "passing." at Curley's Neutral Corner on 1 July 1955 Was there a difference between the character according to The New Orleans Item of that date. of South Rampart Street then and, say, Bourbon Frank Netto, in his interview of 2 October 1986, Street now? Places feel different. It seems to me says Godfrey was playing piano in this band. that the music you hear now and the dancing you Incidentally, Netto also confirms Godfrey's see as well as the conduct of the people in the substituting with the Owls when only a teenager. crowds demonstrates a high level of hostility. Godfrey's Influences are numerous as one would Today's break dancing, for example, skillful as it expect from a versatile musician. He names is, seems to be based on challenge. Musical concert pianist Philip Gordon for one. Among emphasis appears to be on sound volume -­ Godfrey's favorite drummers are Nick Fatool, enough to create discomfort to the audience. whom Godfrey calls "Mr. Tempo" and who South Rampart Street offered no sleazy striptease worked with , Artie Shaw, Les joints where superannuated coquettes squirm Brown, Eddie Miller, Pete Fountain, and Bob arthritically to canned music. Crosby; as an all-around drummer, Joe Morello, South Rampart Street had more of the

14 who is famous for his eleven years with Dave (Pat Easterling, Ray Benitez, and, recently, Frank Brubeck's quartet; and novelty-band leader Spike Netto) Godfrey retired. He still has his memories, Jones who was actually a schooled drummer. home, wife, friends, and his sense of humor. For From his ear1y days, Godfrey remembers theater example, pianist and stockbroker Leon "Red" drummers Paul De Droit and Adrian Goslee. Newman remains an admirer of Godfrey's Godfrey had no idol among the local jazz musicianship as well as a good friend. Two of drummers who, except for Leo Adde, were too Godfrey's favorite memories are Chick Webb's flashy for his taste; Adde, Godfrey says, "was like saying, "Kid, you're hell on those drums," and Phil a rock pile .... Leo was good, good tempo man." Harris' description of Godfrey's ability by Among vibraphonists, Red Norvo has been comparing him to part of a pair of pants. Harris Godfrey's idol. Like Norvo, Godfrey always tried said a man may have pants made with pockets to keep up with the times. Through the years, and belt loops and so on, "but Godfrey Hirsch to Godfrey worked less and less as a musician. me is like a zipper.... lf you leave him out, its no After the deaths of three of his favorite bassists good." R.B. Allen

Picturing the past

Shown above is the bandstand at Tom Anderson's Restaurant, 125 North Rampart Street, about 1923. This band has been variously identified as Tom Anderson's Band, The Paul Barbarin Band, and The Albert Nicholas Band. Its members are, from left to right, Paul Barbarin (drums), Arnold Metoyer (trumpet), (piano), Willie Santiago (banjo), and Albert Nicholas (clarinet and Saxophone). A second "reed" man in this band was Barney Bigard (clarinet and tenor sax), who is not pictured here. From the Al Rose Collection

15 Editor's Commentary

It is with regret that we on the editorial board assume the curatorship of the Archive. He has announce the retirement of Curt Jerde as curator been a valued staff member and associate curator of the Hogan Jazz Archive, due to health since 1980. problems. Since his appointment as curator in The editor would like to add a word of apology 1980, Mr. Jerde's efforts have done much toward for the excessive delay of the present issue of upgrading the holdings of the Archive, improving The Jazz Archivist. The past 1o months have been the organization of the collection, and increasing a difficult transitional period during which most of visibility both at home and abroad. Among his our special projects and, indeed, our daily accomplishments have been the establishment of operations have progressed only fitfu_lly. We have the Friends of the Archive, and the Tulane Hot decided, under the circumstances, to publish this Jazz "Classics" (1982-1983). issue - originally the Spring number - as an He was also a founding member of the expanded, sixteen-page, Fall edition. Louisiana Repertory Jazz Ensemble and creator We ask your indul•gence for this lapse and we of a Tulane Jazz Listening Library, an NEA-funded expect to be back on track with the forthcoming tape-transferral project designed to safeguard 78 May issue. Thank you for your patience. r.p.m. discs. The editorial board and the Jazz Archive staff Most sincerely, will miss Mr. Jerde and wish him well. Effective John J. Joyce January 1, 1989, Bruce Boyd Raeburn will Editor

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