Frisco Cricket Published by the San Francsico Traditional Jazz Foundation Summer2005 The Heart Of The Matter 1 Contents The Heart Of The Matter The Heart Of The Matter The Heart Of The Matter The Heart Of The Matter The Heart Of The Matter by William Carter 1 From the Editor From the Editor From the Editor From the Editor From the Editor by Scott Anthony 2 Frank Hagg ank Hagg ank Hagg ank Hagg ank Hagger er er er erty - Rh ty - Rh ty - Rh ty - Rh ty - Rhyt yt yt yt ythm Guit hm Guit hm Guit hm Guit hm Guitar ar ar ar aris is is is ist by Opalene and Frank Haggerty 4 Fir ir ir ir irehouse 5 Plus 2 A ehouse 5 Plus 2 A ehouse 5 Plus 2 A ehouse 5 Plus 2 A ehouse 5 Plus 2 At Ear t Ear t Ear t Ear t Earthq hq hq hq hquak uak uak uak uake McGoon e McGoon e McGoon e McGoon e McGoon’s 1 s 1 s 1 s 1 s 1970 70 70 70 70 new CD Announcement 8 Membership Application and Product List Membership Application and Product List Membership Application and Product List Membership Application and Product List Membership Application and Product List 11 by William Carter Long on human capital (though short on physical resources), your Foundation has, at its heart, a cadre of first-call jazzmen who are also commit- ted historians, conservators and writers. This issue of The Cricket highlights the career of guitarist Frank Haggerty. In so doing, we also point out the primacy of the rhythm section in traditional jazz. The inner workings of the rhythm section is a subject too infre- quently explored in the official histories of the music. Understandably, non- musician listeners and writers tend to focus on the more spectacular front-line soloists. Less well understood is the degree to which their work depends on the security of a rock-solid beat and accurate chords. The give-and-take wrong side of the tracks,” scratching a living out of a living considered “illegitimate.” In our era, that situation has turned around, and your Foundation is part of the process. Also today, when even a highly schooled and articulate traditional jazz band is added to an otherwise modernist curriculum at a college cam- pus or faculty, the prevailing justification is to give the students a kind of pre-historic background for the kind of post be-bop music they are really Frank Haggerty in the late 1990s Photo Chris Kaufman interplay among the rhythm players is much discussed among themselves — in private. Merely mentioning it here feels akin to revealing a trade secret. But to celebrate the life and work of a largely overlooked guitar man like Haggerty is at the heart of what your Foundation is about. Tradi- tional jazz writing has tended to suffer from the fact that the brilliant, quirky first and second generation of jazz pioneers often came from “the
Transcript
Frisco CricketPublished by the San Francsico Traditional Jazz Foundation Summer 2005
The Heart Of The Matter
1
Contents
The Heart Of The MatterThe Heart Of The MatterThe Heart Of The MatterThe Heart Of The MatterThe Heart Of The Matter by William Carter 1From the EditorFrom the EditorFrom the EditorFrom the EditorFrom the Editor by Scott Anthony 2FFFFFrrrrrank Haggank Haggank Haggank Haggank Haggerererererty - Rhty - Rhty - Rhty - Rhty - Rhytytytytythm Guithm Guithm Guithm Guithm Guitarararararisisisisisttttt by Opalene and Frank Haggerty 4FFFFFiririririrehouse 5 Plus 2 Aehouse 5 Plus 2 Aehouse 5 Plus 2 Aehouse 5 Plus 2 Aehouse 5 Plus 2 At Eart Eart Eart Eart Earttttthqhqhqhqhquakuakuakuakuake McGoone McGoone McGoone McGoone McGoon’’’’’s 1s 1s 1s 1s 1999997070707070 new CD Announcement 8Membership Application and Product ListMembership Application and Product ListMembership Application and Product ListMembership Application and Product ListMembership Application and Product List 11
by William CarterLong on human capital (though
short on physical resources), yourFoundation has, at its heart, a cadre offirst-call jazzmen who are also commit-ted historians, conservators and writers.This issue of The Cricket highlights thecareer of guitarist Frank Haggerty. In sodoing, we also point out the primacy ofthe rhythm section in traditional jazz.
The inner workings of therhythm section is a subject too infre-quently explored in the official historiesof the music. Understandably, non-musician listeners and writers tend tofocus on the more spectacular front-linesoloists. Less well understood is thedegree to which their work depends onthe security of a rock-solid beat andaccurate chords. The give-and-take
wrong side of the tracks,” scratching a living out ofa living considered “illegitimate.” In our era, thatsituation has turned around, and your Foundationis part of the process.
Also today, when even a highly schooledand articulate traditional jazz band is added to anotherwise modernist curriculum at a college cam-pus or faculty, the prevailing justification is to givethe students a kind of pre-historic background forthe kind of post be-bop music they are really
Frank Haggerty in the late 1990s Photo Chris Kaufman
interplay among the rhythm players is muchdiscussed among themselves — in private. Merelymentioning it here feels akin to revealing a tradesecret.
But to celebrate the life and work of alargely overlooked guitar man like Haggerty is atthe heart of what your Foundation is about. Tradi-tional jazz writing has tended to suffer from thefact that the brilliant, quirky first and secondgeneration of jazz pioneers often came from “the
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The Frisco CricketIssue No. 28
Published by theSAN FRANCISCO TRADITIONAL
JAZZ FOUNDATION41 Sutter Street, PMB 1870
San Francisco, California 94104Phone: (415) 522-7417, FAX: (415) 922-6934
Philip F. ElwoodCharles HugginsJohn MatthewsWilliam Tooley
Leon Oakley
Advertise in the Cricket!
In an effort to help defray the costs ofmaintaining all the varied programs that SFTJFsupports, including The Frisco Cricket itself,we’re going to begin providing limited advertis-ing space here. We want to be fair to everyone, sothere are a few rules we’d like to follow:
• The advertiser should be in a musicrelated (preferably Traditional Jazz related)business (band, club, cruise, radio station, etc.).
• No more than a total of 2 full pages willbe used in any single issue of the Cricket, so adswill be accepted on a first-come, first-servedbasis.
• We need to be able to maintain the rightto accept or reject advertisements at our discre-tion.
• Please send your ad to:Cricket Editor
San Francisco Traditional Jazz Foundation41 Sutter Street, PMB 1870
San Francisco, CA 94104• Or (preferably) by email to:
expected to be learning and playing. Our premiseis the opposite. The reason to study traditionaljazz is to play traditional jazz. And the reason tocelebrate great rhythm playing of any era is be-cause that alone makes it possible for the wholeband to cook.
Thanks to the likes of Frank Haggerty. Andthanks to you for your continuing support. e
As a banjo player and budding guitarist,I was very excited and interested when LeonOakley, one of your Board members, loaned mea copy of the privately published autobiogra-phy of Frank Haggerty given to him by Franksoon after it was finished in 2000. It is somethingthat would probably not be financially viableenough to a commercial publisher to become aproduct, but it is so well done and full of localinterest that I wanted to make it the main theme
of this issue of the Frisco Cricket.How to go about doing this? The book
itself is some 110 pages, about 75 percent ofwhich is text, so it is obviously way too big forreproducing in its entirety here. Therefore itwill be published in two parts and greatlycondensed. The results are a distillation of just avery few of the hundreds of interesting storiesin the book, with pictures and photos scannedfrom it and reproduced.
I did not know Frank personally, butbased on these reminiscences, he had an unbe-lievably unusual and interesting childhood. Hismother was married at least three times andlived with a number of other men in between,almost all of whom (except his real father) wereterrible drunks and treated her very badly.Frank wound up with one stepfather who madehis living as a bootlegger during Prohibition. As“just a kid” of 12 or 13, Frank helped “watch the
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Some Local NotesSome Local NotesSome Local NotesSome Local NotesSome Local NotesLocal jazz trombonist Rex Allen’s Big
Band will celebrate the100th Birthday Anniver-sary of Jazz trombone and vocal legend JackTeagarden, in a special concert “A HundredYears from Today,” at the Bay Area’s prestigiousjazz venue, The Bach Dancing & DynamiteSociety, Douglas Beach House, El Granada CA,Sunday, August 21, 4:30-7:30.
Old news probably, but SFTJF ArchivistClint Baker leads a regular band of musiciansincluding SFTJF Board member Leon Oakleyplus occasional sit-ins (almost) every Fridaynight at Cafe Barrone, 1149 El Camino Real,Menlo Park. Be sure to catch them.
And finally, be sure to get tickets for theOctober 16 Bay City Stompers Concert atBimbo’s 365 Club in San Francisco. See thedetails on page 12 (cover) of this issue and theinsert providing a handy ticket order form.
still and watch the proof of the alcohol,”capping beer bottles, and generally helpingout with his stepfather’s illegal business ona ranch in the wilds of Nevada. Frank andhis mother moved constantly and lived in aseemingly uncountable array of towns inNevada and around Marysville, CA. Theywere almost always desperate for moneyduring the Depression, but he recounts hischildhood experiences with a dispassionatecandor, good humor, and sense of adven-ture.
From this wild and difficult upbring-ing he eventually became well knownlocally and managed to make a living as asteady full-time musician for most of hisearly adult life, playing with some of the“greats” and the not-so-greats. He wascertainly a man who loved performing andplaying the guitar. I think I would havereally liked him, and I hope you enjoy theexcerpts from this wonderful life story.Scott Anthony
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e(Advertisement)
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FFFFFrrrrrank Haggank Haggank Haggank Haggank Haggerererererty - Looking Bacty - Looking Bacty - Looking Bacty - Looking Bacty - Looking Back Pk Pk Pk Pk Pararararart It It It It IExExExExExcercercercercerpppppts Fts Fts Fts Fts Frrrrrom a Prom a Prom a Prom a Prom a Privivivivivatatatatate Booke Booke Booke Booke Book
by Frank and Opalene Haggerty by Frank and Opalene Haggerty by Frank and Opalene Haggerty by Frank and Opalene Haggerty by Frank and Opalene Haggerty
“I am now in the 80th year of a life that hasbeen filled with music—some good and some not sogood—and looking back, it’s all been fun....
“I have played all kinds of music, for almosteveryone of importance in the entertainment indus-try—and I played and heard it with my whole bodyand soul. I had the good fortune to play with thevery best musicians.... I also played with the worstmusicians in the worst places, and sometimes onlyfor tips....
Frank at about 10 years old(Family photo)
“My Mother” Frank’sMother, MabelHaggerty, ne Roosa(Family photo)
Coffee Dan’s. It was a place where you orderedcoffee , and it was served in a cup and it hadwhiskey in it....
“Clara Haggerty, my brother Bill’s wife,said my mother wanted me to be in the entertain-ment world, and I had no say in it. As I look back,trying to piece things together, she was right.
“Despite the new laws—dubbed The NobleExperiment—more folks drank more than theyever had before....And people were listening to anew kind of music. It was called Jazz.
“I didn’t graduate from Northside JuniorHigh School (Reno, NV) because I flunked algebraand Spanish. My eyes were so bad and I just
“““““Then I saThen I saThen I saThen I saThen I saw tw tw tw tw this guithis guithis guithis guithis guitararararar.....It wIt wIt wIt wIt was called aas called aas called aas called aas called aSSSSSttttteeeeewwwwwarararararttttt, and I, and I, and I, and I, and Iwwwwwantantantantanted ted ted ted ted that guithat guithat guithat guithat guitarararararin tin tin tin tin the whe whe whe whe worororororssssst wt wt wt wt waaaaayyyyy....................”””””
couldn’t see the blackboard. Our home life wasturbulent, and also, I would invariably hand inblank sheets of paper whenever we had a test. So,I didn’t graduate. I felt so bad about it.
“On graduation night I went to the school-house anyway and stood outside and watchedthrough the window.... I didn’t have anything towear like the other kids....
“I decided right then and there that therewasn’t much of a future for me in school....At anearly age I decided to become a vagabond.
FFFFFiririririrssssst Guitt Guitt Guitt Guitt Guitararararars and Fs and Fs and Fs and Fs and Fiririririrssssst Wt Wt Wt Wt Worororororkkkkk“I was still getting free tap dancing lessons
and doing programs for Ruth Ryan’s dancingclass. Somehow I got a ukulele for Christmas oneyear, and I loved banging away on that thing....
“Then I saw this guitar. It was called aStewart, and I wanted that guitar in the worstway. I don’t know how in the world my mothermanaged it, but she got that guitar for me. Iwanted to learn to play it, and there weren’tmany guitar teachers in those days....It came easy
“I was born in San Mateo, California, No-vember 24, 1918, the youngest of my mother’s fourchildren.... Outside of a flashback of a ranch orfarm that we lived on, I can’t remember muchabout my very early years. About the first memoriesI have are of our home in San Francisco and myHaggerty grandparents....
“...my folks had a nice home, nice furniture,and my father always seemed to have a new car.Cars were few and far between in those years....Myfolks liked to take Sunday drives....
“Speakeasies were before my time in theentertainment world, but I can well remember mymother going to a speakeasy in San Francisco called
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for me because I enjoyed it so much. I picked it upreally fast.
“So, between playing with the Cactus Boysand playing with Leota’s dance band, the DarrellBerry’s band, I was getting a fairly decent musicaleducation. I wasn’t very old—maybe 14 or 15years old.
“I was all of 15 when Jimmie Dorsey andhis band came to Reno. The band’s rhythm guitar-ist fell ill, and I was hired to fill in for a few days.It wasn’t that I was that good, but there justweren’t any other guitarists available in Reno atthat time.
“This Hawaiian, Frank Kalani, came totown and got in touch with me somehow. Heoffered me a job in Grass Valley, California, for$18 a week, and I just couldn’t imagine anyonemaking that much money in one week. This waswhen my mother and I were living at this littleplace and really struggling to get by....
“I don’t remember just how I got ac-quainted with Stella Dooley, a piano player whoplayed at the Midway Tavern—everything in thekey of C. She was 24 years old and I was 15, andon slow nights when there were no customers and
The Cactus Boys, KOH Radio in Reno, NV, Frank on guitar
the boss was not there, she would come on to me,and just scare me to death.
“It was when I was working with StellaDooley that David McCormick came to visit me.He had an electrified guitar. I never knew therewas such a thing. It was called a Volutone andDavid couldn’t handle it at all. A Volutone was athing you put inside the soundhole, threw aswitch, and it magnetized the strings. I put it onmy Martin, and if you didn’t turn the switch off, itwould get so hot you could fry eggs on it....Withthis new gadget I began to really get serious aboutmusic...now my guitar and I kinda fell in lovewith each other, because it worked out great forme and opened a lot of doors. Bosses in the clubswanted music that made noise, and an accoustical
Bosses...wBosses...wBosses...wBosses...wBosses...wantantantantanted musiced musiced musiced musiced musicthat made noise, and anthat made noise, and anthat made noise, and anthat made noise, and anthat made noise, and anaccousaccousaccousaccousaccoustical guittical guittical guittical guittical guitar jusar jusar jusar jusar justttttdidn’t make enoughdidn’t make enoughdidn’t make enoughdidn’t make enoughdidn’t make enoughnoise.noise.noise.noise.noise.
guitar just didn’t make enough noise.“I guess I was one of the very first to play
electric guitar professionally. I know that I playedbefore Charlie Christian, although he got credit for[it]....Anyway, he became famous....as one of thefirst to play the electric guitar, and I didn’t.
“My brother, Bill, who was five years olderthan me, had run away from home because of allthis stuff with the stepfathers. It was just too much
One thing to remember isOne thing to remember isOne thing to remember isOne thing to remember isOne thing to remember isttttthat that that that that therherherherhere we we we we was neas neas neas neas nevvvvver aner aner aner aner anyyyyydoubt in my whole lifedoubt in my whole lifedoubt in my whole lifedoubt in my whole lifedoubt in my whole lifeabout mabout mabout mabout mabout my moy moy moy moy motttttherherherherher’’’’’s los los los los lovvvvveeeeefffffor me...Her pror me...Her pror me...Her pror me...Her pror me...Her problem woblem woblem woblem woblem wasasasasasttttthat hat hat hat hat she jusshe jusshe jusshe jusshe just lot lot lot lot lovvvvved lifed lifed lifed lifed life...e...e...e...e...
for him. As for me, I was young enough that mostof the time I had no idea what was going on. Onething to remember is that there was never anydoubt in my whole life about my mother’s love forme....Her problem was that she just loved life....
MarMarMarMarMaryyyyysville and Besville and Besville and Besville and Besville and Beyyyyyondondondondond“Then we got a job in Chico at Mack’s
Chicken Shack. We stayed there a few weeks. Thatjob came to an end, so we headed on down toMarysville....[my partners] got a job that didn’tinclude me, so I was out of a job again, and I was
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Frank in San Francisco CBS Studio, 1941 (note Volutonepickup on his Martin guitar).
looking for work.“I was walking along D Street, which is the
main street in Marysville, and heard a band playingin The Star Rendezvous, a combination night club(Rendezvous) and restaurant (Star Grill)....
“There were several more bars in operation,and prostitution was wide open. Marysville wasprospering due to the influx of dust bowl farmersforced to work for very little pay, requiring entirefamilies to pick peaches and live in cars and tents tosurvive....
“On C Street were two Chinese restaurant-night clubs—King Inn and Mama’s Place... Mama’sPlace had a three piece orchestra with shows anddancing. This is where my new acquaintances,Droops Earnhart and Satch Bianchi played fordancing.
“My mother, somehow, took over runningthe [Sequoia] Hotel....Any musician coming toMarysville stayed at the Sequoia, and if they werebroke, she trusted them until payday....She under-stood the plight of musicians struggling to survive.No one ever stiffed her, and greatly appreciated herhelp.
Jack PurvisJack PurvisJack PurvisJack PurvisJack Purvis“One night a guy walks into Mama’s Place,
and he was wearing a suit with blood stains on it.He said he was a trumpet player and had been inan automobile accident and had lost his trumpet.He had his mouthpiece, but no horn. He said hisname was Jack Purvis, and after talking with himawhile, the guys were convinced he could prob-ably play. So, Satch called George Bagby, a localblack trumpet player, and had him bring his hornto Mama’s Place. Like a movie script, he playedgreat—so they talked their boss into hiringhim....The night he was to join our group...hedidn’t show up. It turns out he was caught riflinghotel rooms and was in jail....
MountMountMountMountMountain House Meleeain House Meleeain House Meleeain House Meleeain House Melee“My friend, Satch Bianchi, made a contact
with someone and learned they wanted a band atthe Mountain House in McCloud. The MountainHouse Roadhouse was at the foot of Mt. Shasta,
“We were booked in“We were booked in“We were booked in“We were booked in“We were booked infront of the Jimmyfront of the Jimmyfront of the Jimmyfront of the Jimmyfront of the JimmyDorsey bandDorsey bandDorsey bandDorsey bandDorsey bandand just behind theand just behind theand just behind theand just behind theand just behind theBen Pollack band.Ben Pollack band.Ben Pollack band.Ben Pollack band.Ben Pollack band.I wI wI wI wI was in tas in tas in tas in tas in the bigtime!”he bigtime!”he bigtime!”he bigtime!”he bigtime!”
and out in the middle of nowhere. It was near theHearst Ranch....Hearst would fly in these bigBroadway Revues, and we had movie stars hang-ing around there all of the time when weworked....We had Droops and Satch and me, andwe’re doing the best we can.
“Satch decided he wanted to get out of themusic business. He wanted to go to Medford[Oregon].... Droops drove an old vintage car ofsome kind, so we drove Satch and all his drumsup to Medford. We just drove him up there andlet him off, and then drove right back because wehad to work that night. When we drove in to theRoadhouse, all our stuff was piled up in the park-ing lot. Another band had moved in while wewere gone. So here we were with no money, andno job. I’m not a gutsy type guy, but I think that’sabout as mad as I’ve ever been. I went into theclub and took on this Greek boss, and just raisedHoly Hell....
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Publicity Photo of Frank c 1941. This photo is the cover ofthe book described in this article. Note that Frank is playing aVega C-66
“We rented a house on a hill above Talent,Oregon, and life was just one laugh afteranother....There was a little creek close by, so wedammed it to make a little swimming hole....Wehad all the record collections of Goodman,Dorsey, Lunceford, etc., and music was beingplayed constantly....
“One of the interesting things about jazz iswhen you least expect it, something you heardwill come out in your solos....I count my blessings,living and playing music in a world where musicwas good music and had memorable, heart-touch-ing lyrics....
San FranciscoSan FranciscoSan FranciscoSan FranciscoSan Francisco“My musician friends were saying that I
should go to San Francisco, because that’s wherethe opportunities are.
“It was 1937 and times were hard. I was inMarysville again—and looking for work. Mybrother, Bill, was living in San Francisco. I knewthat if I was to do anything in the music business Iwould have to get to San Francisco—somehow....
“I had no money and no work lined up, so
I got a ride in a bread truck to get to San Fran-cisco. I had my guitar, amplifier, suitcase and allmy worldly possessions with me, and no ideawhere I was going to stay....
“I found my brother Bill’s apartment, andthey told me I could sleep in the kitchen on thefloor at night...they were crowded. Clara, mybrother’s wife, was working as a beauty operatorand Bill was out of work at that time. Things werepretty bleak.
“There was a wonderful band at Topsy’sRoost—the Ellis Kimball Band....We scraped upenough money for bus fare...and went out toTopsy’s Roost. The piano player [Harold “Zolly”Zollman] came over to our table and sat down
“One of the interesting“One of the interesting“One of the interesting“One of the interesting“One of the interestingthings about jazzthings about jazzthings about jazzthings about jazzthings about jazzis when yis when yis when yis when yis when you leasou leasou leasou leasou least et et et et expectxpectxpectxpectxpectit, someit, someit, someit, someit, somettttthing yhing yhing yhing yhing you hearou hearou hearou hearou heardddddwill come outwill come outwill come outwill come outwill come outin yin yin yin yin your solos.our solos.our solos.our solos.our solos.”””””
with us...and said the band was getting ready to goon the road, and they were looking for a guitarplayer. He didn’t know me at all, and he didn’teven know if I could play. He gave me his addressand asked me to come to his house the next day andhe’d have Ellis and some of the guys over for a littlejam session. He said it would be like an audition forme. It was a wonderful afternoon, and Ellis hiredme to go on the road with them. God! I was inabsolute seventh heaven....
“It was one of the greatest experiences I everhad in my life, knowing people like Zolly and hiswife Edie.
“We travelled by bus and stayed in motelswhen one was available....During the days whenwe were traveling we played cards, talked, wrotemusical arrangements....Our tour took us from SanFrancisco to the Canadian border, then on down tothe Mexican border....We were booked in front ofthe Jimmy Dorsey band and just behind the BenPollack band. I was in the bigtime!TTTTTo be continued in to be continued in to be continued in to be continued in to be continued in the nehe nehe nehe nehe next issue...xt issue...xt issue...xt issue...xt issue...
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Announcing A New CDAnnouncing A New CDAnnouncing A New CDAnnouncing A New CDAnnouncing A New CD
The Firehouse 5 Plus 2The Firehouse 5 Plus 2The Firehouse 5 Plus 2The Firehouse 5 Plus 2The Firehouse 5 Plus 2LivLivLivLivLive Ae Ae Ae Ae At Eart Eart Eart Eart Earttttthqhqhqhqhquakuakuakuakuake McGoone McGoone McGoone McGoone McGoon’’’’’sssss
11111999997070707070A joint production of GHB Records and the San Francisco Traditional Jazz Foundation’s
Hal Smith, who is a GHB producer, great drummer, and the venerable SFTJF Special Projects Consult-ant, this CD is from material recorded live in April, 1970 by Leon Oakley when he was a member ofthe Turk Murphy Jazz Band. Liner notes are by K.O. Eckland. The booklet is illustrated with photos byLeon Oakley and Dan Eckland.
The Firehouse Five personnel that were at Earthquake McGoon’s when these recordings weremade were:
(Bob Short was filling in for the FH5’s regular tubist, George Bruns. This is the only knownrecording of him with the band.)
See PSee PSee PSee PSee Pagagagagage 1e 1e 1e 1e 11 t1 t1 t1 t1 to Oro Oro Oro Oro Order!der!der!der!der!
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DIAMONDSTACK PRODUCTIONS PresentsA Dynamic New CD
For The Love Of LU, and The Revenge Of DUFF!
The YERBThe YERBThe YERBThe YERBThe YERBA BUENA BUENA BUENA BUENA BUENA SA SA SA SA STTTTTOMPERSOMPERSOMPERSOMPERSOMPERS“DUFF C“DUFF C“DUFF C“DUFF C“DUFF CAMPBELLAMPBELLAMPBELLAMPBELLAMPBELL’S REVEN’S REVEN’S REVEN’S REVEN’S REVENGE”GE”GE”GE”GE”
PrPrPrPrProfofofofofessionallessionallessionallessionallessionally Ry Ry Ry Ry Recorecorecorecorecorded LIVE!ded LIVE!ded LIVE!ded LIVE!ded LIVE!ConcerConcerConcerConcerConcert Ft Ft Ft Ft Frrrrrom BIMBO’S 365 Clubom BIMBO’S 365 Clubom BIMBO’S 365 Clubom BIMBO’S 365 Clubom BIMBO’S 365 Club,,,,, San F San F San F San F San Frrrrranciscoanciscoanciscoanciscoancisco,,,,, Ca. Ca. Ca. Ca. Ca.
On JOn JOn JOn JOn Janananananuaruaruaruaruary 9y 9y 9y 9y 9ththththth,,,,, 2005 2005 2005 2005 2005A sizable invited crowd filled Bimbo’s vintage San Francisco supper club to celebrate
the day before Charles “Duff” Campbell’s 90th Birthday. The Band Charles chose to providethe “Real and Righteous” Jazz for his celebration was The Yerba Buena Stompers, the onlyJazz group in existence today that can bring back the exciting, dynamic 2 trumpet sound ofthe original Lu Watters Yerba Buena Jazz Band. The Stompers didn’t let Charlie or the crowddown. Each tune was carefully selected on this CD as it related to special events in Charlie’slife, including the title tune, DUFF CAMPBELL’S REVENGE, which Leader John Gill pro-vides a verbal history of Charlie’s involvement in the famously difficult Turk Murphy tuneand how it related to The Eddie Condon Band in the late 1950s.
The Yerba Buena Stomper’s pull off a crisp rare 2 trumpet version of this tune, as wellas 18 other hot jazz, rags, and even a tribute to Elvis Presley and his January birth date. TheStomper’s lineup included former members of the Turk Murphy Jazz Band, Leon Oakley –Trumpet; John Gill-Leader, Banjo, & vocals; along with Tom Bartlett-Turk’s favorite Trom-bone player; and five young professional musicians, Duke Heitger-Trumpet, Evan Christo-pher-Clarinet, Marty Eggers-piano, Clint Baker-drums, and Ray Cadd-Tuba.
Diamondstack Productions has provided a First Class professionally recorded andmixed package of Hot West Coast Traditional Jazz.
DSCD-010905South/Gut Bucket Blues/Emperor Norton’s Hunch/Take Me To TheLand of Jazz/Duff Campbell’s Revenge/Black and White Rag/Blue Moon of Kentucky/Hesitating Blues/Creole Belles/Tiger Rag /Harlem Rag /Dippermouth Blues/Friendless Blues/Big Bear Stomp/Milenburg Joys /Maple Leaf Rag/Yellow Dog Blues/Shim-Me-Sha-Wabble and Yerba Buena Strut.
Please mail check for $16 Postage Paid made out to:Leon Oakley2 Mt. Susitna Ct.
About the San Francisco Traditional Jazz FoundationWhat is the Foundation?
Created in 1981 as an archive of several thousand items relating to the jazz revival begun in San Francisco about 1939,the Foundation now seeks to enhance that collection and extend its uses. A wider aim is to help foster live, high qualitytraditional jazz, regionally and worldwide.What does the Foundation do?
Current activities include archival preservation, supporting live events and broadcasts, collaborating with other jazzand educational institutions, and developing new products and media applications.
Although the Foundation lacks the funding to open its archive to the general public, other means are being found tomake its resources available. For example, historic recordings and documents are being made available to radio stations;and consumer products such as posters, books and tapes are being publicly offered.Who is involved?
You are. Membership is $25 per year and is dated on a calendar year basis. Benefits include this quarterly newsletter,invitations to special events and availability of Foundation products (often at exceptionally low prices).
Donations welcomedThe San Francisco Traditional Jazz Foundation accepts gifts and grants in many forms, including historical items
which shed further light on the history of traditional jazz on the West Coast, such as recordings, music, newspaperclippings, photographs and correspondence. Contributions of materials or funds are tax-deductible under IRS rulingstatus 509(a)(2).SF Jazz on the Web
The San Francisco Traditional Jazz Foundation has an ever-expanding web site. The site includes sound files andphotos of many San Francisco (and other) jazz figures from the 1930s to the present. Please visit us at www.sftradjazz.org.
Join (or rejoin) the San Francisco Traditional Jazz Foundation today to begin taking advantage of reservations tospecial events, discounts on selected jazz books and recordings, and a year’s subscription to The Frisco Cricket. If you arealready a member, give the gift of Foundation membership to a friend! Memberships are dated on a calendar year basis.Use the form at right.
Compact Discs ($12.99 for members, $15.99 for non-members) Quantity AmountFirehouse 5 Plus 2 Live at Earthquake McGoon’s 1970 ....................................... (BCD-450) _____ $ _______William Warfield—Something Within Me ..................................................... (DELMARK DE-772) ___ $ ______Bob Mielke and his Bearcats ......................................................................................................... (SFCD-3) ___ $ ______The Legendary Russ Gilman ................................................................................ (SFTJF CD-109) ___ $ ______Clancy Hayes—Satchel of Song .................................................................................... (SFTJF CD-108) ___ $ ______Turk Murphy Jazz Band—Wild Man Blues .......................................................... (SFTJF CD-107) ___ $ ______Lu Watters Yerba Buena Jazz Band, Vol 2, 1946–1947 ................................... (SFTJF CD-106) ___ $ ______Lu Watters Yerba Buena Jazz Band, Vol 1, 1937–1943 ................................... (SFTJF CD-105) ___ $ ______Turk Murphy Jazz Band—Euphonic Sounds ......................................................... (SFTJF CD-104) ___ $ ______Turk Murphy Jazz Band—Weary Blues ................................................................ (SFTJF CD-103) ___ $ ______Turk Murphy Jazz Band—In Hollywood ............................................................... (SFTJF CD-102) ___ $ ______Turk Murphy Jazz Band—Live at Carson Hot Springs ......................................... (SFTJF CD-101) ___ $ ______Turk Murphy Jazz Band—At The Italian Village, with Claire Austin ................. (MMRC CD-11) ___ $ ______Lu Watters Yerba Buena Jazz Band—At Hambone Kelly’s, 1949–1950 ........ (MMRC CD-10) ___ $ ______Bob Helm with the El Dorado Jazz Band—1955* ........................................... (SFTJF CD-110) ___ $ ______*Specially priced two-CD set. Members: $15.99; non-members: $19.99.
Books Members Non-mem.Jazz on the Barbary Coast, by Tom Stoddard $4 $5 ___ $ ______Pioneer jazzmen reminisce about old San Francisco and its role as a wellspring of jazzJazz West 2, by K.O. Ecklund, published by Donna Ewald $12 $15 ___ $ ______The A-to-Z guide to west coast jazz music; a unique source.Preservation Hall, by William Carter $32 $40 ___ $ ______Lavish 315 pp. Softbound. Drew national rave reviews. Autographed on request.The Great Jazz Revival, by Pete Clute & Jim Goggin $10 $15 ___ $ ______The story of the San Francisco jazz revivalMeet Me At McGoon’s, by Pete Clute & Jim Goggin $25 $33 ___ $ ______Another Jazz Scrapbook by the authors of The Great Jazz Revival
Shipping: $2.00 per item $ ______If outside U.S., Canada and Mexico: add $5. $ ______
New or Renew SFTJF membership, add $25. $ ______Donation* $ ______
Total $ ______
Credit Card MasterCard Visa American ExpressName (as appears on card) _______________________________________________________________Account Number (16 digits) ___________________________________ Expiration Date (mo/yr) ________Cardholder Signature ____________________________________________________________________
Complete the credit card information below,or enclose check or money order for Total.Send to:San Francisco Traditional Jazz Foundation41 Sutter Street, PMB 1870San Francisco, CA 94104
contributions to SFTJF, above the basic membership level, are tax deductible
The Frisco CricketSAN FRANCISCO TRADITIONAL JAZZ FOUNDATION41 Sutter Street, PMB 1870San Francisco, California 94104www.sftradjazz.org
NONPROFIT ORG.U.S. POSTAGE PAID
SAN FRANCISCO,CAPERMIT NO. 3981
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The Frisco Cricket Summer 2005
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