DOCSLIB.ORG

March 2-4, 2018

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
March 2-4, 2018 38th Anniversary March 2-4, 2018 schedule and venue map inside 1 38 years of jammin, sound! BANDS 4th Street Five Jazz Band Gateway City Six Rebecca Kilgore Quartet Tenth Avenue Jazz Band 20th Century Jazz Band Gem City Jazz Band Red Lehr’s St. Louis Rivermen Titan Hot Seven 101st Army Dixieland Band Generic Swing Orchestra Rent Party Revellers Titanic Jazz Band Allan Vaché’s Big Four Gold Coast Jazz Band Rex Allen’s Swing Express Tom Rigney & Flambeau Au Brothers Jazz Band Golden Eagle Jazz Band Reynolds Brothers Rhythm Tom Saunders’ Midwest All-Stars Avalon Swing Golden Gate Rhythm Machine Rascals Tuleburg Jazz Band Banjo Buddies Dixieland Band Gonzalo Bergara Quartet Royal Society Jazz Orchestra Turk Murphy Tribute Band Barehanded Wolfchokers Goodtyme Jazz Band Ryan’s Raiders UC Davis Gospel Choir Barnhart-Midiri Quartet Grand Dominion Saxophobia Uptown Lowdown Jazz Band Beale Street Jazz Band Great American Jazz Band Shelley & Bill U.S. Marine Corps Dixieland BED Gremoli Side Street Strutters Band Beverly Hills Unlisted G-Whiz Boogie Band Sister Swing Vaché/Cocuzzi Quintet Big Mama Sue & Friends Hal’s Angels Six for the Show Variety Barbershop Quartet Big Tiny Little Hangtown Jazz Band Sorta Dixie Jazz Band Warehouse Reunion Band Bill Allred’s Classic Jazz Band High Sierra Jazz Band South Frisco Jazz Band We3 Black Diamond Jazz Band Hogin’s Heroes South Market Street Jazz Band Wharfside Wailers Black Dog Jazz Band Hot Cotton Jazz Band Specs Wild Bill Davison Tribute Black Swan Classic Jazz Band Hot Frogs Jumping Jazz Band Spirit of ‘29 Reunion Band Blue Street Jazz Band Howard Alden Trio State Street with Marsha K Wild Rose All-Stars Bo Grumpus Igor’s Jazz Cowboys Steve Lucky & the Rhumba Bums Wooden Nickel Jass Band Bob Crosby’s Bobcats Illuminati Stumptown Jazz Band Yankee Wailers Bob Schulz’ Frisco Jazz Band The International Sextet Sweet Thursday Jazz Band Your Father’s Mustache Boilmaker Jazz Band Ivory&Gold® Swinging Gate Jazz Band Yve Evans & Company Bobby Morris’ New Orleans Jazz Jake Stock & the Abalone Swing City! Zenith Jazz & New Orleans Band Stompers Swing Design Parade Band Brady McKay & Friends Jazzin Babies Taking Stock with Jackson Zydeco Flames Bye Bye Blues Boys Jazz Birds California Express Jazz d’Elegance CanUS Hot Jazz Band Jean Kittrell & the Jazz Carl Sonny Leyland Trio Incredibles GUEST ARTISTS Janet Carroll & the Hollywood Jean Kittrell & St. Louis Rivermen Jazz Catz Jim Cullum Jazz Band Bill Allred Paul Keller Cell Block 7 Jubilee Jazz Clint Baker Rebecca Kilgore Chicago Six Just Friends Quintet Jeff Barnhart Jeannie Lambert Churchill Street Jazz Band Kinda Dixie Jazz Band Dan Barrett Dawn Lambeth Classic Jazz Le Jazz Hot Big Mama Sue Bob Leary Climax Jazz Band Made in the Shade David Boeddinghaus Edna Lewis Clint Baker’s New Orleans Jazz Mardi Gras Jazz Band Tom Bopp Big Tiny Little Band The Midiri Brothers Sextet Chris Calabrese Mike Marotta Cow Bop Mighty Aphrodite Dick Carey George Masso Cornet Chop Suey Mike Vax & His Great American John Cocuzzi Brady McKay Cocuzzi All-Star Quintet Jazz Band Kristy Cocuzzi Ed Metz, Jr. Cocuzzi/Vaché Swing All-Stars Mission Gold Jazz Band Jackie Coon Abe Most Commander’s Jazz Ensemble Mixed Metafour Barbershop Danny Coots Bob Phillips Crescent Katz Quartet Kim Cusack Russ Phillips Crazy Rhythm Monterey Bay Classic Jass Band Dave & Linda Kim Plowman Creole Jazz Kings Natural Gas Jazz Band Dance Co. Gary Ryan Creole Syncopators New Reformation Band Bill Dendle Tom Saunders Crown Syncopators Ragtime Trio Night Blooming Jazzmen Tracy Doyle John Sheridan Custer’s Last Band Nuclear Whales Saxophone Bob Draga Richard Simon Desert City Six Orchestra Bobby Durham Grant Somerville Desolation Jazz Ensemble Old Friends Eddie Erickson Cheryl Stephens Devil Mountain Jazz Band Olive Street Stompers Phil Flanigan Dave Stone Dick Johnson’s Mardi Gras Jazz Original Wildcat Jass Band Jim Galloway Norma Teagarden Band Pacific Brass Banu Gibson Stephanie Trick Dixieland Express Parlor Jam Jake Hanna Allan Vaché Dixieland Inc. Pat Yankee & Her Gentlemen of Bob Havens Johnny Varro Ellis Island Boys Jazz Chuck Hedges Jason Wanner Firehouse Stompers Dixieland Pieter Meijers Quartet Eddie Higgins Ian Whitcomb Jazz Polly’s Hot Paupers Brian Holland Miles Williams Foreman, Coon & Jones Port City Jazz Band Tom Hook Ruby Wilson Frisco Syncopators Professor Plum’s Jazz Joe & Mary Ingram Pat Yankee Fullertowne Strutters Queen City Jazz Band Davy Jones Richard Zimmerman Fulton Street Jazz Band Rascals of Ragtyme Mark Allen Jones 2 2018 official program CONTENTS 38 Years of Jammin’ Sound ................. 2 FEATURED BANDS CONT. Organization ....................................... 4 Grand Dominion ................................ 24 Welcome Messages ............................ 5 High Sierra Jazz Band ....................... 24 Special Information ............................. 7 Ivory&Gold® ...................................... 25 Musician of the Year ............................ 9 Reedley River Rats ............................ 25 This & That. ........................................ 9 Royal Society Jazz Orchestra ............ 26 In Memoriam ..................................... 10 Seaside High School Hot Jazz Society 26 2018 Special Features ...................... 11 Side Street Strutters ......................... 27 Looking back 100 years .................... 12 Titan Hot Seven ................................ 27 Tom Rigney & Flambeau ................... 28 FEATURED BANDS Wally,s Warehouse Waifs .................. 28 Au Brothers ....................................... 14 Yve Evans Trio ................................... 29 Blue Street Jazz Band ....................... 14 Bye Bye Blues Boys Band ................. 15 GUEST ARTISTS Carl Sonny Leyland Trio .................... 15 Gordon Au ........................................ 30 Crescent Katz .................................... 16 Jeff Barnhart ..................................... 30 Crown Syncopators........................... 16 Katie Cavera ...................................... 31 Fast Mama Excitement! ..................... 17 Danny Coots ..................................... 31 Gator Nation ..................................... 17 Bob Draga ......................................... 32 Eddie Erickson .................................. 32 SCHEDULE OF VENUES & MAP Brian Holland .................................... 33 Friday .......................................... 18–19 Mark Allen Jones ............................... 33 Saturday ..................................... 20–21 Dawn Lambeth .................................. 34 Sunday ........................................ 22–23 Gary Ryan ......................................... 34 John Reynolds ................................... 35 Focus on Young Musicians ................ 37 Acknowledgments ............................ 38 Volunteers ......................................... 39 Cover art by Will Bullas © 3 The 2018 SCHEDULE OF BANDS, LOCATIONS AND TIMES found on pages 18–23 DIXIELAND MONTEREY BOARD OF DIRECTORS AND FESTIVAL PRODUCTION COMMITTEE Back row: Tracie Brown (Patrons’ Party); Wendy Franscioni (Treasurer); Donelle Squires (Secretary); Julian Bills (Fund Raising); Al Pedersen (President/Equipment/Sound/Venues); Chris Chidlaw (Marketing); Bob Saleen (Lead Captain); Bev Hambrook (Concessions); Susan Segal (Marketing); Kathy Kulper (Volunteers) Front Row: Mary Jane Rogers (Band Sponsorships); Jeannie Pedersen (Bookkeeper/Communications); Judy Saleen (Youth Program/Fund Raising) Absent: Ray & Gwen Jensen (Musician Hospitality); Steve & Lynn Carlisle (Patrons); Rebecca Fitch (Badge Sales); Helen Kulper (Transportation) MISSION STATEMENT Dixieland Monterey exists to facilitate the live performance and broader appreciation of early jazz and other historically related music of the 1920s and ‘30s as part of our American musical heritage, and to educate and encourage young people to learn, appreciate and perform this music. Our festival is one way we facilitate live performance and perform jazz age music. We hold a youth clinic as well as broader appreciation of early jazz. The revenue from badge showcase youth band sets during the festival. Donations sales does not cover the cost of producing the festival. help to further these endeavors as well as providing funds Sponsorship is a way of insuring that we will be able to to send students to jazz camps and bring established continue to bring top quality bands to our festival. Sponsorship musicians into their schools. Donations of used levels begin at $500.00. Benefits associated with the various instruments, which we give to the schools, allow student levels of sponsorship range from two All Events badges musicians to have quality instruments on which to learn through Patron badges and hotel rooms at the event. Long term donations in the form of bequests or The “Friends of Note” program was established at the endowments will help insure these programs. Please request of our badge purchasers who wanted to add a consider supporting us in this manner and help keep our donation to their badge purchase orders. We thank them exciting music alive. with a souvenir pin. Information on sponsorship or donations is available Our youth programs continue to help educate and at the festival information desk or by calling our hotline encourage young musicians to learn, appreciate and (888-349-6879) after the festival. 4 welcome WELCOME TO THE 38th ANNUAL JAZZ BASH BY THE BAY! On behalf of the Monterey City Council and citizens of Monterey, it
Load more

Recommended publications
  • BRIAN HOLLAND and DANNY COOTS Sunday, September 21St, at 2Pm
    I'm pleased to announce and promote a concert here at Skunk Hollow Victorian Garden for BRIAN HOLLAND AND DANNY COOTS Sunday, September 21st, at 2pm Tickets in advance: $20, at the door $25. ALL PROCEEDS GO TO THE PERFORMERS. Send your check for either Brian or Danny to: Arlo Lusby POB 431 Sutter Creek, Ca. 95685 A call to my home phone will serve as advanced purchase: 209-267-8193. Please leave a message if I'm not available. Our usual format of potluck refreshments are encouraged; I will be serving light refreshments and my famous SKUNK HOLLOW VICTORIAN GARDENS wine with Brian and Danny's name on the label; you may to purchase a bottle for them to autograph as a memento for $8.00. Brian Holland Brian Holland, having performed ragtime, jazz and stride piano for over 30 years, continues to be one of the most sought after artists in the country. Classically trained, but with a keen ear for improvisation, Brian’s approach to the piano is marked by a dynamic, driving style that has been described as clear as Waterford crystal. Beginning his musical existence at the age of three, Brian grew up living a “Ragtime Life.” His grandparents raised him to love all kinds of music; however, styles from the early 20th century became his passion. He quickly learned his way around an organ keyboard and had a repertoire of old standards that would shock most professionals - all before the age of six. It was then that he turned his attention to the piano.
    [Show full text]
  • Selected Observations from the Harlem Jazz Scene By
    SELECTED OBSERVATIONS FROM THE HARLEM JAZZ SCENE BY JONAH JONATHAN A dissertation submitted to the Graduate School-Newark Rutgers, the State University of New Jersey in partial fulfillment of the requirements for the degree of Master of Arts Graduate Program in Jazz History and Research Written under the direction of Dr. Lewis Porter and approved by ______________________ ______________________ Newark, NJ May 2015 2 Table of Contents Acknowledgements Page 3 Abstract Page 4 Preface Page 5 Chapter 1. A Brief History and Overview of Jazz in Harlem Page 6 Chapter 2. The Harlem Race Riots of 1935 and 1943 and their relationship to Jazz Page 11 Chapter 3. The Harlem Scene with Radam Schwartz Page 30 Chapter 4. Alex Layne's Life as a Harlem Jazz Musician Page 34 Chapter 5. Some Music from Harlem, 1941 Page 50 Chapter 6. The Decline of Jazz in Harlem Page 54 Appendix A historic list of Harlem night clubs Page 56 Works Cited Page 89 Bibliography Page 91 Discography Page 98 3 Acknowledgements This thesis is dedicated to all of my teachers and mentors throughout my life who helped me learn and grow in the world of jazz and jazz history. I'd like to thank these special people from before my enrollment at Rutgers: Andy Jaffe, Dave Demsey, Mulgrew Miller, Ron Carter, and Phil Schaap. I am grateful to Alex Layne and Radam Schwartz for their friendship and their willingness to share their interviews in this thesis. I would like to thank my family and loved ones including Victoria Holmberg, my son Lucas Jonathan, my parents Darius Jonathan and Carrie Bail, and my sisters Geneva Jonathan and Orelia Jonathan.
    [Show full text]
  • Brian Casserly, Who Also Goes by the Name "Big B" Plays Trumpet, Trombone and Is Also a Vocalist with the Band
    Cornet Chop Suey – Biographies The Cornet Chop Suey Jazz Band has enjoyed a meteoric rise in popularity since its arrival on the jazz scene in 2001. The band's unique front line with Brian Casserly on trumpet, Tom Tucker on cornet, Jerry Epperson on reeds and Brett Stamps on trombone is driven by a powerful rhythm section consisting of Paul Reid on piano, Al Sherman on bass and John Gillick on drums. Best known for a wide variety of styles, Cornet Chop Suey applies its own exciting style to traditional jazz, swing, blues and "big production" numbers. Every performance by Cornet Chop Suey is a high-energy presentation and is always a memorable experience for the audience. Named after a somewhat obscure Louis Armstrong composition, Cornet Chop Suey now has six CD's available. The "St. Louis Armstrong" CD includes many of the tunes performed in the special Louis Armstrong show. The band is in great demand at jazz festivals, jazz cruises, conventions and concerts around the country. Brian Casserly, who also goes by the name "Big B" plays trumpet, trombone and is also a vocalist with the band. A professional musician since the age of 14, Brian has played for many greats in the music business, including Tony Bennett,Tex Beneke, Stan Kenton, Chuck Berry and even Tiny Tim. He has also played the prestigious Monterey Pops Festival for several years. An in-demand session musician, Brian has performed in many commercials, recordings and musicals in the U.S. and Canada and is the past musical director for the S.S.
    [Show full text]
  • Jazz and the Cultural Transformation of America in the 1920S
    Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2003 Jazz and the cultural transformation of America in the 1920s Courtney Patterson Carney Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the History Commons Recommended Citation Carney, Courtney Patterson, "Jazz and the cultural transformation of America in the 1920s" (2003). LSU Doctoral Dissertations. 176. https://digitalcommons.lsu.edu/gradschool_dissertations/176 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected]. JAZZ AND THE CULTURAL TRANSFORMATION OF AMERICA IN THE 1920S A Dissertation Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Philosophy in The Department of History by Courtney Patterson Carney B.A., Baylor University, 1996 M.A., Louisiana State University, 1998 December 2003 For Big ii ACKNOWLEDGEMENTS The real truth about it is no one gets it right The real truth about it is we’re all supposed to try1 Over the course of the last few years I have been in contact with a long list of people, many of whom have had some impact on this dissertation. At the University of Chicago, Deborah Gillaspie and Ray Gadke helped immensely by guiding me through the Chicago Jazz Archive.
    [Show full text]
  • Study Buddy CASSETTE DION ELVIS GUITAR IPOD PHONOGRAPH RADIO RECORD RHYTHM ROCK ROLL Where The
    Rhythm, Blues and Clues I V J X F Y R D L Y W D U N H Searchin Michael Presser, Executive Director A Q X R O C K F V K K P D O P Help the musical note find it’s home B L U E S B Y X X F S F G I A Presents… Y C L C N T K F L V V E A D R Y A K O A Z T V E I O D O A G E S W R R T H K J P U P T R O U S I D H S O N W G I I U G N Z E G V A Y V F F F U E N G O P T V N L O T S C G X U Q E H L T G H B E R H O J H D N L P N E C S U W Q B M D W S G Y M Z O B P M R O Y F D G S R W K O F D A X E J X L B M O W Z K B P I D R V X T C B Y W P K P F Y K R Q R E Q F V L T L S G ALBUM BLUES BROADWAY Study Buddy CASSETTE DION ELVIS GUITAR IPOD PHONOGRAPH RADIO RECORD RHYTHM ROCK ROLL Where the 630 Ninth Avenue, Suite 802 Our Mission: Music Inside Broadway is a professional New York City based children’s theatre New York, NY 10036 12 company committed to producing Broadway’s classic musicals in a Music Lives Telephone: 212-245-0710 contemporary light for young audiences.
    [Show full text]
  • Drums • Bobby Bradford - Trumpet • James Newton - Flute • David Murray - Tenor Sax • Roberto Miranda - Bass
    1975 May 17 - Stanley Crouch Black Music Infinity Outdoors, afternoon, color snapshots. • Stanley Crouch - drums • Bobby Bradford - trumpet • James Newton - flute • David Murray - tenor sax • Roberto Miranda - bass June or July - John Carter Ensemble at Rudolph's Fine Arts Center (owner Rudolph Porter)Rudolph's Fine Art Center, 3320 West 50th Street (50th at Crenshaw) • John Carter — soprano sax & clarinet • Stanley Carter — bass • William Jeffrey — drums 1976 June 1 - John Fahey at The Lighthouse December 15 - WARNE MARSH PHOTO Shoot in his studio (a detached garage converted to a music studio) 1490 N. Mar Vista, Pasadena CA afternoon December 23 - Dexter Gordon at The Lighthouse 1976 June 21 – John Carter Ensemble at the Speakeasy, Santa Monica Blvd (just west of LaCienega) (first jazz photos with my new Fujica ST701 SLR camera) • John Carter — clarinet & soprano sax • Roberto Miranda — bass • Stanley Carter — bass • William Jeffrey — drums • Melba Joyce — vocals (Bobby Bradford's first wife) June 26 - Art Ensemble of Chicago Studio Z, on Slauson in South Central L.A. (in those days we called the area Watts) 2nd-floor artists studio. AEC + John Carter, clarinet sat in (I recorded this on cassette) Rassul Siddik, trumpet June 24 - AEC played 3 nights June 24-26 artist David Hammond's Studio Z shots of visitors (didn't play) Bobby Bradford, Tylon Barea (drummer, graphic artist), Rudolph Porter July 2 - Frank Lowe Quartet Century City Playhouse. • Frank Lowe — tenor sax • Butch Morris - drums; bass? • James Newton — cornet, violin; • Tylon Barea -- flute, sitting in (guest) July 7 - John Lee Hooker Calif State University Fullerton • w/Ron Thompson, guitar August 7 - James Newton Quartet w/guest John Carter Century City Playhouse September 5 - opening show at The Little Big Horn, 34 N.
    [Show full text]
  • Upcoming Events
    Newsletter of the Sacramento Traditional Jazz Society STJS is a non-profit organization dedicated to the preservation and promotion of traditional jazz music. Address: 2521 Port Street, West Sacramento, CA 95691•(916)444-2004•www.sacjazz.org VOLUME49•NO.7 August 2017 Jazz Sunday, August 6 (FIRST Sunday!) Note from The President …..……...2 Week Two STJS Jazz Campers Concert and ElksLodge#6–info/directions ....... 2 The Professors The Professors …………………………..3 Raffle Cent$.................................8 Race for the Art Pictures…………….8 Membership Application…….……13 Upcoming Events: July 23-29 Week 1 STJS Teagarden EEachy E Youth Jazz Camp Each year when the jazz camps conclude, we are treated to a special July 29 Week 1 STJS Jazz Campers Concert and The Counselors Jazz Jazz Sunday that features not only The Professors both youth Band campers and counselors as well. August Jazz Sunday is one of the July 31–Aug 6 Week 2 - STJS best STJS events of the year. The place is buzzing with excitement Teagarden Youth Camp from a productive and fun-filled week at Jazz Camp amid the scenic Aug 6 (First Sun) Week 2 STJS Jazz beauty of Pollock Pines. Campers have been making new friends Campers Concert and The Professors while counselors (former campers) are having a blast reuniting with their musician friends. Sept 10 – Skin ‘n Bones (Gonsoulin) Oct 8 – Pub Crawlers Our Jazz Camp Faculty is loaded with all-star talent, and we are Nov 12 – Youth Jazz Day incredibly fortunate to have them all here together as our guest Dec 10 – Gold Society Jazz band.
    [Show full text]
  • Collection Highlights
    COLLECTION HIGHLIGHTS “LATINOS AND BASEBALL” COLLECTING INITIATIVE Latino baseball players have been interwoven in the fabric of Major League Baseball for years. They've been some of the greatest, well-known names in baseball history. To reflect and celebrate that rich history, the National Museum of American History (“NMAH”) in collaboration with the Smithsonian Latino Center, launched Latinos and Baseball: In the Barrios and the Big Leagues. The multi-year community collecting initiative focuses on the historic role that baseball has played as a social and cultural force within Latino communities across the nation. The project launched a series of collecting events in late February in San Bernardino, California. A second event will be held in Los Angeles on July 17, 2016, and a third will be held in Syracuse, New York, on September 15, 2016. The events are designed to generate interest in the initiative, build on community relationships, record oral histories, and identify objects for possible acquisition by local historical associations as well as for the Smithsonian collections. The collaborative initiative seeks to document stories from across the U.S. and Puerto Rico and plans to collect a number of objects that could include baseball equipment; stadium signs; game memorabilia, such as handmade or mass-produced jerseys and tickets; food vendor signs; home movies; and period photographs. Curators will select objects based on the stories they represent and the insight they provide into the personal, community, and national narratives of the national pastime. “Baseball has played a major role in everyday American life since the 1800s, providing a means of celebrating both national and ethnic identities and building communities,” said John Gray, director of NMAH.
    [Show full text]
  • The Korean Wave As a Localizing Process: Nation As a Global Actor in Cultural Production
    THE KOREAN WAVE AS A LOCALIZING PROCESS: NATION AS A GLOBAL ACTOR IN CULTURAL PRODUCTION A Dissertation Submitted to the Temple University Graduate Board In Partial Fulfillment of the Requirements for the Degree DOCTOR OF PHILOSOPHY by Ju Oak Kim May 2016 Examining Committee Members: Fabienne Darling-Wolf, Advisory Chair, Department of Journalism Nancy Morris, Professor, Department of Media Studies and Production Patrick Murphy, Associate Professor, Department of Media Studies and Production Dal Yong Jin, Associate Professor, School of Communication, Simon Fraser University © Copyright 2016 by Ju Oak Kim All Rights Reserved ii ABSTRACT This dissertation research examines the Korean Wave phenomenon as a social practice of globalization, in which state actors have promoted the transnational expansion of Korean popular culture through creating trans-local hybridization in popular content and intra-regional connections in the production system. This research focused on how three agencies – the government, public broadcasting, and the culture industry – have negotiated their relationships in the process of globalization, and how the power dynamics of these three production sectors have been influenced by Korean society’s politics, economy, geography, and culture. The importance of the national media system was identified in the (re)production of the Korean Wave phenomenon by examining how public broadcasting-centered media ecology has control over the development of the popular music culture within Korean society. The Korean Broadcasting System (KBS)’s weekly show, Music Bank, was the subject of analysis regarding changes in the culture of media production in the phase of globalization. In-depth interviews with media professionals and consumers who became involved in the show production were conducted in order to grasp the patterns that Korean television has generated in the global expansion of local cultural practices.
    [Show full text]
  • The Professors on Aug. 14 Election Results / Jazz in the Park
    Newsletter of the Sacramento Traditional Jazz Society STJS is a non-profit organization dedicated to the preservation and promotion of traditional jazz music. 2787 Del Monte Street • West Sacramento, CA 95691 • (916) 372-5277 • www.sacjazz.org & .com VOLUME 43 • NO. 6 JULY 2011 All stars, all ours for one day: Ad rates.............................................................2 Dante Club – info/directions.........................2 Dante Club Notes. The Cricket.....................8-11 The Professors on Aug. 14 Election results / Jazz in the Park..................4 Future Festivals.............................................12 In Loving Memory..........................................11 In the Months Ahead.......................................2 Jazz Festival & Jubilee PHOTOS..................6-7 Jazz Notes.......................................................12 Membership application..............................16 Musicians / Music Here & There...................13 Notes from the Office Greg Willett.................2 Patron Members............................................10 President’s Message Tom Duff........................3 Raffle Cents Kathy Becker..............................11 “Jazz Sunday” info ➤ pg. 2 See.photos.on.pages.8–9.from June.12.with.Pieter.Meijers (From top row, left to right) Eddie Metz, Rusty Stiers, Jason Wanner, Eddie Erickson, Anita Thomas, Shelley Burns, Bill Dendle, Lee Westenhofer he Professors is truly an all-star musicians at one Jazz Sunday. The Pro- Tband, comprising arguably the best fessors include: Rusty Stiers, tpt; Anita performers on their instruments in the Thomas, reeds; Bill Dendle, tbn; Eddie USA, and in some cases, the world. Erickson, bnj/gtr; Jason Wanner, p; Lee How amazing and incredible for STJS “Westy” Westenhofer, tb; Eddie Metz, to be able to present all these great dr; Shelley Burns, voc. (cont. on pg. 5) Sunday, July 10 Last chance to sign up for Au.Brothers.•.Beth.Duncan.Quartet.•.Cunha.Big.Band.
    [Show full text]
  • Ken Peplowski Discography
    Discography – Ken Peplowski 1987 Double Exposure Concord Jazz 1989 Sonny Side Concord Jazz 1990 Mr. Gentle and Mr. Cool Concord Jazz 1990 Illuminations Concord 1991 Groovin' High Concord Jazz 1992 Concord Duo Series, Vol. 3 Concord Jazz 1992 The Natural Touch Concord Jazz / Concord 1993 Steppin' with Peps Concord Jazz 1994 Encore! Live at Centre Concord Concord Jazz / Concord 1994 Live at Ambassador Auditorium Concord Jazz / Concord 1995 The International All-Stars Play Benny Goodman, Vol. 2 Nagel Heyer Records 1995 The International Allstars Play Benny Goodman, Vol. 1 Nagel Heyer Records 1995 It's a Lonesome Old Town Concord Jazz / Concord 1996 The Other Portrait Concord / Concord Jazz 1997 A Good Reed Concord Jazz / Concord 1998 Grenadilla Concord Jazz 1999 Last Swing of the Century Concord Vista / Concord Jazz 2000 All This...Live in the UK, Vol. 1 Koch / Koch Jazz 2001 Tribute to Benny Goodman with the BBC Big Band Chandos 2002 Just Friends Nagel Heyer Records 2002 And Heaven Too: Live in the U.K. Vol. 2 Koch 2002 Remembering Louis Jump Records 2002 Ellingtonian Tales Mainstream 2002 Lost in the Stars Nagel Heyer Records 2004 Easy to Remember Nagel Heyer Records 2007 Memories of You Tokuma Records 2008 Gypsy Lamento Venus / Venus Jazz Japan 2008 When You Wish Upon a Star Tokuma Records 2011 In Search Of Capri 2013 Maybe September Capri 2013 ...Live at the Kitano Victoria Company 2018 Sunrise Arbors 2018 Duologue Arbors Credits 2018 Duologue Adrian Cunningham / Ken Peplowski Primary Artist 2018 Sunrise Ken Peplowski / Ken Peplowski
    [Show full text]
  • 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.
    [Show full text]