Frisco Cricket. Assuring The Future

Transcription

1 Frisco Cricket Published by the San Francisco Traditional Jazz Foundation Fall 2004 Assuring The Future by William Carter Your Foundation s unsung heroes are the talented jazz professionals who contribute their time and skill, far beyond the call of duty, to this modest enterprise. Some are board members, some are staffers. In addition, over the years a few other caring members have sent solid articles or made important tangible contributions, in cash or in kind. Over the past few months, under the pressure of other commitments (i.e., making a living playing gigs far and wide) two of our stalwarts have been forced to move on. Hal Smith has done a great deal for the San Francisco Traditional Jazz Foundation. Fortunately, he will not be entirely lost to SFTJF. Longtime readers of the Cricket will remember Hal s highly original and deeply researched stories on both well known and lesser known musicians. Examples include the legendary Benny Strickler and many of the drummers and reedmen who have worked out of the Bay Area in the postwar years. Hal s official position at SFTJF was as curator of the Archive, our prime source of information and inspiration. His willingness to repeatedly make the trip to the city from his Hal Smith Wayne G. Alfred home near San Diego bordered on the heroic. Well known as a ubiquitous drummer, and long a guiding light of the San Diego Thanksgiving Jazz Festival and America s Finest City Dixieland Contents Assuring The Future by William Carter 1 From the (New) Editor 4 SF Jazz Greats Will Honor the Legendary Lu Watters by Ed Schwartz 5 From San Francisco Chronicle, July 7, 1946 by Ed Clemenco 9 Membership Application and Product List 11 1

2 Marty Eggers Bob Byler Jazz Society, Hal will continue as the main developer of SFTJF s well-received series of audio recordings. His counsel and facilitating role in countless matters will remain available to your Foundation. No less valuable has been the editor of this publication, Marty Eggers. Marty has also found it necessary to move on under the increasing pressure of his regular professional work in his case, a double role as a much-in-demand bassist and constantly traveling, ragtime-based pianist. As the first editor of the Cricket, Marty pioneered in establishing a quarterly newsletter that has drawn many admiring comments and become SFTJF s main window on the world. Such work involves multi-layered skill and dedication from the original conception and seeding of articles and layouts through working with the printers. We wish Marty Eggers all the best in his ongoing, peripatetic career (including his regular monthly ragtime gig at San Francisco s Pier 23 where some of us have joined him on occasion). All is not lost. In both Hal s and Marty s cases we worried about how to fill such shoes, but were soon graced by a The Frisco Cricket Issue No. 25 Published by the SAN FRANCISCO TRADITIONAL JAZZ FOUNDATION 41 Sutter Street, PMB 1870 San Francisco, California Phone: (415) , FAX: (415) Website: info@sftradjazz.org Publisher: William Carter Managing Editor: Scott Anthony Layout: Lewis Motisher Curator of the Archive : Clint Baker Special Projects Consultant: Hal Smith Office Manager: Bunch Schlosser Directors William Alhouse Philip F. Elwood John R. Browne III Charles Huggins Charles Campbell John Matthews William Carter Leon Oakley Jim Cullum Terry O Reilly William Tooley Unless otherwise noted, all contents copyright 2004 San Francisco Traditional Jazz Foundation Advertise in the Cricket! In an effort tohelp defray the costs of maintaining all the varied programs that SFTJF supports, including The Frisco Cricket itself, we re going to begin providing limited advertising space here. We want to be fair to everyone, so there are a few rules we d like to follow: The advertiser should be in a music related (preferably Traditional Jazz related) business (band, club, cruise, radio station, etc.). No more than a total of two full pages will be used in any single issue of the Cricket, so ads will be accepted on a firstcome, first-served basis. We need to be able to maintain the right to accept or reject advertisements at our discretion. Advertising Rates per issue 1/8 Page $35 1/4 Page $50 2

3 couple of most capable replacements. None other than the top-drawer banjoist, guitarist, vocalist, and bandleader Scott Anthony is stepping forward as editor of the Cricket. Having become well known in his role as the intermission en- Donna Courtney Scott Anthony tertainer at Earthquake McGoon s in the 1970s and 1980s, Scott went on to appear with countless groups, most particularly as the leader of his own highly regarded Golden Gate Rhythm Machine and with the Bob Schulz Frisco Jazz Band. Armed with this fundamental understanding and love of the traditional jazz medium, Scott also brings to the table his experience in other kinds of design and publishing, software development, art, and in a new business venture, building archtop jazz guitars. A hearty welcome, equally, to the deeply and broadly talented Clint Baker, who is taking over as curator of the Archive. More than anyone else, perhaps, starting over ten years ago, Clint came to personify one answer to a question that has long nagged those who worried about the future of a music that often seems to spawn increasing concentra- Courtesy Clint Baker Clint Baker 3 tions of gray hairs both on and off the bandstand. Highly qualified as a performer and teacher on virtually every standard jazz instrument other than piano, Clint s talent extends, most unusually, to inspiring and leading bands of every age group and traditional sub-style. Having initially burst onto the festival scene with a hell-for-leather New Orleans style group all of whom were under the age of twenty-five, Clint gradually peppered his renamed bands with more veterans and moved by degrees in a more mainstream direction, while retaining the ability to perform in most of the sub-styles, including the Watters-Murphy canon. His passion for the details of jazz history will serve him well as SFJTF s archivist. Last but far from least, we are extremely pleased to announce that the most distinguished and venerable of Bay Area jazz writers, commentators, and teachers, Philip F. Elwood, has joined the board of the San Francisco Traditional Jazz Foundation. Adequately Philip Elwood M. Constantini reciting Phil s credits and achievements would need far more space than is available to us here. Suffice it to say that his weekly jazz shows on KPFA-FM were a beacon to most of us for some forty-five years from the 1950s on, as were his columns in the San Francisco Examiner and elsewhere. His album notes and jazz courses, national learned society memberships, renowned private collection and other contributions seem infinite in number. And he recently received special honors from both the Sacramento Jazz Jubilee and the San Francisco Jazz Festival. In such hands as these, the future of traditional jazz seems assured. e

4 From the (New) Editor About six weeks ago I got a phone call from Bill Carter asking me if I might be interested in becoming the new editor of the Frisco Cricket. What a complete but pleasant and flattering surprise. I really must admit right off the bat that I have never considered myself much of an authority on the historical details of our music. Rather, I ve been more immersed in playing it. So, it is with not a little trepidation that I take on this new task of helping to provide interesting and accurate content for the Cricket. I d like to give all of you who do not know me a short musical life history. First off, I have to admit that I m a banjo player... Please don t hold that against me too much. Just out of college (Dartmouth, 1970,) where I had gotten into Eddie Condon and other East Coast bands, two recordings purchased in New Jersey (when I had hair that s how long ago it s been) introduced me to and whetted my appetite for our San Francisco Traditional Jazz. The first was The Many Faces of Ragtime the LP that Turk recorded back in The other was Oh, By Jingo, the great album of Clancy Hayes with the Salty Dogs. I had never heard anything so wonderful in my life as these two recordings. Not only were they really exciting to listen to, but they opened up an entirely new world of new (to me) tunes to learn and play. It has been almost thirty years to the day since my wife Susan and I moved to San Francisco with no jobs, no money, and no place to live. The second night we were in town, having found an apartment that would accept a 140-pound Newfoundland dog, we went to Earthquake McGoon s to hear the band and get the lay of the land, musically speaking. That night solidified my enthusiasm. Since then I ve had the honor and thrill of knowing and working with (and for) many of our great West Coast style musicians. Sadly, many of the great ones I have met over these years have since passed on, but I am continually grate- ful that I was able to get to know them, and in some cases have them think of me as a friend and colleague. It may sound kind of sappy to some, but I often have an almost religious experience when I play and listen to this music, especially when I m with those other musicians who have built such an incredible storehouse of musical knowledge and continually perform from the heart. A good band, with good guys, when we re in tune, having a good day, with a responsive audience, is really much, much more than the sum of its parts. It is truly a spiritual experience. Enough... A good band, with good guys, when we re in tune, having a good day...is much, much more than the sum of its parts. I would like to thank Leon Oakley (actually, Brenda Oakley, who I learned made the original suggestion to Leon) for recommending me to Bill Carter for this job. I d also like to thank Marty Eggers for doing such a great job up until now and helping me get my feet wet during the transition from his able stewardship of the publication. Finally, I d like to ask for as much help as possible! I would really like suggestions for future articles and comments and suggestions for new or expanded areas of interest. And, while we can t absolutely guarantee publication, I would welcome submissions of articles about San Francisco traditional jazz or related topics from any and all you knowledgeable people. The best way to communicate any of this to me is by at santh@pacbell.net. I expect this is going to be really fun! Thanks for having me. e Scott Anthony 4

5 SAN FRANCISC CISCO JAZZ GREATS WILL HONOR OR THE LEGENDAR ARY LU WATTERS IN AN AFTERNOON TEA DAN ANCE OCTOBER 23, 2004 Jim Cullum, Jr. to lead Turk Murphy band alumni by Ed Schwartz SAN FRANCISCO A group of traditional jazz greats will present music from San Francisco s glorious jazz era of the 40s and 50s in a special Concert Tea Dance performance honoring Lu Watters, the Bay Area jazz legend. The event will take place on Saturday, October 23, from 3:00 P.M. to 7:00 P.M. at the Townsend Center, 650 Townsend Street in San Francisco. The San Francisco Traditional Jazz Foundation is sponsor for this event. Watters, a brilliant trumpet player, had a profound effect on the jazz scene locally, nationally and internationally, when his group, the Yerba Buena Jazz Band, opened up at San Francisco s Dawn Club on Annie Street, in the fall of 1939, performing righteous jazz based on the New Orleans style. In 1947 Watters opened up Hambone Kelly s in El Cerrito, across the Bay. The famous fan dancer, Sally Rand, and her part- 5

6 ners previously operated the building as Sally Rand s Hollywood Club. Watters and his band gathered a large following, especially among the college set. Watters s band featured musicians like Turk Murphy, Bob Scobey, Bob Helm and Clancy Hayes. Financial problems caused Hambone s to close in Watters retired when he was thirty-nine years old. Murphy continued his musical career and in the early 1960s established his own night club, Earthquake McGoon s, named after a character in the Li l Abner comic strip who billed himself as the world s dirtiest wrassler). Murphy s group performed until 1978 in what had been the last house of ill repute in downtown San Francisco, the former William Tell Hotel at 630 Clay Street, and then into the 1980s at a number of other locations. Their dancing rocks the floor like an old fashioned fireman s ball. The band for this tribute concert will showcase a number of top musicians who played with Turk Leon Oakley, on cornet, Bill Carter on clarinet, and John Gill on banjo. The rest of the band includes Turk s favorite trombone player, Tom Bartlett and the young traditionalists Clint Baker, drums; Marty Eggers, piano; and Ray Cadd, tuba. Leading the group will be Jim Cullum, Jr., cornet, whose band performs every week on Public Radio International s radio series, Riverwalk Jazz, sponsored by See s Candies, Inc. The program, now in its 15th season, originates from KSXT in San Antonio and can be heard on 150 public radio stations. His group can be heard locally on the jazz station, KCSM, 91.1 FM, Sundays from 6:00 to 7:00 P.M., as well as online at Many jazz fans and critics consider Cullum the most prominent traditional jazz musician in America today. Mal Sharpe, who has his own weekly jazz show on KCSM will be the master of ceremonies Dawn Club entrance circa 1940 SFTJF Archive for the jazz event. The dance format also pays tribute to Watters s fundamental belief that Classic Jazz was originally performed for the dancers. Watters wanted people to get up and get moving. Cynthia Glinka and friends will help to instigate and demonstrate dancing styles of the period. Kevin Weir is in charge of full catering services. Musician, geologist, chef, activist Lu (Lucius) Watters was born in 1919 in Santa Cruz, California. He picked up the horn at eleven and began his professional music career playing on a cruise ship band. During the 1930s he played with the Carol Lofner Orchestra (Phil Harris was on drums) and led his own big band at Sweet s Ballroom in Oakland, California. In 1939, he formed the Yerba Buena Jazz Band. This ensemble rejected modern jazz and embraced the 6

7 older New Orleans sound, focusing on great artists such as King Oliver, Louis Armstrong and Jelly Roll Morton. The group also added a good deal of local San Francisco flavor to its music, creating a unique, influential and memorable style. The Dawn Club had a very colorful history long before the Watters band performed there. The Yerba Buena Jazz Band spent its life in the Bay Area at the Dawn Club until World War II began. During the war, Chief Petty Officer Watters organized and led a large navy band in Hawaii one of the finest bands the Navy ever knew. After the war, he reformed the Yerba Buena Jazz Band, went back to the Dawn Club and it thirty years in age, but they serve such stand-bys as Ostrich Walk and High Society, along with the new ones of their own New Orleans style. The college students, sailors, socialites and nostalgic old timers who pack the joint don t come to sit and listen. Their dancing rocks the floor like and old fashioned fireman s ball. The San Francisco Chronicle, in a major feature the same year noted, The band is backed by the clear, forceful, ringing tone of Watters s horn, playing in unison with the trumpet of Bob Scobey, styled with precise timing and a band-backing drive of emphasis. The notto-be-paralleled, fine mellow roar of Turk Murphy s trombone, the righteous, melodious voice of Bob Helm s clarinet, the sky-reaching notes of Wally Rose s piano, the strumming talk of Harry Mordecai s banjo, and the deep bass brought forth by Dick Lammi are monumental to the music world. The on-the-beat beat of Bill Dart on the two-beat drum supports the band in the finest manner possible. (See the full transcript of this article beginning on Page 9 Ed.) The group remained in San Francisco until it moved to El Cerrito and settled down in Hambone Kelly s. Hambone Kelly s, 1940s SFTJF Archive sounded better than ever. In a 1946 article in Time Magazine, the music writer paid tribute to Watters and his sound. In San Francisco, the fans gather in the dark Dawn Club, in an Annie Street cellar, to the unmuted two-beat Dixieland rhythms of a band that is neither Negro nor old. The eight musicians of the Lu Watters Yerba Buena Jazz Band average A richly checkered past The Dawn Club had a very colorful history long before the Watters band performed there. Throughout the 1920s and 30s, it had been a raucous and popular speakeasy, or speak, as these liquid refreshment enterprises were nicknamed. It had a very long bar which was well attended, as well as a large space for tables and chairs and a big dance floor. When the Yerba Buena Jazz Band arrived on the scene, the Dawn Club became a jazz music capital and a very popular hangout with the celebrities of the day and night. The entire cast of Dashiell Hammett s The Maltese Falcon that director John Huston was filming in San 7

8 Francisco in 1941 showed up often Huston, Humphrey Bogart, Mary Astor, Peter Lorre, Ward Bond, and Sidney Greenstreet. After the war, Orson Welles and Rita Hayworth showed up often to listen to the music and dance the night away. The famous chronicler, Herb Caen, was a frequent visitor and often wrote about the scene in his always-influential column. In 1947, the Watters band moved to El Cerrito to a joint they owned and renamed Hambone Kelly s. Hambone Kelly s Rocked This club became the mecca for jazz enthusiasts and often attracted musicians from New Orleans, Chicago and New York. Turk Murphy, trombonist with Watters, later became famous in his own right. While he was playing at Hambone Kelly s, Murphy used Sally Rand s former apartment. Lu Watters, 1949 SFTJF Archive Bob Scobey, the other trumpet in the Watters- Scobey brass duo, also went on to front his own band where he worked with famous performers such as Bing Crosby. Watters retired in 1950 and moved to Cotati, in Sonoma County, where he developed other talents, including being a professional chef. He went back to school and became an expert on the geology of California, especially on coastal earthquake conditions, often being invited to lecture on the subject at Sonoma State College. In 1963 he came out of retirement, practiced his trumpet again and spearheaded a successful political action campaign that prevented PG&E from building a nuclear power plant in Bodega Bay, right on top of the San Andreas Fault. He wrote some new tunes for the occasion, including San Andreas Fault and Blues Over Bodega. When the battle with PG&E was over, Watters put his trumpet away again. He died in Santa Rosa in Jim Cullum, Jr., comes from a jazz family. Cullum began playing trumpet in 1955 when he was fourteen. Fascinated with the records of fabled cornetist, Bix Beiderbecke, Cullum was at first selftaught. While attending college he formed a band with his father named the Happy Jazz Band. Soon after, some San Antonio business leaders and music lovers established The Landing a jazz club on San Jim Cullum courtesy Pacific Vista Productions Antonio s famous Riverwalk as a showcase for the Happy Jazz Band. Under Cullum s creative leadership, the band evolved into a nationally acclaimed ensemble now known as the Jim Cullum Jazz Band. The group has toured and recorded forty-five record albums as well as his radio broadcasts. The concert is being underwritten by O Reilly, Collins & Danko, a trial law firm. e Tickets for the concert are $20 (current foundation members only $10!) and may be obtained from City Box Office, by phone, or on the website at 8

9 From the San Francisco Chronicle July 7, 1946 Popular Music: A Loving Cup for Lu Watters By Ed Clemenco A young San Francisco advertising man and, obviously, a fan of Lu Watters, Mr. Clemenco is guest critic for this week Jazz, the glorious finale in New World music, so brought forth by the dark race, should be thought of as a coherent action that came centuries ago from the steamy, blackwater, fever-ridden jungle of West Africa through the vocal strains and striking music of the American South, to rise to the public s attention in the musical city of New Orleans. San Francisco, like New Orleans, is one of the greatest seaports in this New World. In it, to, thrives a cosmopolitan mixture of people from other parts of the world-french, Spanish, English, Italians, Germans, native Indians and the American Negro. San Francisco also contains a group of America s finest contemporary jazz artists-lu Watters and his Yerba Buena Jazz Band. The Yerba Buena Jazz Band back in the latter part of the thirties was making all but an existence for its musicians, who cast aside offers to play with you name it, I ll feed it commercial type bands that, unfortunately, are thriving today. The boys in the band knew the music field completely, but they also knew jazz, and they liked it. They are admired for pioneering the field of American society s basic product Dixieland jazz in San Francisco and continuing where such undying favorites as King Oliver, Louis Armstrong, Jelly Roll Morton and many others left off. The small-change era for the Yerba Buena jazz band soon became profitable enough so that the band could afford to play more regularly in a bistro of atmosphere that has no equal anywhere in the country. By 1942 SOULFUL San Franciscans, young and old, hailed the fact that they for the first time were having an opportunity to hear real jazz-something that is extremely difficult to find. Though many could not be expected to understand jazz, they did appreciate it. Any American could not truthfully deny the advent of surrealism given out by jazz music. What could be more inspiring than music unharnessed and set free? set free to talk of barrel-house music-of life good, dirty or indifferent of the voices shouting in a Negro congregation or he the dirge of a band marching to a funeral and then dancing all of the way back. Music set free to speak of our life in all of its phases music shouting joy, crying pain, singing blues. As Bunk Johnson put it, Playing jazz is talkin from the heart. You don t lie. It was in 1942 that most of the players in the band left for the war, but before this they made a number of recordings under the Jazz Man label. These records went over big even with people who did not like jazz. As Bunk Johnson put it, Playing jazz is talkin from the heart. You don t lie. The gents of the band entered respective branches of the service, and Lu Watters wound up in the Navy. It was in the Pacific Ocean area that Chief Petty Officer Lu Watters organized and directed one of the finest eighteen-piece bands that the Navy has ever known. Watter s old band returned this year and, after extensive practicing, they opened once more in San Francisco. The Yerba Buena Jazz Band is comprised of seven real musicians. It is backed by the clear, forceful, ringing tone of Watters horn, playing in unison with cornet of Bob Scobey, styled with precise timing and a band-backing drive of emphasis. The not-to-be-paralleled, fine mellow roar of Turk Murphy s trombone, the righteous, melodious voice of Bob Helm s clarinet, the sky-reaching notes of Wally Rose s piano, the strumming talk of Harry Mordecai s banjo and the deep bass brought forth by Dick Lammi are monumental to the music 9

10 world. The on-the-beat beat of Bill Dart on the twobeat drum supports the band in the finest manner possible. Watters band is distinctly original; it plays in a free style, and mechanical arrangements are not known. Therefore when absolute newcomers hear it they are surprised to the extent that they are scared by this form of talent that has no equal in this era. Lu Watters and the Yerba Buena jazz band recently have made several new recordings with the West Coast label. They soon will be on sale to the general public, who will undoubtedly find them to be far more outstanding than the band s last group of records. It is currently thought that the charm of Lu Watters music will continue to grow as deep as the charm contained within himself. So pointed out the San Francisco girl who said: Lu Watters is modest; therein lies his charm. Lu Watters is sophisticated and doesn t know it; therein also lies his charm. e About the San Francisco Traditional Jazz Foundation What 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 quality traditional jazz, regionally and worldwide. What does the Foundation do? Current activities include archival preservation, supporting live events and broadcasts, collaborating with other jazz and 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 to make 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 welcomed The 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, newspaper clippings, photographs and correspondence. Contributions of materials or funds are tax-deductible under IRS ruling status 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 and photos of many San Francisco (and other) jazz figures from the 1930s to the present. Please visit us at Join (or rejoin) the San Francisco Traditional Jazz Foundation today to begin taking advantage of reservations to special events, discounts on selected jazz books and recordings, and a year s subscription to The Frisco Cricket. If you are already a member, give the gift of Foundation membership to a friend! Memberships are dated on a calendar year basis. Use the form at right. 10

11 Product Order For orm & 2004 Membership/R ship/rene enewal Application Name Address Phone ( ) Compact Discs ($12.99 for members, $15.99 for non-members) 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, (SFTJF CD-106) Lu Watters Yerba Buena Jazz Band, Vol 1, (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, (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 Quantity Amount 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 jazz Jazz 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 $30 $38 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 revival Complete the credit card information below, or enclose check or money order for Total. Send to: San Francisco Traditional Jazz Foundation 41 Sutter Street, PMB 1870 San Francisco, CA 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 Name (as appears on card) Account Number (16 digits) Expiration Date (mo/yr) Cardholder Signature Credit card information will be used only for the purchase of the items listed above. 11

12 The Frisco Cricket SAN FRANCISCO TRADITIONAL JAZZ FOUNDATION 41 Sutter Street, PMB 1870 San Francisco, California NONPROFIT ORG. U.S. POSTAGE PAID SAN FRANCISCO,CA PERMIT NO Return Service Requested The Frisco Cricket Fall