Frisco Cricket Published by the San Francsico Traditional Jazz Foundation Winter 2011 1 Vintage 1949 by William Carter Vintage 1949 by William Carter 1 Fred Higuera - Swingin’ On The Golden Gate by Hal Smith 4 Message From Our Website Contact Page 8 Humorous Historical Note - New Theory on the Origins of Jazz by Jean Elliot from Melody Maker Mag 8 Membership Application and Product List 11 Contents 1949 was a vintage year for vintage jazz in the San Francisco Bay Area, just as it was for that now legendary magazine, The Record Changer. Turk Murphy had issued his first record- ings, and Bob Scobey had gone his own way -- although the Lu Watters band had not yet finally dissolved. That both the West Coast musicians and the New York based magazine were in the vanguard of the worldwide tra- ditional jazz revival was evidenced on the masthead and in the lineup of articles in the February issue alone. Among names that would continue to resonate: Editor and Publisher: Bill Grauer, Jr.; Managing Editor: Orin Keepnews; Art Covers: Gene Deitch; West Coast Represen- tative: Jack Lewerke; with authors the likes of Roy Carew, Rudi Blesh, Gene Deitch, Albert J. McCarthy, Dick Oxtot, Buck- lin Moon, George Avakian. Oxtot was just launch- ing a long career as a banjoist, vocalist and bandleader in San Fran- cisco’s East Bay scene. Over a decade later, yours truly would some- times perform with him at such venues as Burp Hollow in San Francisco and The Point in Point Richmond. Oxtot’s article dealt insightfully with the musical and professional parting of the ways of Lu Watters and Bob Scobey. But for visual dazzle, we know of no jazz mag- azine that ever equaled the punch of those Record Changers in their heyday. Here are some examples on the follow- ing pages. Cover artwork by Ward Kim- ball
Transcript
Frisco CricketPublished by the San Francsico Traditional Jazz Foundation Winter 2011
1
Vintage 1949by William Carter
Vintage 1949 by William Carter 1Fred Higuera - Swingin’ On The Golden Gate by Hal Smith 4Message From Our Website Contact Page 8 Humorous Historical Note - New Theory on the Origins of Jazz by Jean Elliot from Melody Maker Mag 8 Membership Application and Product List 11
Contents
1949 was a vintage year for vintage jazz in the San Francisco Bay Area, just as it was for that now legendary magazine, The Record Changer. Turk Murphy had issued his fi rst record-ings, and Bob Scobey had gone his own way -- although the Lu Watters band had not yet fi nally dissolved. That both the West Coast musicians and the New York based magazine were in the vanguard of the worldwide tra-ditional jazz revival was evidenced on the masthead and in the lineup of articles in the February issue alone. Among names that would continue to resonate: Editor and Publisher: Bill Grauer, Jr.; Managing Editor: Orin Keepnews; Art Covers: Gene Deitch; West Coast Represen-tative: Jack Lewerke;
with authors the likes of Roy Carew, Rudi Blesh, Gene Deitch, Albert J. McCarthy, Dick Oxtot, Buck-lin Moon, George Avakian.
Oxtot was just launch-ing a long career as a banjoist, vocalist and bandleader in San Fran-cisco’s East Bay scene. Over a decade later, yours truly would some-times perform with him at such venues as Burp Hollow in San Francisco and The Point in Point Richmond. Oxtot’s article dealt insightfully with the musical and professional parting of the ways of Lu Watters and Bob Scobey. But for visual dazzle, we know of no jazz mag-azine that ever equaled the punch of those Record Changers in their heyday. Here are some examples on the follow-ing pages. Cover artwork by Ward Kim-
ball
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The Frisco CricketIssue No. 50
Published by theSAN FRANCISCO TRADITIONAL
JAZZ FOUNDATION3130 Alpine Road, Suite 288 PMB 187
Portola Valley, CA 94028Phone: (415) 522-7417, FAX: (415) 922-6934
by Hal Smith Some time ago, jazz trumpeter and recording engineer Bryan Shaw was preparing to master a live recording by Bob Scobey’s Frisco Band, from 1950. He threaded the ancient reel onto a tape deck, adjusted the computerized sound board, punched the ‘play’ button and leaned back in his chair to listen. The performance had scarcely begun before Bryan launched forward out of his chair, shouting ‘Wow! Who’s that drummer?’Over the years, that scene has been played out more times than I can count. Upon hearing records by the classic Bob Scobey band of the early ‘50s, the response is invariable. Drummers, other instru-mentalists and jazz fans have all asked, ‘Who’s that drummer?’ The answer: Fred Higuera. His glorious, swaggering beat enliv-ened dozens of Scobey records. In defi ance of the usual stylistic dogma affecting San Francisco drummers (‘felt, not heard’), Higuera ‘aimed for the bottom head’. His fi rm but swinging rhythm that gave the Scobey band a springy feel that was not heard in any other Bay Area group. He was the perfect drummer for Scobey, who wanted an entirely different rhythmic feel than what he experi-enced in the Yerba Buena Jazz Band. Higuera’s time was impeccable as was his technique—which showcased well-developed indepen-dence between hands and feet. His musical colleague George Probert once said that ‘Freddie could walk in one rhythm and play a different rhythm in each hand while snapping his fi ngers’. Behind the ensembles and horn solos, he used a large ride cymbal as the main percussion device, but played a variety of rhythms on it besides the normal “ride” pattern. He often played a ‘Charleston’ beat in unison with banjoist Clancy Hayes,
resulting in an elastic rhythm. Other devices Higuera used to good advantage included: rolls and syncopa-tions on the closed hi-hats, with punctuations on the bass drum; heavily accented press rolls on the snare drum; ‘tap dancing’ patterns on the woodblock and snare drum rim; and playing choke cymbal with fi lls between measures. He was fond of ‘building up’ the fi nal turnaround of a song, starting a bar or so before the spot where such a device might normally start. A crisply-played pattern on the snare led to a
thunderous walloping of the mounted tom-tom, leaving no doubt that the band was moving into the rideout chorus. The fi nal bar of a song usually received a Higuera’s sig-nature ending: Two quick hits on the mounted tom-tom and a cymbal crash on the third beat. His drumming talent was genetic. Fernando Floyd “Fred” Higuera was born in Oakland, California on 25 May, 1909. His father Albert listed his occupation as “trap drummer and candy and ice cream maker” on his WWI draft card. Many years later, Fred was hired to play an evening with Lu Watters’ Yerba Buena Jazz Band. A friend asked if Fred could play the right kind of drumming for the YBJB.
Higuera responded, ‘My dad was a ragtime drum-
mer. Of course I know how to play that style!’ While in his teens, the younger Higuera surely picked up the basics of drumming from his father. During the 1920s he learned about jazz drumming by listening to recordings by Vic Berton (‘my fi rst infl uence’), Gene Krupa, Ben Pollack, Zutty Singleton and Baby Dodds. Eventually he also became an expert Latin percussionist—able to play timbales and vari-ous other instruments with sticks and hands. In the
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Fred Higuera with Alexander’s Jazz Band. Victor & Roxie’s, Oakland, CA. 1952. Photo courtesy Hal Smith.
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late 1930s he was offered the drum slot with Jimmy Dorsey’s Orchestra. Had he taken the job, it is pos-sible that Higuera might have become a Swing Era superstar. However, for unknown reasons, he did not join the orchestra. Rather, his playing was confi ned to groups based in the Bay Area, plus occasional work with with bands such as Seger Ellis’ ill-fated Choirs of Brass. Sometime during the 1930s he married Barba-ra Furney. In 1943 he enlisted in the U.S. Army, where he was a private, a drummer and a cook. Following the war, the Higueras lived and worked briefl y in Reno, Nevada. In the 1940s Higuera listened to records fea-turing Buddy Rich, Shelly Manne, Don Lamond and Max Roach. These contemporary sounds, together with the previous diverse infl uences, produced a singular and unique drumming style. He used this considerable talent with a variety of jazz and dance bands, small combos and Latin groups throughout the ‘40s. Even though his musical interests went in the opposite direction from Lu Watters’, he substituted for Bill Dart with the Yerba Buena Jazz Band. Cornet-ist Ken Smith remembers hearing Higuera with the YBJB. Ken recalled, ‘He played some of Watters’ style
and some of his own style’. In 1948, pianist Johnny Wit-twer—temporarily replacing Wally Rose in the Watters band—made several wire recordings of the YBJB. On a couple of sessions, Fred is the drummer. His ‘ragtime drummer’ genes enabled him to play exactly the right thing at the right time with Watters. (For a high fi delity example of Higuera’s ‘San Francisco Style’ drumming, hear Bob Scobey’s record of ‘South’ on Good Time Jazz). His association with Scobey dated back at least to 1939, when both musicians played in Lu Watters’ orchestra at Sweet’s Ballroom in Oakland. A few record-ings made at the orchestra’s rehearsals demonstrate that Higuera had been listening closely to Gene Krupa. Sure-ly the drumming made a positive impression upon the rhythm-conscious Scobey. When he fi nally tired of the strict 2/4 rhythm of the Yerba Buenans and formed his own band, Scobey was quick to recruit Higuera for the drum chair. The drummer appears on many of Scobey’s recordings for Good Time Jazz, Verve and Down Home made between 1951 and 1958. Such tracks as ‘Big Butter and Egg Man’, ‘Long Gone’, ‘Peoria’ and ‘Ostrich Walk’ show just how much the drummer added to the Scobey sound. ‘Panama’ illustrates Higuera’s creativity, as he played multiple solo choruses on brushes instead of the usual sticks. The astounding mambo version of ‘Hin-
Alexander’s Jazz Band. Victor & Roxie’s, Oakland, CA. 1952. Bob Scobey - trumpet, leader; Jack Buck - piano; Clancy Hayes - banjo; Gene Mayl - tuba; (unknown sit-in - trumpet); Fred Higuera - drums; Bill Napier - clarinet.
Photo courtesy Hal Smith
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dustan’ sounds like there are at least two world-class Latin percussionists at work. Years after the recordings were made, mere mention of Higuera always resulted in a smile and a compliment from Scobey bandmates such as Bill Napier, Burt Bales and Bob Mielke. Pianist Wally Rose, who frequently played with Scobey, called Higuera ‘The best drummer I ever played with.’ In a late-‘70s conversation with Scobey bassist Squire Girs-back, this writer mentioned hearing Higuera at a club and remarking ‘he still has it.’ Girsback, whose speech was badly slurred following a severe stroke, responded with unmistakable clarity: ‘You’re Goddamn right’!!! However, despite the synergy between Scobey and Higuera, the latter did not stay with the band for long periods of time. Between 1950 and 1958 he was in and out of the band, often playing other types of music on engagements which paid better than Scobey’s. In 1962 Higuera worked with a commercial band—Joe Marcellino’s Orchestra—at A. Sabella’s Ca-pri Room in San Francisco. Several of the performances were broadcast for KCBS and the surviving playlists illustrate the type of music Higuera played on such oc-casions: Medleys (waltzes, Hawaiian songs, pop tunes of the ‘20s and ‘30s); current hits (‘Peppermint Twist’, ‘Never On Sunday’) and—probably because an expert Latin percussionist was aboard—a variety of cha-chas, rhumbas, boleros and mambos. Higuera continued to play these types of jobs for many years. In the 1970s he played with the Euphonic Jazz
Band and with Slim Hood and the La Honda Bandits at the Iron Works in Palo Alto. During this period, Fred and Barbara Higuera helped to raise their grandchildren—Desiree, Heather and Hans. Desiree recalls that Fred refused to drive, after being ticketed one time for driving on the freeway at 9 miles per hour! Afterwards he would either take a bus, the BART subway system, or depend on his wife to drive him to work. Desiree remembers going to the Iron Works with Barbara to pick up Fred, going inside and getting caught in the ‘conga line’ as Slim Hood played ‘The Saints’ as the fi nal number of the evening. She also described Grandfather Fred wait-ing for dinner to be served and amusing himself by drumming with knife and fork on ‘every glass, plate and dish on the table.’ Grandmother Barbara was not pleased with the performance and she shocked the children by saying ‘Up your brown, Fred’ while fl ip-ping him ‘the bird’! Heather wrote, ‘My grandma’s car had a dent in the dash from [Fred] playing drums with his hands while we were driving’. She also re-calls that the neighbors referred to her Grandfather as ‘Silver Stix’. In 1977, Wingy Manone was the guest artist at a concert of the New Orleans Jazz Club of Northern California. The all-star band backing him up included Bob Mielke, trombone; Burt Bales, piano; Dick Oxtot, banjo—and Fred Higuera on drums. All through the ‘70s he played a variety of musical styles at Bay Area
La Honda Bandits. Sacramento Jubilee - May, 1978. Bob Strellitz - piano; Slim Hood - guitar, leader; Fred Higuera - drums. Others unidentifi ed. Photo courtesy Hal Smith.
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venues such as the Sinaloa, Pinky’s and the Velvet Turtle. He also played with the Circus Vargas orchestra. Trum-peter Charlie Fardella, a Circus Vargas veteran, told the writer that the high wire acts loved to work with Higuera because he could play a steady roll on the snare drum—with no accents—for as long as the performers walked the wire! While this writer heard Fred Higuera live in 1970 and again in 1978, we were not introduced until 1979. At that time he was playing in the ‘Basin Street Trio’ with clarinetist Phil Howe and pianist Devon Harkins at the Leamington Hotel in Oakland. My wife June accompa-nied me to the Leamington as soon as I heard that Fred was drumming there. We were transfi xed by the relent-less drive from the drums. Never once did the level of excitement waver! Finally, during an intermission, I met Fred and immediately we started ‘talking shop’. I men-tioned my regular Sunday brunch job in Petaluma with the Golden State Jazz Band. He expressed an interest in hearing the band, which included his old friends Bill Napier and Bob Mielke. We agreed that I would pick him up at the Leamington the next morning and he would ride to the job with me. I called his number Sunday morning, but there was no answer. I tried again, but then it was time to leave our house in Oakland for the long drive to Petaluma. I was dejected after envisioning the opportunity to spend a day with one of my idols. While setting up the drums, I happened to look out the back window of the restaurant. A car resembling my wife’s Mustang drove into the back lot. The passenger door opened…and out stepped Fred Higuera! (He called the house just after I left. June imme-diately offered to drive him to Petaluma). Fred took a seat in the front row, right in front of the drums. After the fi rst set, I asked if he would like to sit in. He responded ‘No, man. I came to hear you’. On the next set, I was still fl y-ing high after that comment. Then leader Ev Farey called our quasi-Latin number: ‘Isle of Capri’. As we played, I became more intimidated with each succeeding bar. After all, the man seated directly in front of the drums, watch-ing my every move, had recorded the Latin tour-de-force version of ‘Hindustan’. By the time the song ended, I was pouring sweat. I looked at Fred and said, ‘That’s my Latin style’. Without hesitation he responded, ‘Yeah. That’s what we call the gringo beat’. Though it was an honor to play for him, the best part of the day was the long drive back to Oakland, where he was staying at the hotel. We talked about drums and drummers, and he spoke enthusiastically of his love for the Chicago Style music of Teschemacher, Spanier, Sul-livan and Condon. The conversation trailed off as we slowed for a stoplight. As the car idled, I saw a far-away expression on his face. He shook his head slowly and said ‘Nobody plays stop-and-gos anymore’.
Soon after this encounter, he played another concert for the New Orleans Jazz Club of Northern California, with the Basin Street Trio. From all ac-counts, his drumming was the highlight of the con-cert. To my everlasting regret, I missed the concert and never had another opportunity to hear—or talk with—Fred. Soon after playing a New Year’s Eve job, he suffered a stroke that paralyzed his left side. Desiree remembers her Grandfather ‘forcing his drum stick in his left hand and making himself hold it and move it’. Sadly, he never played again. He passed away in San Mateo, California on 24 January, 1983. Fortunately, he left a treasure chest full of recordings from his years with Bob Scobey. And a recent release—GHB CD-285—contains previously-unreleased live recordings, alternate and unis-sued takes by the Frisco Band, with well-recorded Higuera, playing in absolute top form. Whenever you see a recording that lists Fred Higuera on drums, give it a listen. You will hear exactly what it means to be ‘Swingin’ on the Golden Gate’!
Fred Higuera with Alexander’s Jazz Band. Victor & Roxie’s, Oakland, CA. circa 1951. George Probert - soprano sax.
Photo courtesy Hal Smith.
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Humorous Historical NoteNew Theory Of The
Origins Of Jazzby Jean Elliot from Melody Maker Magazine
circa 1970s
My Poppadam tol’ me Although jazz has thrown up an abun-dance of controversies over the years, the one ele-ment on which there has hitherto been universal agreement is that concerning the origins of the music. It has long been accepted that jazz evolved from a combination of African music, introduced into America by the slaves, and Euro-pean dance music. Now, however, comes a remarkable book, “Jazz Is Where You Sikh It”, by P. Vencatachellum, which threatens to cause a gigantic upheaval in jazz circles by claiming that jazz had its origins in India in the middle of the 19th century. In a fully documented survey of the beginnings of jazz, Venatachellum traces its origins to an eating house in New Delhi where the specialities were particular spicy jhals. The resident musicians led by Ali Zanda, specialized in syncopated improvised music which quickly became associated with the food being served. It became known locally as “hot jhals” music and, as the musicians played the “l” out of it, this be-came corrupted to “hot jhas”. From there it was a short step to hot jazz or jazz. If this were all the evidence that Vencat-achellum was able to provide, it would be deri-sory indeed. But he goes on to trace the spread of the music to other towns in India where, during the days of prohibition, musicians would get to-gether for what were known as chutney sessions in the local Sikheasies. Meanwhile the original New Delhi band was gaining a wide following among the Sikhs who derived, it is said, great élan from the music. As a result of this the band became known as the Original Sikhs Elan Jhas Band and the leader achieved additional fame when he wrote Ali Zander’s Raga Time Band. Hand in hand with the evolution of jazz in New Delhi was a secondary movement ema-nating from a member of the British Raj in the northern state of Nepal. He assembled around
Website Contact PageMessage
Firehouse Five Plus Two When my wife and I were on our honeymoon in May of 1969, we stopped for a few days at Disney-land. We happened upon a Dixieland group playing. Having played piano with a group in junior college, we stayed and listened. After twenty minutes, the trombone player (later found out to be Ward Kimball) asked if there were any requests. The fi rst piece that came to mind was the fi rst ragtime piece I learned on the piano,”12th St. Rag.” They looked at each other, mumbled a few things and absolutely tore into it with complete abandonment. When they fi nished their set I asked when and where they might play again. They told us. At the appointed time, we were there. They played for twenty minutes or so when the trombonist pointed me out in the crowd and shouted, “12th Street Rag.” Everyone looked at me in wonderment, and away they went. Again, when they fi nished their set, I inquired as to where and when they would once again play. And, again, we were there. And, again, after twenty minutes, Ward pointed at us and shouted, “12th Street Rag!” And, again, they played it with such enthusiasm as if it were the very fi rst time ever. It wasn’t until 1973 that I ran across some re-cordings of the F5+2 and quickly garnered copies of the three reels. It wasn’t that they were the best, they just seemed to have the most fun doing what they were do-ing. A few more years went by before I saw a couple of photos of the group and connected the dots. The group we saw on our honeymoon was indeed the group I had enjoyed and shared for the past several years. Their music has given me so many hours of enjoyment and inspiration. We now have all their CD’s. I’ll never forget Ward Kimball pointing at us and shouting, “12th Street Rag!!” Thank you for your information and com-ments. Dave Cissna
Firehouse Five Plus 2. Photo courtesy John Smith
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himself a large orchestra of British and Indian musicians which became known as the Nepal White Man Band. Also contributing to the mainstream of jazz development was religious music and a number of gopal (gospel) singers were emerging, using jazz rhythms in conjunction with traditional hymns like “We Pilau The Fields And Scatter”. And from the workers in the cotton fi elds came the blues form, later taken up with some success by a titled woman in the Punjab known only as Maha-ranee (later corrupted by Western writers to Ma Rainey). But perhaps the blues movement, says Vencatachellum, came from the fakirs (including some elderly female ones known as mother fakirs) who roamed Bombay moaning laments as they walked through hot coals. Their wailing became so distracting that the authorities banished them to the municipal toilets where a special section was put aside for them. The lavatory seats each had a dozen spikes sticking up and the wailing that echoed through the place naturally became universally known as the music of the 12-barb loos – perhaps the most fundamental form of Indian jazz. Vencatachellum traces the development of various forms of jazz – that of the West Coast stream evolved by a group of diminutive mem-
bers of the aristocracy known as Shorty Rajahs, the bebop movement introduced by a number of seers who transformed the standard Whispering into Gu-ruvin’ High and the rock ‘n’ roll style pioneered by Chuck Ber-Beri, who found fame with RagaBeating Boogie and Sweet Little Sikhs Teen. The Author is particularly interesting when he gives the stories behind such jazz standards as Low Down Dhoti Shame Blues, Poppadam Allow No Music Played In Here and You Korma Long Way From New Delhi. He also refers at length to the introduc-tion of the electric sitar by Charlie Hindu and the contributions made by such Indian jazz greats as Vindaloo Donaldson, Rajah kellaway, Rupee Braff, and singers like Delhi Rice and Chappatti page. He also recalls the pioneering work of the dark-hued trombonist from the south known as “Tanned” Ory. Vencatachellum is convincing when he explains how Indian jazz evolved into rhythm and blues through the efforts of the Tabla Motown label. And he is most persuasive when he talks about the bosa nova infl uence from the former Portugese region, led by the talented Domengo Chutney. Do-mengo, he explains, is nicknamed “Mango” by his followers, and since he comes from the former Por-tugese region, is often referred to as “Goa Mango” – an appellation familier to jazz lovers throughout the world. However the author is on rather more treacherous ground when he sets out to prove that most of the American jazz standards are, in fact, based on original Indian tunes. He quotes the case, for example, of an Indian potentate who commissioned a song from a local composer. The composer completed the work and, to make an impression, rode to the palace sitting on the ear of an elephant and singing, Caliph, On Ear I Come. He has other far-fetched explanations for titles like Ghee Baby Ain’t I Good To You, Whose Sari Now, DIG Urdu Urdu and I Call My Sugar Ghandi. Vencatachellum has written a recourceful and fascinating book, but I am bound to say that if you are a serious student of jazz, in the Brian Oxide class, you may fi nd that Jazz Is Where You Sikh It, instead of helping you, tends to India. This article is reprinted from Melody Maker and is attributed by that magazine to “the almost totally unknown authority on Indian culture, Jean Elliot, who has made a bit of chutney in her time and once visited Southall”
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About Your New
San Francisco Traditional Jazz Foundation Created as a non-profi t in 1981, the San Francisco Traditional Jazz Foundation stated, as its primary mission, the archi-val preservation of thousands of items related to the West Coast Jazz Revival that began in San Francisco about 1939. In 2009 SFTJF completed the transfer of the main body of those materials to the Stanford University’s Music Library. Thereupon, your Foundation’s Archive was closed; possible donors of jazz materials should now contact Stanford or other public repositories. SFTJF’s wider, ongoing aim is to help foster high-quality traditional jazz, regionally and worldwide. That mission is now carried out primarily via electronic media. The Foundation’s main window on the world is our website -- www.sftradjazz.org -- where visitors are invited to become members at $25 per year. Benefi ts of membership include insider information and discounts to special events and products, and a subscrip-tion to our lively newsletter, the Cricket, now available electronically. Those wishing to continue receiving the Cricket on paper in the mail should please contact the SFTJF offi ce manager. Thank you for your generous support over the years. Contributions in categories beyond the basic membership level are tax deductible, and the names of those contributors are published annually (unless a contributor specifi es anonymity).
Donations welcomed The San Francisco Traditional Jazz Foundation accepts gifts and grants in many forms, including his tori cal items which shed further light on the history of traditional jazz on the West Coast, such as recordings, music, newspaper clip pings, pho tographs and corre spon dence. Contributions of materials or funds are tax-deductible under IRS ruling status 501(c)(3).
SF Jazz on the Web The San Francisco Traditional Jazz Foundation has an ever-expanding web site. The site includes sound fi les and photos of many San Francisco (and other) jazz fi gures from the 1930s to the present. Please visit us at www.sftradjazz.org. Join (or rejoin) the San Francisco Traditional Jazz Founda tion today to begin taking advan tage of reservations to special events, discounts on selected jazz books and recordings, and a year’s sub scription to The Frisco Cricket. If you are already a member, give the gift of Founda tion membership to a friend! Use the form at right.
In Memory of
Lu Watters and his
VR10 Navy Dance Band
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Product Order Form & 2011 Membership/Renewal ApplicationName _________________________________________________________________________Address _______________________________________________________________________E-mail _______________________________Phone ( ) ____________________________
Compact Discs ($13 for members, $16 for non-members) Quantity AmountEl Dorado Jazz Band Live At Mr. Fatfi ngers.....................................................(BCD-510)_____ $______The Sunset Music Company —Live in Dusseldorf, 1979.................................(BSR-009) _____$ ______The Unheard Bob Scobey and his Frisco Jazz Band 1950-1957............................ (BCD-285) _____ $ _______A Musical Tribute to Lu Watters—The Bay City Stompers ................................................. (BCD-280) _____ $ _______Firehouse 5 Plus 2 Live at Earthquake McGoon’s 1970 ............................................ (BCD-450) _____ $ _______William Warfi eld—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: $16; non-members: $20.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 jazzThe 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 RevivalJazz West 2, by K.O. Ecklund, published by Donna Ewald NEW PRICE! $6 $8 _____ $ ______The A-to-Z guide to west coast jazz music; a unique source. Total Qty: _____ ___ $ _______ California residents, add 9.25% sales tax $ ____ Everyone add shipping (Total Qty X $2.00 per item) = $ ______ If outside U.S., Canada and Mexico, add $5 per order. $ ______ New or Renew SFTJF membership, add $25. $ ____ Donation* $ ______ Total $ ______
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The Frisco CricketSAN FRANCISCO TRADITIONAL JAZZ FOUNDATION3130 Alpine Road, Suite 288 PMB 187Portola Valley, CA 94028www.sftradjazz.org
The Frisco Cricket Winter 2011
Important!Please note our mailing address has changed!
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