Frisco CricketPublished by the San Francsico Traditional Jazz Foundation Fall 2005

Katrina & Jazz

1

Contents

Katrina & JazzKatrina & JazzKatrina & JazzKatrina & JazzKatrina & Jazz by William Carter 1TTTTTurururururk Murk Murk Murk Murk Murphphphphphy Ty Ty Ty Ty Trrrrributibutibutibutibute, Octe, Octe, Octe, Octe, October 1ober 1ober 1ober 1ober 166666 by Phil Elwood 2From the EditorFrom the EditorFrom the EditorFrom the EditorFrom the Editor by Scott Anthony 6FFFFFrrrrrank Haggank Haggank Haggank Haggank Haggerererererty - Rhty - Rhty - Rhty - Rhty - Rhytytytytythm Guithm Guithm Guithm Guithm Guitarararararisisisisist Pt Pt Pt Pt Pararararart IIt IIt IIt IIt II by Opalene and Frank Haggerty 7Membership Application and Product ListMembership Application and Product ListMembership Application and Product ListMembership Application and Product ListMembership Application and Product List 11

by William Carter

Because San Francisco traditional jazz hasumbilical links to the music as it was originallyplayed in New Orleans and Chicago, we feel aspecial concern about recent events in the CrescentCity – and the consequences for musicians livingthere.

Your Foundation has taken concrete action.We placed full-page ads in the October issues ofthe Mississippi Rag and the American Rag directingpotential donors to bona fide, New Orleans-basedagencies equipped to help musicians there recovertheir assets and their jobs. On our website, http://www.sftradjazz.org, we describe and link to onegroup in particular, the New Orleans MusiciansClinic, which you can visit atwww.savenolamusic.com.

Since the earliest days, the business cards ofNew Orleans musicians have said “Music for AllOccasions.” Lest this statement be read as only apitch for work, it expresses the inner spirit of amusic that became the soundtrack for the Ameri-can Century. Born to be played at every imagin-able occasion, mourning the dead and celebratingsensual pleasure, by every race and for every areaof society, at home and on the road, for dancingand listening, in a town forever subject to floodsand such waterborne diseases as yellow fever --this music continues to exhibit flexibility andsurvivability from deep within its DNA.

In an era of mass entertainment, of social

homogenization and of musical dilution, early jazzretains its special force by remaining as spontane-ous and close-up as your own breath. Plus, themusic has long since reseeded itself worldwide.Each soil, each town where it was replanted, gavethe music its own flavor – including San Francisco.The rip-roaring Barbary Coast trimmed out someof the niceties and added others (you can readabout this in the Foundation book, Jazz on theBarbary Coast – or hear it direct in our newest CDfeaturing the Bay Area Stompers).

Even as Katrina and Wilma have disap-peared from the headlines, their stories continue tounfold. After World War I the well-known exodusof jazz musicians from New Orleans spawned theworldwide popularity of the music. Today’sexodus may be less profound, but the numbers arereal and the stories wrenching. One ex-NewOrleans resident who has been keeping tabs on hisbrethren is clarinetist Evan Christopher; you canlink to his and other web reports by going toriverwalk.org and browsing the Jazz Me Newshistory (October) from the button at the bottom ofthe left column on the home page.

We mourn the losses our fellow playershave suffered. But we can hope their well-honedsurvival skills will help them recover from thislatest occasion. Our breath joins theirs in blowingthe blues on the way to the cemetery – and trum-peting the spirit’s release on the way home. e

The Frisco Cricket Fall 2005

2

The Frisco CricketIssue No. 29

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: info@sftradjazz.org

Publisher: William CarterManaging Editor and Layout: Scott Anthony

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

Office Manager: Bunch SchlosserDirectors

Unless otherwise noted,all contents copyright © 2005

San Francisco Traditional Jazz Foundation

William AlhouseJohn R. Browne IIICharles Campbell

William CarterJim Cullum

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:

cricketeditor@sftjf.orgAdvertising Rates

per issue1/8 Page $35, 1/4 Page $50, 1/2 Page $75

Turk Murphy Tribute,October 16

Phil Elwood

In their Musical Tribute to Turk Murphy, the eight-piece Bay City All Star Stompers let the good times (andgrand tunes) roll for more than four hours on the sunnySunday afternoon of October 16 at Bimbo's 365 club in SanFrancisco's North Beach.

Much to the delight of the sponsoring San FranciscoTraditional Jazz Foundation the event was a sellout-plusand, significantly (we hope) at least a third of the audiencemembers were too young to have heard – or even knownabout – Turk, who died, age 71, in 1987.

Does this mean we're in for a re-birth of traditionaljazz enthusiasm on the part of a younger generation? Am Igoing to be called a “moldy fig" again for appreciating JellyRoll Morton more than Cecil Taylor? (continued, p. 3)

Approaching the concert. Photo by Scott Anthony

The Frisco Cricket Fall 2005

3

Let's hope so, but I doubt it; however, itsure was fun to see couples in their 20s and 30sfox-trotting to "The Girls Go Crazy," and feigninga Lindy Hop to "Take Me To The Land of Jazz."

Of course, 91 year old Charles Campbell,among Turk's oldest friends and business partners,was out on the the good-sized dance floor for mostof the afternoon, bestowing badges that read "Idanced with Charles Campbell" to the lucky ladieswho were his one-tune partners – even when theband struck up Lu Watters' hard-driving andexhausting "Big Bear Stomp," or slowed down toLouis Armstrong's "Alligator Crawl."

Campbell, by the way, is the subject ofTurk's song title, "Duff Campbell's Revenge," thebackground story of which is almost as complex asthe tune itself; but not quite.

Four of the Bay City Stompers (LeonOakley, cornet; William Carter, clarinet; JohnGill,banjo/vocals, and intermission pianist RaySkjelbred) had tenures of varied lengths as mem-bers of one or more of Turk's bands. Cornetist JimCullum, internationally known for his band's NPR

The Bay City Stompers, Bimbo’s 365 Club, October 16, 2005Back row: Ray Cadd, Marty Eggers, Bill Carter, Tom Bartlett. Front row: Jim Cullum, Leon Oakley, John Gill, Clint Baker

Photo by Richard Ressman

(Advertisement)

The Frisco Cricket Fall 2005

4

handled the solo stuff associatedwith Turk's – and the Watters Band's– keyboardist, Wally Rose. VeteranSalty Dogs trombonist Tom Bartlettwas a perfect fit in the Stompers,playing in Turk's powerful, percus-sive trombone manner on "TromboneRag" and often singing.

His "Kansas City Torch" wasespecially well handled – a lot ofTurk, a touch of Clancy Hayes and abit of Monty Ballou in his style. As amatter of fact, I think Turk learned

broadcasts from San Antonio's River-walk, from boyhood was a Murphy fan;he often jammed with Turk's band; withhis own group, he performed at Turk'sfarewell concert in Carnegie Hall, Janu-ary, 1987.

The dedicated Clint Baker (a manof many instruments, and leader ofmany bands) was the drummer at theBimbo's event; Marty Eggers was notonly the ensemble pianist, he also

Jim Goggin, founder of the San Francisco TraditionalJazz Foundation, expressing his thanks at presentation

of plaque (see page back cover). Photo by RichardRessman

One of the major event sponsors, Chuck andDonna Huggins. Photo by Richard Ressman

Ray Skjelbred performing an intermission.Photo by Richard Ressman

"The Torch" from Ballou, who wasfamous for a number of things – his jokes,banjo playing; singing with Portland'sCastle Jazz Band, and his discovery ofthe only known copy of the 1923 KingOliver Band's recording, "Zulu's Ball."

Although the typical TurkMurphy Band at Earthquake McGoon'sincluded a single trumpet/cornet part,the Stompers – with the inclusion ofCullum – featured the classic two-trum-pet (King Oliver/Louis Armstrong) leadmuch of the time. The matching of

The Frisco Cricket Fall 2005

5

Pat Yankee and Phil Elwood enjoying the concertPhoto by Richard Ressman

Charles “Duff” CampbellPhoto by Richard Ressman

The Bay City Stompers on stage.Photo by Richard Ressman

Cullum with Oakley made this a particularly excit-ing band to hear.

During the intermissions at Bimbo's, theincomparable Skjelbred wove his way throughvarious jazz piano classics, reminding many of us ofsuch occasional Murphy colleagues as Burt Bales,Paul Lingle and Don Ewell. "An ideal intermissionpianist," commented S.F.Traditional JazzFoundation's Chairman, Bill Carter.

The afternoon was an informal few hours ofjoyous playing of selections drawn from Turk'ssongbook, as it were. Since the material wasfamiliar to the bandsmen, Gill – acting as commen-

These and many more photosby

Dr. RichardDr. RichardDr. RichardDr. RichardDr. RichardRessmanRessmanRessmanRessmanRessman

of theOctober 16

Bay City StompersTribute to Turk Murphy at

Bimbo’s may be purchased onlineat www.pictage.com

orwww.photosurgeon.net

e

tator and casual programmer – nicelyincorporated songs that ranged fromthe old trad-jazz book of the 20s suchas "Papa Dip," from the New OrleansWanderers, and King Oliver's"Chimes Blues" to Lu Watters' "BigBear Stomp," the old saloon song"Ace In The Hole" (revived by ClancyHayes and the Lu Watters band) andTurk's own "Bay City," his closingtheme.

The Frisco Cricket Fall 2005

6

From the EditorIn this issue we celebrate the wonderful

tribute to the Turk Murphy Jazz Band that washeld on October 16 at Bimbo’s 365 Club in SanFrancisco. Also, in this issue we finish the excerptsfrom the privately published book by FrankHaggerty and his wife Opalene.

Partly by coincidence, a significant numberof pages in the second half of Frank and Opalene’sbook are devoted to Frank’s seven or so years asTurk’s banjoist. Because of this coincidence, thisissue will concentrate on excerpts from the bookthat deal with Frank’s time in San Francisco andwith Turk.

As a final, sad, actual coincidence, we haveto note the passing of Phil Howe, our friend andwonderfully talented reed player who, also, was amember of the Turk Murphy band for a number ofyears in the sixties.

The closing of Earthquake McGoon’s in1984 marked the beginning of the end of steadywork for traditional jazz musicians in San Fran-cisco. The band continued with Turk at the helmfor another couple of years at the Fairmont HotelNew Orleans Room, followed by another couple ofyears with Don Neeley as leader in the samelocation, but the handwriting was definitely on thewall, so to speak.

When Earthquake McGoon’s closed, I, asthe then intermission performer, definitely neededto find another way to make a living, and begananother career as a computer programmer. Mostother jazz musicians I know in the Bay Area alsoneed another source of income to successfully raisea family, maintain a marriage, or to just survive, inorder to continue to be able to play their favoritemusic. As far as I know, Jim Cullum’s (anothercoincidence, he being a member of the Bay CityStompers on October 16) band and club, TheLanding, in San Antonio, is one of the only otherplaces that has steady work for jazz musicians,with the possible exception of Disneyland andDisney World, although even these institutionshave been shifting away from jazz in recent years.

A few months ago I received the sidebar tothe right (original author unknown) in an emailthat circulated around the music community. Itperfectly summarizes what it is like doing what welove–performing this great music.Scott Anthony

Imagine this:Imagine this:Imagine this:Imagine this:Imagine this:You go to the office one morning after having

worked on a project until well past midnight the nightbefore. You’ll be laboring in a relatively high-pressuresituation where each and every task you perform will bemonitored by a highly-paid technician who has connectedyou to a complex maze of very expensive electronic equip-ment.

Moreover, your work product for the morning willbe recorded and analyzed down to its most minute detail bythe people who hired you. They may spend days at it.

If that’s not enough to make you nervous about theentire experience, those people will eventually take yourwork product from that morning and make it available forpublic scrutiny as well.

And get this — some people will actually get paidto write about the work you completed that one morning,so that other people can better decide whether they want toexpose themselves to it.

But there’s more. When you arrived for work thatfateful morning, tired from having worked so late the nightbefore, the boss gives you only a general idea of what shewants you to do, then tells you to just make up the specif-ics as you go along, depending on how the other workers dotheir jobs!

Could you do your work under such conditions?Could you do it so well that other people would want tobuy a recording of your efforts and listen to it over and overagain? That’s what the best of the jazz musicians do.Perform by night; record by day. And we’re not talkin’ afive-day week here, either. I’ve never heard a jazz musiciantell a promoter or agent, “Sorry, I take Tuesdays off.”

Then there’s the struggle it takes a good, workingjazz musician to achieve the required level of proficiency.Years and years of practice. A load of talent. And signifi-cantly, a willingness to forego the security most people takefor granted in our society.

Nightclub gigs and record deals don’t come withpaid vacations, pension plans and medical insurance. Yetdespite all of these circumstances, great jazz is still beingplayed and recorded. An objective economist or workplacescholar would conclude that it just doesn’t make sense.

What manner of person would take such risks andendure such pressure for such small rewards? The answer isdeceptively simple. Jazz musicians are true artists. They dowhat they do for love of the music and the creative process.Watch them work and you can see it.

Listen to a good jazz record and you can hear it.So next time you put on some jazz, whether it’s one ofthose evenings where you hang on every note or one of thoseafternoons when the music is just contextual,give a mental nod to the folks who made it all possible –themusicians.

They really deserve it.e

The Frisco Cricket Fall 2005

7

FFFFFrrrrrank Haggank Haggank Haggank Haggank Haggerererererty - Looking Bacty - Looking Bacty - Looking Bacty - Looking Bacty - Looking Back Pk Pk Pk Pk Pararararart IIt IIt IIt IIt IIExExExExExcercercercercerpppppts 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

Ellis Kimball & The Big TimeEllis Kimball & The Big TimeEllis Kimball & The Big TimeEllis Kimball & The Big TimeEllis Kimball & The Big Time"I was in the bigtime!""We wore tuxedos at each engagement,

and because we usually didn't stay any length oftime at any one place, laundry became a problemat times. We wore paper dickies that looked likeregular cloth ones...They had a wing paper collarwith a collar button, and looked for all the worldlike regular shirts. When they became soiled, allwe had to do was take our eraser and erase thesoiled place....

"So after being on the road with EllisKimball's Band, I was back in San Francisco-andlooking for work again. At least I now had areputation. Anyone good enough to play in aband like Ellis Kimball's must be pretty good, so Istarted meeting people - the right people....

“I never dreamed when I started outplaying music professionally at 15 years of agethat I would ever be a studio musician in SanFrancisco, but one day I got a call from RayHackett, musical director at what was then KQWwhich was the outlet for CBS. He said they wereauditioning guitar players, and they wanted me to

come for an audition...Getting this job was quite afeather in my cap....

“When I took the studio job I was told itwouldn't affect my other jobs, playing wherever Iwanted...Then Hackett started getting into the SanFrancisco social set and getting really high calibrejobs....

“Another time a very influential band leaderout of New York, Meyer Davis, sent me a letter

‘Pla‘Pla‘Pla‘Pla‘Play ty ty ty ty the melody! Plahe melody! Plahe melody! Plahe melody! Plahe melody! Playyyyythe melody!’ I said, ‘I don’tthe melody!’ I said, ‘I don’tthe melody!’ I said, ‘I don’tthe melody!’ I said, ‘I don’tthe melody!’ I said, ‘I don’thahahahahavvvvve te te te te the melodyhe melodyhe melodyhe melodyhe melody.....’’’’’

asking me to play...at the Fairmont Hotel. MeyerDavis played the Presidential Balls and other influ-ential events at the White House...I didn’t knowwhat to expect.

“I showed up at the Fairmont as instructed,and was told to go to the big ballroom. I camewalking in with my accoustical guitar, and thismacho-man bass player who was Meyer Davis’lieutenent that kept his players in line, walked up tome and said, “what the Hell do you think you’regoing to do with that damned thing? Nobody willknow you are there. No one will even hear you.” SoI told him I had my electric guitar in the car andwent out and got it...I was just plugging in myamplified guitar when the piano player came overand said, “I just want to tell you not to pay anyattention to Meyer Davis. He’s nuts.” By then I wasfeeling real good, and wondering what kind ofnight this was going to be–the bass player was madat me, and the leader is nuts. What fun...!

“The job turned out to be a Philippinoaffair...he started out playing the Philippine Na-tional Anthem, and all I had were chord symbols.All of a sudden he whirled around and said, ‘Takeit!’ I don’t know how many people have ever heardthe Philippine National Anthem, but I had neverheard it before. All I could do was just run up anddown the chords, and he yelled, ‘Play the melody!

“This was taken aboard the Delta Queen (New Orleans)when Turk Murphy’s band played the 1970 Super Bowl. Leftto right–Leon Oakley, me, Turk, and Pete Clute”

The Frisco Cricket Fall 2005

8

Play the melody!’ I said, ‘I don’t have the melody.’He came over and grabbed the music and threw itdown...I figured he hated me, and I’d never hearfrom him again.

“About a week later I’m playing a job at theFairmont Hotel and Ernie Hechscher...comes overand says, ‘All Meyer Davis could do was rave aboutwhat a marvelous job you did for him....

TTTTTurururururk Murk Murk Murk Murk Murphphphphphy’y’y’y’y’s Ts Ts Ts Ts Twwwwwo-Beat Jazzo-Beat Jazzo-Beat Jazzo-Beat Jazzo-Beat Jazz“Reflecting on my life, the Depression years

of the 1930s were rough times–not the Good OldDays...By the 1940s, swing bands were in fullswing...San Francisco was a classy town. Ourstandard repertoire in clubs was a mix of the top 10tunes, tangos, rumbas, waltzes, and polkas....

“Then by the 1950s and 1960s there were allkinds of new sounds–be-bop, progressive jazz, rock‘n roll, and so on, and good old trad jazz and swingwere in full retreat....

“Throughout all this upheaval, TurkMurphy’s two-beat West Coast style band survived.

“One day Turk Murphy came to see me. Hesaid, ‘Frank, I’d like for you to come to work for me

Turk, I don’t even own a banjo,’ and Turk said,‘Come on over tonight and I’ll have a banjo therefor you....’

“I showed up and there were banjo play-ers hanging from the ceiling. Turk had all theseguys there auditioning for this job. Some of thoseguys were just tremendous–fast a greased light-ning–and had all these solos worked out. All Icould think was, ‘what in the world am I doinghere?’ So, Turk said, ‘Come on up and play acouple of tunes.’ I sat down and had the music infront of me...I knew I was a big flop, and said,‘Thanks, Turk. I’ll see you around,’ and started toleave...he said, “I’d sure like for you to join theband. Most of these guys here today can’t readand the can’t keep time. You’re a good reader andyou’re a strong time-keeper and that’s what Ihave to have....

“I said to him, ‘I’ll make a deal with you. Ifyou don’t like what I’m doing or you don’t like theway I play, you’ll be up front and tell me. Let’snot make a thing out of it, so there’ll be no hardfeelings. Also, if I don’t like the job, I’ll let youknow.’ So, I joined the band with this understand-ing, and worked for him for 7 years....

on banjo.” I said, ‘But Turk, I’m not a banjo player,I’m a guitar player.’ Turk said, ‘But, I heard youplay good banjo.’ I said, ‘I don’t know where youheard that.’ The only time I ever played banjo wasthe time I worked for this guy name Ross Love. Hefound a banjo someplace that only cost him $5, andit was just an old wreck. Ross brought it on the jobfor me to play, and I tuned it like the first fourstrings on the guitar. I played tunes like Yessir,That’s My Baby and Ain’t She Sweet and songs likethat. Of course, banjo is a tremendous fraud instru-ment, but it has a happy sound, and people love it.You don’t have to be a very good musician to be abanjo player–just make happy noises....

“So Turk said, ‘I’d still like you to come overand play a few tunes with us tonight.’ I said, ‘Gee,

“Throughout all this“Throughout all this“Throughout all this“Throughout all this“Throughout all thisupheaupheaupheaupheaupheavvvvval, Tal, Tal, Tal, Tal, Turururururk Murk Murk Murk Murk Murphphphphphy’y’y’y’y’ssssstwtwtwtwtwo-beat Wo-beat Wo-beat Wo-beat Wo-beat Wesesesesest Coast Coast Coast Coast Coastttttssssstytytytytyle band surle band surle band surle band surle band survivvivvivvivvived.ed.ed.ed.ed.”””””

Jazz Festival in Monterey

The Frisco Cricket Fall 2005

9

Wild Bill DavisonCentennial CelebrationJanuary 8, 2006 afternoon 2-6 PMFreight and Salvage, Berkeley

Celebrate with West Coast greats:Leon Oakley - cornet,Richard Hadlock - reeds,Ray Skjelbred - Piano,Dan Barrett - TromboneClint Baker - bassKatie Cavera - guitarJ. Hansen - drumsWith special guests“Fiddle” Ray Landsberg on violin andBob Mielke on trombone.

January 8th from 2-6 PM at the Freight and Salvage,1111 Addison Street, Berkeley, CA 94702,(510) 548-1761. For more information and ticketsonline go to www.freightandsalvage.org and click ontickets.

(Advertisement) (Photographer unknown)

e

“Turk got some great jobs. One of themwas at the 1970 Super Bowl. Bristol Meyers hiredthe band. They flew us to New Orleans–firstclass...we played at Dixieland Corner and Preser-vation Hall....

“In the book Turk Murphy – Just For TheRecord written by Jim Goggin, Turk’s commentregarding me was, ‘Frank is somewhat a productof the swing era. Plays big guitar. He did a lot ofstudio work in Los Angeles for years and he justhappens to play banjo. He’s the kind of guy thatcan play anything he picks up practically, and soall these people are always talking about their$1,000–$2,000 banjos, and Frank has one that costhim $25. And, he sounds as good as anyone witha $1,000 banjo. He was a studio musician and hewas a general musician like myself....’

“Turk, my long-time and dear friend, diedat 71 years of age on June 5, 1987. He was thelegend–the man–the musician–and always mygood friend throughout the years....

“Turk loved New Orleans two-beat jazzand spiritiuals–and he loved San Francisco and itsgaudy history....”

From Obituary by Carol Feineman,From Obituary by Carol Feineman,From Obituary by Carol Feineman,From Obituary by Carol Feineman,From Obituary by Carol Feineman,December 3, 2004December 3, 2004December 3, 2004December 3, 2004December 3, 2004

“If there was one word which had to summarizeFrank Haggerty's life, it would be music. It was an artand an industry that put him side-by-side with FrankSinatra, Mel Torme and other icons of his generation.

Mrs. Haggerty quoted her husband as saying,"For 70 years, I got paid for being a part of the musicbusiness and I wouldn't change a thing. I loved themusic business and the part I played in it."

The former Lake Wildwood resident...worked asColumbia Broadcasting System's staff guitarist for anumber of years and played most of the top shows, Mrs.Haggerty said. That included working in the FrankSinatra shows at San Francisco, playing 10 times a dayto full houses at the Golden Gate Theatre, and in showsfeaturing Jimmy Durante, Mel Torme and Andy Will-iams. Also working as a studio musician in San Fran-cisco, Los Angeles and Hollywood, Mr. Haggertyplayed on New Orleans' Kid Ory's Verve recordingsessions, which received a Time-Life jazz history award.

During that time, Mrs. Haggerty said, he wason first-call or the No. 1 guitarist for Columbia Broad-casting System.”

The Frisco Cricket Fall 2005

10

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.

GGRM Guitars

Golden Gate Rhythm MachinesCustom Hand-built Guitars by Scott AnthonyFinishes, refinishing, and repairs by Bill Reinhart

All archtop models includ-ing 4-string Tenor, 4-stringPlectrum, and 6-string.

Call 415-826-6193 or emailsanth@pacbell.net for moreinfo, prices, options.

Let me build one for you!

(Advertisement)

KAKAKAKAKATRINTRINTRINTRINTRINA & YA & YA & YA & YA & YOUR CD’SOUR CD’SOUR CD’SOUR CD’SOUR CD’SMembers will recall that SFTJF is now

co-producing our CD’s with George Buck’sGHB label in New Orleans. We are proud ofour first efforts in that line — the historicFirehouse Five recording (beautifully producedby Hal Smith), and our first ever “current”recording, the Bay City Stompers, in live per-formance at last year’s big SFTJF “rememberingLu Watters” party.

Fortunately, we received our initialshipments of both titles just before Katrinastruck New Orleans. Like everyone, GHB hadto evacuate, so it became impossible for us tocontact them and order more. We apologize toanyone unable to receive their copy in timelyfashion.

The good news is that GHB is on theupper floors above the Palm Court Cafe, in theFrench Quarter, where there was little perma-nent water damage. They are back in business,their stock is safe, and post-Katrina orders areready to be shipped to you.

The Frisco Cricket Fall 2005

11

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 ($12.99 for members, $15.99 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: $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

Subtotal $ ______California residents add 8.5% sales tax $ ______

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

Return Service Requested

12

The Frisco Cricket Fall 2005

Now’s A Great Time To Renew Your Membership!

Jim Goggin HonorJim Goggin HonorJim Goggin HonorJim Goggin HonorJim Goggin Honored On Octed On Octed On Octed On Octed On October 1ober 1ober 1ober 1ober 166666

Jim Goggin, founder of the San Francisco Traditional Jazz Foundation, was honored at the October16 “Tribute to Turk Murphy” held at Bimbo’s 365 Club in San Francisco.

Your SFTJF has a founding story a little like that of Hewlett Packard, which started in a garage.Something like forty years ago Jim Goggin started collecting all manner of jazz memorabilia, photos,clippings, recordings, posters, and other items, mostly centered around Turk Murphy and Lu Watters, inhis house and garage. The plaque presented to Jim on October 16, 2005 said:

In grateful appreciation toJim Goggin,

who founded theSan Francisco Traditional Jazz Foundation

twenty five years ago today.That date, 1981, was when he made it official by obtaining an IRS non-profit permit, by which

time the Foundation collection had grown to large proportions and formed the basis of our archive today.