2007 2 spring cricket - sftradjazz.org · mr. baker draws music staves on a big white ... the...

Frisco CricketPublished by the San Francsico Traditional Jazz Foundation Spring 2007

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HI, MR. BHI, MR. BHI, MR. BHI, MR. BHI, MR. BAKER!AKER!AKER!AKER!AKER!by William Carter

Hi, Mr. Baker!Hi, Mr. Baker!Hi, Mr. Baker!Hi, Mr. Baker!Hi, Mr. Baker! by William Carter 1From the EditorFrom the EditorFrom the EditorFrom the EditorFrom the Editor by Scott Anthony 4MaMaMaMaMay 1y 1y 1y 1y 10 Concer0 Concer0 Concer0 Concer0 Concert Rt Rt Rt Rt Reminderemindereminderemindereminder 4Grazie & Mea CulpaGrazie & Mea CulpaGrazie & Mea CulpaGrazie & Mea CulpaGrazie & Mea Culpa by John F. Matthews II 5My LoMy LoMy LoMy LoMy Lovvvvve Afe Afe Afe Afe Affffffair Wair Wair Wair Wair Wititititith Bob Helm’h Bob Helm’h Bob Helm’h Bob Helm’h Bob Helm’s 1s 1s 1s 1s 19999948 T48 T48 T48 T48 TCMGCMGCMGCMGCMG by Randy Wilkinson 7“The Unheard Bob Scobey” Goes Into Production!“The Unheard Bob Scobey” Goes Into Production!“The Unheard Bob Scobey” Goes Into Production!“The Unheard Bob Scobey” Goes Into Production!“The Unheard Bob Scobey” Goes Into Production! by Hal Smith 8Membership Application and Product ListMembership Application and Product ListMembership Application and Product ListMembership Application and Product ListMembership Application and Product List 11

Contents

In the hubbub of getting settled, first oneface lights up. Then another. Then another.

The kids recognize him: “Hi, Mr. Baker!”To me that greeting, alone, is worth coming

for.The teachers lead the children in, class by

class, and seat them in tightly packed, orderly rowson the auditorium floor, squirming and chattering.Some immediately raise their hands — not becausethey want to ask anything, just to feel involved.

Sitting at our feet, the little faces gaze up inwonderment – at our faces, at the trombone mutes,at the big drum set, at Katie’s string bass.

I’m glad we have at least one female in oursix piece band.

Nikki, the school principal, comes to thefront and says a few introductory words.

Clint Baker begins his talk about NewOrleans jazz.

“Does anyone know what state NewOrleans is in?”

A flurry of hands. The first few Mr. Bakercalls on either go mute or get it wrong.

Then, confidently: “Louisiana!”Mr. Baker grabs a string of Mardi Gras

beads from a big plastic bag and tosses it to the girlwho gave the right answer. Everyone cheers and

wants beads.I already know Clint’s lecture style:

whether he’s talking to adults or children, he willhave a theme in mind, but no lesson plan — justfollowing the flow of inspiration — reacting tofeedback — it’s a jazz conversation — warm andemphatic — a oneness of teacher, listeners, music.

Wide-eyed amazement blooms in the faceswhen we play the first number.

I hear myself playing more simply andclearly, to help the children hear the interplay ofmelody and accompaniment. Simpler is better: theessence of classic jazz.

In other words, the students are teachingus. Although I’ve played this “simple” music forhalf a century, I still need such reminders to keep itsimple.

More questions. More answers. Moretossed beads. More excited giggles and squirming.Mr. Baker draws music staves on a big whitechalkboard. He writes drum notes and rests —what his students have been learning, these pasttwo months.

Mr. Baker gets the kids going by stampinghis foot and clapping his hands. The first to re-spond are the oldest ones, the sixth graders stand-ing in back. They stamp on the downbeat, then

The Frisco Cricket Spring 2007

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The Frisco CricketIssue No. 35

Published by theSAN FRANCISCO TRADITIONAL

JAZZ FOUNDATION41 Sutter Street, PMB 1870

San Francisco, California 94104Phone: (415) 522-7417, FAX: (415) 922-6934

Website: www.sftradjazz.orgE-mail: [email protected]

Publisher: William CarterEditor and Layout: Scott Anthony

Curator of the Archive : Clint BakerSpecial Projects Consultant: Hal Smith

Office Manager: Lindy RowePublic Relations Consultant: Laura Browne

Directors

Bud Spangler

William AlhouseJohn R. Browne IIICharles Campbell

William CarterJim Cullum

Charles HugginsJohn MatthewsWilliam Tooley

Leon OakleyTerry O’Reilly

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:

[email protected] [email protected]

Advertising Ratesper issue

1/8 Page $35, 1/4 Page $50, 1/2 Page $75

Unless otherwise noted,all contents copyright © 2006

San Francisco Traditional Jazz Foundation

Clint Baker and student. Photo: John Matthews

clap on the after-beat. The younger ones pick itup enthusiastically.

Mr. Baker stops it. He draws a morecomplicated beat on the board, and starts them onthat. They pick it up quickly. So on to yet another

beat.They’re really in the swing of it. They love

this. They love Mr. Baker.The teachers have joined in. So have a

couple of well-dressed parents for whom specialchairs were brought in. The adults, by theirexpressions, appreciate what we’re doing.

We play more tunes, helping everyone clapon the after-beats.

Amid all the noise and gaiety, one littleboy, right at my feet, has fallen fast asleep.A couple rows back, a young teacher sits on thefloor, cradling two half-sleeping children betweenher knees.

A long line stands in the back of the hall,waiting for the restrooms. Most of the childrenshow a kind of fidgety tension; I wonder if thiscomes from the uncertainties of life in their transi-tional community.

The concert concludes with each musiciansaying something about their instrument.

I stand up and demonstrate the clarintet’s


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Jim Klippert explaining trombone to a kindergartener. Photo: John Matthews

Clint Baker, Bill Carter, and Jay Hansen with a couple of the little kids. Photo:John Matthews

wide range of notes from lowest to highest.The trombone and trumpet draw laughter

by playing wa-wa mute sounds.The children’s eyes get big when Kate

demonstrates her huge bass.But their biggest response comes when Jay

demonstrates his loud, sprawling setof drums. When he pounds out aLatin beat, everyone nods their heador shakes their body.

Jay has just come off theroad, crisscrossing the U.S. with ablues/rock band. He spends manymonths a year doing this.

Katie, our bassist, has justreturned from Paris, where she wasplaying guitar in a stage show.

Clint Baker is a fulltimemusician and bandleader — and anovertime father of twins attendinganother elementary school nearby.

We all lead busy lives.But this gig is a special treat

for us.After the concert, a few of

the students come forward — shybut curious. They want a closer lookat us and at the instruments – tointeract with us. A first graderkeeps his distance but stares at myclarinet.

I offer to let him touch it.He won’t – he’s afraid to come any closer.“Have you ever seen a clarinet before?”“Yeah. But I thought they were only on T.V.”

Editor’s Note: This semester, ClintBaker has been teaching music oneday a week at this new elementaryschool in East Palo Alto. Like otherschools in California, it receives noother funding for the arts. Clint’sfirst six months, including theconcert, were made possible by atargeted $5,000 grant from ananonymous member of the SanFrancisco Traditional Jazz Founda-tion. Recently, a second $5,000was received from another gener-ous member, Lue Cramblit, makingit possible for the program tocontinue through the fall term.Will one of you please consider asimilar donation, in full or in part,to assure the program can continuefor the full school year 2007-2008?

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Traditional Jazz musicians are an odd bunchin many ways. It may be imagination, but thereseems to be an extraordinary number who areinterested in vintage cars and/or trains, both realand model. Next issue we will focus on the trainnuts, er, I mean buffs. This issue has an article abouta particular vintage car.

There have been stories floating aroundabout trombonist Turk Murphy’s old Jaguar that gottaken apart in the ‘60s and was still in pieces whenhe died in 1987. I remember hearing that clarinetistBob Helm had a number of vintage cars, one ofwhich is detailed here by banjoist Randy Wilkinson.

TTTTTurururururk’k’k’k’k’s Ws Ws Ws Ws Wonderonderonderonderonderful Krful Krful Krful Krful KrinkinkinkinkinkelatelatelatelatelatorororororWhen I was over at Bill Reinhart’s (Port City

Jazz Band Leader/Tuba/Bass) house the other day(either delivering a guitar I built for him to finish orpicking one up after he performed wonders on it),he brought out the device pictured below. It isextremely heavy for its size, and very well engi-neered and fabricated. I looked at it for quite awhileand asked him what the heck it was. It turns outthat Turk Murphy, who occasionally played wash-board in his band on certain selections (the one Iremember most was Fats Waller’s “I’m Goin’Huntin’”), was given this item by a friend who wasan engineer or machinist at the Mare Island NavalShipyard and who designed and built it for him. Itis a very heavy-duty press to krinkelate the ridges inmetal sheets to create washboards.

The history of the Krinkelator has taken itfrom San Francisco to Seattle, then to Orlando,Florida, then Southern California, and finally backto the Bay Area in Berkeley. When Turk died, Bay

FROM THE EDITORFROM THE EDITORFROM THE EDITORFROM THE EDITORFROM THE EDITOR

Scott Anthonye

Area trumpeter Ev Farey helped Turk’s wifeHarriet clean out their house and she gave Ev theKrinkelator.

Some years later, Ev gave the Krinkelatorto the late Steve Josephs who played drums andwashboard in Seattle with a number of bands.When Steve passed away, his collection of drumsand percussion objects was sold, and wash-boardist Ralph Reynolds of the Reynolds Brothersband, got hold of it and off it went to Orlando.Then, Ralph moved back to southern California,and brought it back with him. Remember, thisthing weighs about 25 pounds!

Ralph is moving to Honduras, and afterBill Reinhart did some guitar work for him, heoffered it to Bill rather than having to drag italong with him. So, there we are, back in Berkeleyafter visiting practically the entire continent!

Of what possible interest is this to anyone?I really don’t know, except that, as far as anyoneinvolved in this history can tell, there has neverbeen a washboard made with it!


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GrGrGrGrGrazie & Mea Culpaazie & Mea Culpaazie & Mea Culpaazie & Mea Culpaazie & Mea Culpaby John Matthews II

Treasurer, San Francisco Traditional Jazz Foundation

We all miss our amazing Bunch Schlosser!As Bunch wrote to the members late last

year, she has moved full time to her career as taxconsultant and consequently has departed asOffice Manager of the San Francisco TraditionalJazz Foundation. Serving as Office Manager forthe last five years, Bunch performed quietly,efficiently, promptly, and competently — in wayswe are still discovering.

She set up credit card payment processingso membership and product payments can bemade both in the Frisco Cricket andwww.sftradjazz.org web pages, making pay-ments easier for everyone, especially for thoseoutside the United States.

Her membership relations involved re-sponses by phone, fax, e-mail, and letter, allexpressed in a simple, warm, informative manner.Even when she had to remind someone they hadforgotten to include California sales tax or ship-ping costs, it was done tactfully. Bunch includedinformative paragraphs of the Foundation’s recent

accomplishments and upcoming activities to helpmembers and non-members understand why it isimportant to support the Foundation.

While most of her work was behind thescenes, the huge success of our live concerts in thelast three years was due in large part to Bunch’sthoughtful planning, promotion, and organizationalwork.

Bunch, thank you for all you have done —and in such a beautiful way.

Now to the difficulties we have had follow-ing her departure. As Treasurer of the Foundation, Itake full responsibility for what turned out to be arough transfer of responsibilities. Three majorhurdles presented themselves:

1 - Finding not only one but several people totake over Bunch’s functions.

2 - A large bubble of expiring membershiprenewals caused, in some cases, a three monthdelay in our responding to incoming correspon-dence and orders.

3 - An outdated computer program used for

Bunch Schlosser and husband Robbie Schosser, Magnolia Jazz Bandleader (see p. 12) Photo: William Carter


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credit card processing allowed several batches ofcredit card transactions to be double and even tripleentered.

I apologize to those of you who have en-dured the long delays in hearing from us and thoseof you whose credit cards were improperly charged.It has taken the first quarter of 2007 to mostly catchup, but please advise us of any outstanding prob-lems.

New faces1 - Lindy Rowe, the new Office Manager, has sentout all of the membership renewals, CDs, and booksthat were in our three month backlog. She willcontinue to send the Frisco Cricket newsletters;respond to new and renewing members; fill andsend product orders; and monitor and respond toincoming phone, fax, e-mail, and letter inquires tothe Foundation.

2 - Laura Browne, an independent consultant,will provide public relations for media and directmail, and will manage our website,www.sftradjazz.org. Laura will also help toproduce our live concert events.

AAAAAction Tction Tction Tction Tction TakakakakakenenenenenI have purchased and installed the up-

dated credit card program and taken on the taskof entering credit card transactions. In late March,with that new program, we reversed the errone-ous prior transactions. Hopefully, we will now beable to avoid our earlier gaffes.

Your Foundation will continue serving itsmembers and following its core mission of sup-porting high quality traditional jazz, both region-ally and worldwide,

But: “We all miss our amazing BunchSchlosser.”

John Matthews Photo: WilliamCarter

Laura Browne. Photo: Jan Browne

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I moved to California in 1955 on theurging of a Turk Murphy musician, tuba playerBob Short, who was recognized then as one of thegreatest, if no the greatest, bass horn player in theworld. Bob had put together a quartet to open the“Fallen Angel,” a new night club opening on PineStreet in San Francisco. It was an ex brothel,originally built by Ziegfield, then owned by SallyStanford which she purchased and operated intimes past. The quartet was to consist of BobHelm, clarinet, Don Ewell, piano, Short, andmyself on banjo and titled “World’s Greatest JazzQuartet.”

While that quartet and night club job neverdeveloped, it did get me to move to the WestCoast, and put me in touch with many jazzmusicians and cognoscenti of the San Franciscojazz scene. The proposed quartet consisted ofmusicians far superior to my qualifications, Iwould add. Among them was Bob Helm, a trulygreat clarinetist, who owned a TCMG that Icoveted.

I lived in San Anselmo near the Helms,and spent a lot of time at their home, enjoying alot of converations, eating, drinking, discussingjazz and meeting many musicians who werefriends of theirs.

I advised Helm that if he ever wanted tosell the TC, to please let me know because I lovedthe car. The years rolled on. I essentially retired

from the music business and continued my practiceas a professional engineer. I remained in contactwith Helm, however, and about ten years agoreceived a call from Bob’s wife, Kay, rather apolo-getically telling me that Bob was selling the car to asourthern California tuba player, Bob Rann, withwhom he was then working. Rann was a goodfriend of mine. Sadly, both Helm and his wife Kaysubsequently passed away. Many serious listenersconsider Helm the finest, most talented musician ofthe era of the San Francisco style of jazz that was sopopular from the 1940s to the late 1950s.

Several years ago I had the opportunity tobuy a MGTC that belonged to a friend of mine in ElDorado County. I decided to call Rann and ask himsome questions about MGTC parts, maintenance,and other related matters. In that conversation hesaid, “Do you want to buy mine?” I jumped at theopportunity, drove to southern California, andtrailered it to my home in Placerville.

I kept the car as it was for about a year anddecided to restore it, which took over a year to do. Itis now about 95 percent original, looks great, andruns wonderfully, and is a head turner and awardwinner. On the dash board I have an engravedplaque saying “Bob Helm—World’s Greatest JazzClarinetist—Memorial 1948 TCMG.”

The car and the restoration was and is agenuine tribute to a good friend and a wonderfulSan Francisco musician.

My Lo My Lo My Lo My Lo My Lovvvvve Afe Afe Afe Afe Affffffair witair witair witair witair with Bob Helm’h Bob Helm’h Bob Helm’h Bob Helm’h Bob Helm’s 1s 1s 1s 1s 19999948 T48 T48 T48 T48 TCMGCMGCMGCMGCMGby Randy Wilkinson

The TCMG photo by Randy Wilkinson

Bob Helm Memorial Plaque photo by Randy Wilkinson

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The San Francisco Traditional Jazz Founda-tion is pleased to announce that “The Unheard BobScobey” CD is now in production. BCD-281 isjointly produced by the SFTJ Foundation, in associa-tion with GHB Records of New Orleans.

This compact disc features 18 previouslyunissued performances by Bob Scobey and hisFrisco Band, recorded between 1950 and 1957.Thirteen tracks were recorded live, at Jenny LindHall in Oakland and the Tin Angel in San Fran-cisco. The remaining cuts are alternates and unis-sued takes from studio recording sessions in theearly ‘50s. The original tapes were in the collectionof the late Richard Krause and were loaned to theFoundation by John Smith, the famed SouthernCalifornia jazz saxophonist.

In addition to the leader on trumpet, ClancyHayes, Burt Bales, Wally Rose, Darnell Howard, Bill

Napier, Bob Helm, George Probert, Jack Buck, BobMielke, Squire Girsback, Dick Lammi and FredHiguera are all heard to good advantage on BCD-281.

The sound of the 50-plus-year-old tapeswas restored and enhanced by the outstandingsound engineers Bryan Shaw, of Digital BrothersStudio in Costa Mesa, California.

The CD booklet includes rare photos fromthe San Francisco Traditional Jazz Foundationarchive and liner notes by trombonist/band-leader/author James Leigh (Heaven on the Side),who also writes the “West Coasting” column forthe Mississippi Rag – online.

Be sure to check upcoming issues of theFrisco Cricket as well as the Foundation website(www.sftradjazz.org) for the release date ofBCD-281 and for ordering information.

“The Unheard Bob Scobey” Goes into Production!“The Unheard Bob Scobey” Goes into Production!“The Unheard Bob Scobey” Goes into Production!“The Unheard Bob Scobey” Goes into Production!“The Unheard Bob Scobey” Goes into Production!By Hal Smith

Special Projects Coordinator, San Francisco Traditional Jazz Foundation

Back of photo “Bob Scobey - Fort Sutter Boat, Aug. 26, 1953.”Photo © San Francisco Traditional Jazz Foundation –

www.sftradjazz.org.


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BOOKS BY JIM GOGGINBOOKS BY JIM GOGGINBOOKS BY JIM GOGGINBOOKS BY JIM GOGGINBOOKS BY JIM GOGGIN

With Pete Clute

“The Great Jazz Revival”

“Meet Me at McGoon’s”($30 including S & H)

“Some Jazz Friends”

With Dick Oxtot

“Jazz Scrapbook: Dick Oxtot - me and other stuff”

Jim Goggin

“Turk Murphy - Just For The Record”

“Bob Scobey, a Bibliography and Discography”

“Jazz Nightclubs and Ballrooms, Hotels and other addresses, 1930 - 2002”

“The Dude Martin Band Story”

“Some Jazz Friends, Vol. 2”

“Earl Watkins, The Life of a Jazz Drummer”

The book “Bob Mielke - A Life of Jazz” should be available by mid-summer this year. It will have over460 illustrations. If you would be interested in purchasing this new work, please write Carol Clute and

she will notify you when the book is available and the cost.

All books - $23 (including S & H) except where indicated otherwise

For current availability write to:

Mother Lode ProductionsAttn: Carol Clute

4719 Quail Lakes DrivePMB G-120

Stockton, CA 95207


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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. Benefits include this quarterly newsletter, invitations to special events andavailability 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 501(c)(3).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! Use the form at right.

Our tenth, and finest CD is available now at ouronline store; www.HCSF.com 17 great tracks recorded inshimmering hi-fi stereo (and then some) by ReferenceRecordings (their 30th anniversary).

Full of gypsy swing classics penned by DjangoReinhardt himself, some familiar standards, somecontemporary pieces -including a tune by the Beatles and afew originals as well, all played by our 5 piece unitaugmented by Seth Asarno on Bandoneon (two tunes), DavidGrisman on mandolin (two tunes), Marc Caperone ontrumpet (two tunes), William Carter on clarinet (two tunes),and Clint Baker on tuba (two tunes).

1. Mystery Pacific2. Hot Lips3. I'm Happy Just To Dance With You4. Sway5. Number Two6. Souvenir de Villingen7. Tickle Toe8. Black and White9. Lullabye

10. Rythme Futur11. Yerba Buena Bounce12. Stardust13. Borneo14. Georgia Cabin15. Improvisiation #216. Gong Oh17. Some Of These Days

Yerba Buena Bounce

Selections

Available for $17 post paidat http://www.hcsf.com/

Copyright © 2007 Reference Recordings(Paid advertisement)


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PrPrPrPrProduct Oroduct Oroduct Oroduct Oroduct Order Fder Fder Fder Fder Forororororm & 2006 Memberm & 2006 Memberm & 2006 Memberm & 2006 Memberm & 2006 Membership/Rship/Rship/Rship/Rship/Reneeneeneeneenewwwwwal Applicational Applicational Applicational Applicational ApplicationName __________________________________________________________________________Address ________________________________________________________________________E-mail _______________________________ Phone ( ) ____________________________

Compact Discs ($13 for members, $16 for non-members) Quantity AmountA Musical Tribute to Lu Watters—The Bay City Stompers ............................................ (BCD-280) _____ $ _______Firehouse 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: $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 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 $45 $60 ___ $ ______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

Total Qty: _____ $ ______California residents, add 8.5% 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 $ ______

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

Return Service Requested

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Mark Your Calendar Now!the Historic & Incomparable

MAGNOLIA JAZZ BANDin a beautiful and classic setting:

the California Ballroom, Oakland CaliforniaSunday, September 30, 2007, 3-7 PM

Details to follow...

2007 2 spring cricket - sftradjazz.org · mr. baker draws music staves on a big white ... the...

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