Frisco Cricket. Published by the San Francsico Traditional Jazz Foundation Spring 2011 RE-NAISSANCE AND RE-VOLUTION.

Transcription

1 Frisco Cricket Published by the San Francsico Traditional Jazz Foundation Spring 2011 RE-NAISSANCE AND RE-VOLUTION by William Carter What we love about the past ought to be productive in the present. -- John Armstrong, In Search of Civilization Bruce Dexter in Fuengirola, Spain Photograph by William Carter Contents Re-Naissance and Re-Volution by William Carter 1 Note from A Reader by Peter Wood 2 Hot And Fresh a book review by Bruce Dexter 3 Some Earthquake McGoon s And Turk Murphy Jazz Band Items by Bob Roper 6 Donations to SFTJF for 2009 and Membership Application and Product List 11 1 As with other romances, many traditional jazz lovers retain precise memories of their first dates with the music those moments when one becomes hopelessly smitten. Mine occurred when I was about sixteen in Truly, I became a true believer: listening to the Kid Ory band both live and on the radio, reading worshipful jazz histories, and spending hours in record stores on Saturdays. The most erudite of those was the Jazz Man Record Shop in Hollywood; even though I was afraid to hang out there too long at any one time, lest my naivety be exposed. On the left wall as you entered, there was a small bulletin board. I saw a 3-1/2 x 5 card saying that a young jazz band, the Costa del Oro, was looking for a clarinet player. I scribbled down the phone number. Back in the privacy of my own home, with trembling fingers, I dialed. The mild-voiced leader, an older guy around 21, explained that their former clarinetist had been drafted to the Korean War. Q: what clarinetists did I like? A: Johnny Dodds, Jimmie Noone. Q: How long had I been playing? A: Seven or eight years mostly in school marching bands, but just now learning jazz [as in, um, I m starting this week]. Q: Could I come to their next rehearsal? A: Yes, but I might have some tune learning to do. [Cool voice concealing brain freaking out stomach plummeting -- no idea what to play or how to play. Must practice NOW...] I was picked up in a Humphrey Bogart style coupe by trumpeter Bruce Dexter (driver and bandleader; the side of his head actually did resemble

2 Bogart s from my perch in the back bench-seat) and, on the other side in the front, trombonist Jim Leigh, dauntingly knowing and worldly-seeming in his early twenties. The rest (intones our film-noir narrator) is history. Sixty-plus years and counting: Bruce and Jim remain two of my longest-surviving friends. Both became fiction authors and jazz buffs. Jim has contributed to the Cricket; now, Bruce has. In this issue he recalls, in a book review, the long, surprising saga of the Jazz Man Record Shop a remembrance of the seminal years of the hot jazz revolution. This turning around of jazz history continues to feel as it felt then: whether in a whirling CD player, or on those solid old 78 rpm turntables, to revolve means to come full circle. From The Editor We just received the note on the right from a visitor to our website (and hopefully a new member) and want to share it with everyone. Subject: Hot Jazz Society of San Francisco I have just discovered Frisco Cricket Winter 2010 on line, and your cover story about the Hot Jazz Society of San Francisco, and how little is known about it. I was a member during 1943 to 45 while I was in high school in Berkeley, and often attended performances of Bunk Johnson and His Hot Seven, held in the basement of the CIO Hall at 150 Golden Gate Avenue in San Francisco. I was told that the Society was only able to bring Bunk to the Society by buying him a new set of teef, and a pair of yaller shoes. Some of the well-known performers I recall at Hot Seven sessions were Kid Ory, Clancy Hayes, Sidney Bechet, Jelly Roll Morton, Turk Murphy -- some as regulars, others as drop-ins. Bunks teeth didn t fit well, so it was hard to understand him at times, It often happened that he would mumble to the band the name of the next number, stomp his foot three times, and the musicians would start playing what they thought he had said. Well, since it was jazz, it still sounded great, even if they played three different numbers. Peter Wood Edenton, NC The Frisco Cricket Issue No. 51 Published by the SAN FRANCISCO TRADITIONAL JAZZ FOUNDATION 3130 Alpine Road, #288 PMB 187 Portola Valley, CA Phone: (415) , FAX: (415) Website: info@sftradjazz.org Publisher: William Carter Editor, Layout, Webmaster: Scott Anthony Curator of the Archive : Clint Baker Special Projects Consultant: Hal Smith Office Manager: Karen Brooks John R. Browne, III William Carter Jim Cullum Charles Huggins Board of Directors Gregg Keeling John Matthews Terry O Reilly William Tooley Honorary Directors William Alhouse, Charles Campbell, Leon Oakley Board of Advisors Philip Hudner, Michael Keller, Paul Mehling, Bunch Schlosser, Bud Spangler Unless otherwise noted, all contents copyright 2010 San Francisco Traditional Jazz Foundation Advertise in the Cricket! In an effort to help 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 2 full pages will be used in any single issue of the Cricket, so ads will be accepted on a first-come, first-served basis. We need to be able to maintain the right to accept or reject advertisements at our discretion. Please send your ad to: Cricket Editor San Francisco Traditional Jazz Foundation 41 Sutter Street, PMB 1870 San Francisco, CA Or (preferably) by to: webmaster@sftradjazz.org or santh@comcast.net Advertising Rates per issue 1/8 Page $35, 1/4 Page $50, 1/2 Page $75 2

3 HOT AND FRESH a book review by Bruce Dexter Ginell s work is far more than a book about a store. Hot Jazz For Sale: Hollywood s Jazz Man Record Shop by Gary Ginell (2010) Available from Lulu ($29.95) or Amazon ($45.99 / $29.95) In 1939 the Big Band Era had begun to implode on increasingly complex arrangements, while here and there one could hear the first sounds of modern jazz radical revisions of every aspect of the music that preceded it. Coupled with the onset of World War II in Europe, and the lingering Depression in the U.S., 1939 seemed an unpropitious time to open a store on Los Angeles Sunset Strip selling only used 78 rpm records of early black traditional jazz bands such as those of King Oliver, Louis Armstrong, Jelly Roll Morton, Johnny Dodds and Jimmie Noone. Few white people were familiar with this music. The recordings could only be found by junk-shopping or going house to house in older black neighborhoods. Information about them was scarce and often inaccurate. My copy of Charles Delaunay s Hot Discography (all there was until Orin Blackstone s mid-1940s Index to Jazz) listed Johnny St. Cyr, the Hot 5 banjo player, as Johnny Sincere, obviously having gleaned the information only from Louis Armstrong s spoken introduction to Gut Bucket Blues. While many jazz pioneers were living in Los Angeles, white Angelenos were mostly fans, if fans at all, of white Big Band Jazz only four years earlier, their cheers at the Palomar Ballroom had started Benny Goodman on the road to fame. But David Ashford Stuart was the kind of American convinced he could convert a passion for this music into a cause, money, and celebrity. His Jazz Man Record Shop began as a shrine for jazz purists Stuart even considered Ellington too modern where fortunate customers might encounter in the flesh the likes of Morton (in his last days), Armstrong, Ory, Noone and members of the recently formed Lu Watters band, as well as notables such as composer Igor Stravinsky (he liked to listen to Oliver) and film star Orson Welles. Jazz Man closed (except for a few months in nearby Burbank) 45 years later on West Pico Blvd. in Santa Monica, still a shop for collectors but of a far more eclectic sort. Author Reb Spikes dropped in, as did crooner Mel Torme, but patrons were less eager converts to a newly discovered musical faith than seasoned collectors who sometimes seemed to value their 3

4 collections more than the music itself. That was not a new type. Record Changer cartoonist Gene Deitch had lampooned this phenomenon beautifully in a late-40 s classic of his character, The Cat, proudly displaying his mint copy of The Happy Brass Deceivers, on a pedestal, under glass, obviously too precious ever to put on a turntable. Author Gary Ginell s work is far more than a book about a store. It captures a moment in time when, because of the Jazz Man and, soon, other shops like it across the U.S. and England, large numbers of people would become aware of the wonderful recorded heritage of New Orleans jazz. Never before had listeners experienced anything like this level of visceral emotion from popular music. Soon there would be reissues, legal and not, or records newly recognized to be a uniquely American art form of lasting importance to world culture. Soon, too, there would be new recordings by both first- and second-generation pioneers, and numberless recordings by young white musicians who had fallen in love with the old style. Jazz Man s own label pioneered with recordings of Bunk Johnson, Ory, Morton, Watters and many more. A major factor in the pleasure and importance of this new book are its portraits, both vignettes and in full scale, of the colorful personalities who ran the shop, patronized it, or just hung out there. The musicians associated with the shop and its record label receive particular attention. There will be few readers who don t learn much they never knew about Bunk, Ory, Morton and members of the Watters band. The portraits of Jazz Man s proprietors will be new information for most readers. Stuart s tenure was brief, if not as brief (25 days) as his marriage to his successor, Marili Morden. Almost from the start, he disliked being confined behind the shop counter and wanted to engage in more aggrandizing and remunerative activities. In fact, his marriage to Marili seemed planned more to acquire a helper in the store than a life s partner. But after their divorce, Stuart ended up giving Jazz Man to Marili. Basically, she would run it from sometime in 1941 until she sold it to Al Van Court in For six of those years she shared ownership with second husband Neshui Ertegun; but, while he proved a more constant husband, Ertegun became as restive as Stuart behind the shop s counter. Marili loomed large at the Jazz Man. A striking brunette, she had a very direct way of looking at one. Many come in as much for her presence as for any music they might hear. More probably fell in love with her than bought any records. Ironically, in many ways the shop was not congenial for hearing music. In later stores on the L.A. jazz 4 scene, such as Ray Avery s Record Roundup, or Jack Lewerke s (later Ellen Hertel s) Record Shack, usually a record was playing on the turntable, and others were easily available for browsing. But when you entered Jazz Man, you didn t even see a record. The austere front room included a counter with a turntable, behind which sat the alluring Marili. Behind her, you glimpsed shelves of records in cardboard sleeves. You had to ask for anything you wanted to hear. You never touched a record until you d bought it. Marili was not unfriendly. She would give you as much time and information as you wanted. You just had to ask for it like the records by name. She was reserved, and she could seem remote. But those who came to know her knew a warm, if mysteriously troubled, person who attracted lasting friendships, loved to laugh, and enjoyed a wide range of interests. As interesting when one got to know him, as one assumed Marili was just by looking at her, Neshui Ertegun was the son of a onetime Turkish ambassador to the United States. Broadly educated in a European tradition, Neshui had been fascinated with American music and culture from an early age. When he discovered Jazzman and 23-year old Marili Morden in the early 40 s, it must have seemed to 25-year old Neshui serendipity of the rarest kind. Although Marili was perhaps as knowledgeable as he about jazz, he had an assured command of global culture. Marili would prove an eager pupil for a man who always liked to teach. But Neshui, like Stuart, had ambitions beyond running a shop. By 1952 he was out of there, separated from Marili, and working for Les Koenig s Good Time Jazz / Contemporary Records (not always a comfortable fit). In 1955 he left for New York to join his brother, Ahmet s Atlantic Records, which boomed into an empire. Marili hung on at Jazz Man until 1953, when she sold it to Harvard Law School graduate Al Van Court. His main interest was in recording, but he kept the shop under a number of managers of varying effectiveness for seven years. The shop did poorly until the last manager, Don Brown. Brown had come aboard as manager-with-an-option-to-buy, which he finally did in 1959 for $500, including stock (by then more than a little depleted, i.e. looted by former managers). A collector of all kinds of jazz since the late 1930 s, Brown had mostly worked on the fringes of the broadcasting business, not with great success. At the Jazz Man he found a real home for his interests, talents and personality. It was an informal place un-

5 der him (beer and arguments allowed in the back room), but it was run competently and with the dedication of the earlier proprietors. Brown could be crusty, but was always tolerant, and his tenure was the longest of any owner until Amply illustrated, Ginell s book captures in detail a fascinating cultural phenomenon. Music created by members of a minority only a few decades removed from slavery, originally played for minority audiences, would, like a benign contagion, infect members of the larger society, and eventually be transmitted worldwide. Its music lovers tended to be not just fans but acolytes and apostles, their lives permanently changed, a little or a lot, by hearing melodies, harmonies and rhythms infused with a unique spirit, presented in an utterly new way. Key to this dissemination were shops like the Jazz Man where so many first heard the music, and where they met others with the same burgeoning enthusiasm for it. None of the proprietors would make much money. But their lives would measure large in other terms. Tales of the jazz pioneers are often embedded in the kinds of mythic tangles of far-fl ung fact and fancy that New Orleans seems to specialize in. Author Bruce Dexter cites a 1940 s discography listing Johnny Sincere as the banjoist on the Louis Armstrong Hot Five Recordings. Pictured above, that was the great Creole Orleanean, Johnny St. Cyr. \ The photograph was evidently taken by John E. Kuhlman (Cleveland) and later owned by Edmund Souchon (New Orleans) and one Joseph Murphy. The print is currently owned by Jay Bruder (Alexandria, Virginia) who acquired it in an estate sale in Honolulu about ten years ago. A note typed on a sticker on the back of the photo informs us that the banjo is NOT a banjo, but a guitar key board, with a banjo sounding board. A CD is available of all of the 25 recordings that appeared on the Jazz Man label, from the Watters Dawn Club sides of to the previously unissued 1963 recording by Bukka White. Neither this reviewer, nor the San Francisco Jazz Foundation, has received these reissues, so we cannot compare their sound quality to the originals. The CD can be ordered from 5

6 Some Earthquake McGoon s and Turk Murphy Jazz Band Items A couple of months ago I received this message from our website contact page: from Bob Roper, photos and scans by Bob Roper I just received my copy of Meet Me at McGoon s, which I am enjoying immensely. It occurred to me that you might be interested in having some of my pictures of Turk. I have four from a Volcano concert and a number of photos of :McGoon s ephemera. If you re interested, I ll you some JPGs... Presented here is the result of that correspondence! Full-size photos and scans will be placed on our website at Turk Murphy Jazz Band At Volcano, CA, mid-1960s Above - Turk and an admirer. Top and bottom right - Turk Murphy Jazz Band. Turk Murphy - trombone, Bob Neighbor - cornet, Bob Helm - soprano sax, Dave Weirbach - banjo, Howard (Shorty) Johnson - tuba, Bea Barratt 6

7 Earthquake McGoon s Ephemera, mid-1960s Above, right and far-right Clay Street Menu. Band request card Souvenir shot-glasses 7

8 Donations to SFTJF Donations to SFTJF The San Francisco Traditional Jazz Foundation in gratefully acknowledges these generous fi nancial contributions during the period January 1, 2009 through December 31, Angel Level -- $1000 and above Keith K. Kappmeyer Terry O Reilly Conny Svensson Also 6 Anonymous Donors Emperor Level -- $500 and above Robert H. Giles Also 2 Anonymous Donors Earthquake Level -- $250 and above Charles Campbell Also 1 Anonymous Donor Hambone Level -- $100 and above Thomas H. Bartlett Karl G. Blume James A. Branson R. Bruce Brougham W. Roland Carrothers Robert A. Champlain Gerald M. Connell J. Russell Gilman, Jr. Dr. William M. Gould Dan & Mazie Havens Robert & Sylvia Hubbert Peter & Sue LaTourrette Harlow V. Plimpton Bernice Bee Thorpe Gerald C. Vanoli Mike Walbridge Herbert A. West Aficionado Level -- under $100 Nancy G. Bostick Paul F. Brantner Omar J. Brubaker H. Culling Andrew R. Ellenberger John D. Gray Richard E. Hall Ralph B. Hegsted Richard V. Helgason Glenn I. Hildebrand Walter C. Huening Eric L. Johnson Gerald L. Johnson Richard E. Leach John R. & Betty J Lemna Joseph G. Marvin, Jr. Winton E. Mather Edward H. Michelson Richard D. Mushlitz Robert & Kathlen Nelson Harry F. Oakes Harry W. Oakes H. Dieter Ochs Nicholas & Pat Petrakis Stanford C. Redisch Emery H. Rogers Kenneth W. Royer Ronald G. Scott Melvin R. Stein Sal & Jo Terrusa Mary Etta Woose The San Francisco Traditional Jazz Foundation in gratefully acknowledges these generous fi nancial contributions during the period January 1, 2010 through December 31, Angel Level -- $1000 and above Charles N. Huggins Keith K. Kappmeyer Terry O Reilly Also 6 Anonymous Donors Emperor Level -- $500 and above John Plut Also 6 Anonymous Donors Earthquake Level -- $250 and above William G. Alhouse William L. Tooley Also 1 Anonymous Donor Hambone Level -- $100 and above Alvin H. Baum Andrew R. Ellenberger Willy Fogli Dr. William M. Gould Peter & Sue LaTourrette Hal Harlow V. Plimpton Bernice Bee Thorpe Aficionado Level -- under $100 George Crow Charles Ross DeVore Deborah Doyle J. Russell Gilman, Jr. John D. Gray Ralph B. Hegsted Glenn I. Hildebrand Joseph G. Marvin, Jr. Merele McClure Eugene Miller K. Allan Nelson Harry F. Oakes Harry W. Oakes James M. Pollock Robert Romans Kenneth W. Royer Bob & Linda Schulz Ronald G. Scott John A. Sutro 8

9 Jim Sadler Long-Time Member And Avid Live-Jazz Fan Jim Sadler, aka Arthur J. Sadler By Marilee Jensen, a close friend for many years I m sending this to you to let you know that Jim Sadler died this last Sunday, following a fall at the Cliff House, San Francisco, at the age of 92 years. He had been recovering from an earlier fall about two months earlier, but he was still living on his own with some help during the day. On Sunday, January 16, his niece, Peggy Redpath, had taken him to lunch at the Cliff House which he really enjoyed, including talking about the ocean around them. When Peggy went to get the car, Jim unexpectedly fell again and hit his head. He didn t survive this fall. Those of us close to him knew he had had a long good life. Jim Sadler was married to Ruth Nye Sadler, Frank Nye s sister, for over 49 years, from May 1946 until her death in October, Among Jim s many strong interests, he always loved the traditional jazz scene in San Francisco. To quote Jim, Ruth often said that the reason she married me was because I was the only guy that took her to the Dawn Club, on Annie Street, behind the Palace Hotel in San Francisco, where the Yerba Buena Jazz Band had played in the forties with such well known musicians as Lu Watters, Turk Murphy and Bob Helm. In the last years of her life Ruth was playing ragtime piano more and more, which Jim really supported and helped her with any necessary arrangements. She had her own band, the Royal Recidivists, as well as playing solo piano at the West Ragtime Jazz Festival and at intermission time for the San Francisco Starlight Orchestra, and the Natural Gas and Jubilee Jazz Bands when they were playing every other week at the Alvarado Inn, on Highway 101 in Marin County. Jim recorded many of Ruth s performances as well as those of his favorite traditional jazz bands. As the result of this, combined with recordings he purchased, Jim had thousands of recordings, literally, going back a number of years which he could still copy and send out when he chose. In about October, 2010, he sent me two more Bay Street Jazz Band CD s, upon request. As a result, combined with the music he purchased, Jim had thousands of recordings covering a period of almost 70 years. He was generous with this collection; he always made copies of things that I d asked for, and sometimes a CD or two would just show up in the mail as something he thought I might enjoy. At least once a month in 2010, he was still attending jazz sessions at such places as South Bay, Little Switzerland, TRAD JASS, and Natural Gas in Marin County and he would dance a few good dances with me whenever we both attended the same event. Many of us will miss Jim very much. On Saturday, March 5, at 9:00 am, his ashes will be taken on a Neptune Society boat to be scattered by his loved ones at Bonita Point, in the ocean a little beyond the Golden Gate Bridge, where Ruth s ashes were placed about fifteen years ago. His brother Bill s ashes were also placed at Bonita Point. If anyone is interested in possibly joining us on March 5, please contact Peggy Redpath, his niece, at peggyredpath@mac.com to let her know. There is a limit on how many people can be on the boat, but there is still quite a bit of room for friends of Jim Sadler. I m asking any of the traditional jazz band leaders who had a connection with Jim to please announce to the audience that they are playing a particular trad jazz piece in Jim Sadler s memory. I think that would have meant a great deal to him. Thank-you very much. 9

10 In Memory of Lu Watters and his VR10 Navy Dance Band [Paid advertisement] About Your New San Francisco Traditional Jazz Foundation Created as a non-profit in 1981, the San Francisco Traditional Jazz Foundation stated, as its primary mission, the archival preservation of thousands of items related to the West Coast Jazz Revival that began in San Francisco about In 2009 SFTJF completed the transfer of the main body of those materials to the Stanford University s Music Library. Thereupon, your Foundation s Archive was closed; possible donors of jazz materials should now contact Stanford or other public repositories. SFTJF s wider, ongoing aim is to help foster high-quality traditional jazz, regionally and worldwide. That mission is now carried out primarily via electronic media. The Foundation s main window on the world is our website -- www. sftradjazz.org -- where visitors are invited to become members at $25 per year. Benefits of membership include insider information and discounts to special events and products, and a subscription to our lively newsletter, the Cricket, now available electronically. Those wishing to continue receiving the Cricket on paper in the mail should please contact the SFTJF office manager. Thank you for your generous support over the years. Contributions in categories beyond the basic membership level are tax deductible, and the names of those contributors are published annually (unless a contributor specifies anonymity). Donations welcomed The San Francisco Traditional Jazz Foundation accepts gifts and grants in many forms, including his tori cal items which shed further light on the history of traditional jazz on the West Coast, such as recordings, music, newspaper clip pings, pho tographs and corre spon dence. Contributions of materials or funds are tax-deductible under IRS ruling status 501(c)(3). SF Jazz on the Web The San Francisco Traditional Jazz Foundation has an ever-expanding web site. The site includes sound 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 Founda tion today to begin taking advan tage of reservations to special events, discounts on selected jazz books and recordings, and a year s sub scription to The Frisco Cricket. If you are already a member, give the gift of Founda tion membership to a friend! Use the form at right. 10

11 Product Order Form & 2011 Membership/Renewal Application Name Address Phone ( ) Compact Discs ($13 for members, $16 for non-members) Quantity Amount El Dorado Jazz Band Live At Mr. Fatfingers...(BCD-510) $ The Sunset Music Company Live in Dusseldorf, (BSR-009) $ The Unheard Bob Scobey and his Frisco Jazz Band (BCD-285) $ A Musical Tribute to Lu Watters The Bay City Stompers... (BCD-280) $ Firehouse 5 Plus 2 Live at Earthquake McGoon s (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, (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: $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 jazz The Great Jazz Revival, by Pete Clute & Jim Goggin $10 $15 $ The story of the San Francisco jazz revival Meet Me At McGoon s, by Pete Clute & Jim Goggin $25 $33 $ Another Jazz Scrapbook by the authors of The Great Jazz Revival Jazz West 2, by K.O. Ecklund, published by Donna Ewald NEW PRICE! $6 $8 $ The A-to-Z guide to west coast jazz music; a unique source. Complete the credit card information below, or enclose check or money order for Total. Send to: San Francisco Traditional Jazz Foundation 3130 Alpine Road, #288 PMB 187 Portola Valley, CA Credit Card MasterCard Visa American Express Total Qty: $ California residents, add 9.25% sales tax $ Everyone add shipping (Total Qty X $2.00 per item) = $ If outside U.S., Canada and Mexico, add $5 per order. $ New or Renew SFTJF membership, add $25. $ Donation* $ Total $ *contributions to SFTJF, above the basic membership level, are tax deductible Name (as appears on card) Account Number (16 digits) Expiration Date (mo/yr) Cardholder Signature 11

12 The Frisco Cricket SAN FRANCISCO TRADITIONAL JAZZ FOUNDATION 3130 Alpine Road, #288 PMB 187 Portola Valley, CA Important! Please note our mailing address has changed! SAN FRANCISCO TRADITIONAL JAZZ FOUNDATION 3130 Alpine Road, #288 PMB 187 Portola Valley, CA We apologize for any mail that has been returned with RETURN TO SENDER ATTEMPTED - NOT KNOWN UNABLE TO FORWARD This is in error - we are still very much in business! Send an to: info@sftradjazz.org or register online at The Frisco Cricket Spring 2011