Frisco Cricket. Published by the San Francsico Traditional Jazz Foundation SPRING Dig Darnell?

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1 Frisco Cricket Published by the San Francsico Traditional Jazz Foundation SPRING 2008 Nobody I know of has ever accused jazz musicians, as a species, of being overly balanced and sensible. However, for the past 15 years or more, I have tried, on these pages, to be...well... balanced and sensible. I promise to keep trying in the future. But for now, I will give my heart its due. I love the Foundation s new Scobey CD. A long time coming, it s absolutely wonderful particularly the majority of tracks with clarinetist Darnell Howard. Here s where I get certifiably unbalanced. The jazz that emanated from (and remained in) New Orleans in the first generation of the diaspora was different in kind from all jazz, all styles, ever since. There is no way to define this: it was in the DNA of the musicians, the totality of their early influences musical and otherwise. Although he was born in Chicago in Dig Darnell? Contents Dig Darnell? by William Carter 1 The Unheard Bob Scobey Now Available by Hal Smith 3 Liner Notes for The Unheard Bob Scobey by Jim Leigh 4 Letters From Paris #1 by Katie Cavera 6 Membership Application and Product List , Darnell Howard seemed to have inherited that New Orleans DNA; certainly, he expresses it magnificently on this CD. One heard him on important King Oliver recordings early on; or around San Francisco, Los Angeles, Chicago and New York in the 1940s and 1950s with Kid Ory (who, in person and on records, presented a long roster of great Creole style clarinetists, including Jimmie Noone, over so many years) as well as with Earl Hines, Jimmy Archey, Don Ewell and many others, including Bob Scobey. Scobey s own trumpet style and, particularly, his loosely Photo of then 50-year old Darnell Howard and friends, as it lilting rhythm appeared in The Jazz Session, September-October, 1945 section, set him quite apart from the sound of his former bandleaders, Watters and Murphy. Scobey s vibe was a fine inspiration for Darnell. As a clarinetist, I can admire his elegant, expressive facility in the extreme high register, but that is only a technical detail. Really, what

2 Howard brought to the bandstands was a flowing power, the kind once summed up by Dr. Leonard Bechet, brother of the great reedman, Sidney Bechet: These hot people, they play like they killing themselves. In a 54-year career beginning in 1912, Darnell Howard performed with everyone from King Oliver, Carroll Dickerson and Erskine Tate to Coleman Hawkins, Elmer Snowden, Doc Evans, Burt Bales, and the New Orleans All Stars. In his only recording date under his own name, he made four sides for Good Time Jazz, fronting Scobey s band in Darnell died in his adopted home of San Francisco in Today his influence survives, for instance, in the playing of that fine contemporary traditional clarinetist, Evan Christopher. As is the case with nearly all of your Foundation s CD s, our new, previously unissued Scobey could not have happened without the persistent hard work of its producer, Hal Smith. Thanks to all you members, as well, for enabling this important contribution to jazz history. Darnell Howard on the Cover of The Jazz Session, March-April 1945 The Frisco Cricket Issue No. 39 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 Editor, Layout, Webmaster: Scott Anthony Curator of the Archive : Clint Baker Special Projects Consultant: Hal Smith Office Manager: Karen Brooks William Alhouse Charles Campbell William Carter Jim Cullum Bud Spangler Directors Charles Huggins John Matthews William Tooley Leon Oakley Terry O Reilly Unless otherwise noted, all contents copyright 2008 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: cricketeditor@sftradjazz.org or santh@pacbell.net Advertising Rates per issue 1/8 Page $35, 1/4 Page $50, 1/2 Page $75 2

3 The Unheard Bob Scobey Now Available! By Hal Smith Special Projects Coordinator S.F.T.J.F. The San Francisco Traditional Jazz Foundation is pleased to announce that The Unheard Bob Scobey CD is now available. BCD-281 is jointly produced by the Foundation, in association with GHB Records of New Orleans. This compact disc features 18 previously unissued performances by Bob Scobey and his Frisco Band, recorded between 1950 and Thirteen tracks were recorded live, at Jenny Lind Hall in Oakland and the Tin Angel in San Francisco. The remaining cuts are alternates and unissued takes from studio recording sessions in the early 50s. The original tapes were in the collection of the late Richard Krause and were loaned to the Foundation by John Smith, the famed Southern California jazz saxophonist. In addition to the leader on trumpet, Clancy Hayes, Burt Bales, Wally Rose, Darnell Howard, Bill Napier, Bob Helm, George Probert, Jack Buck, Bob Mielke, Squire Girsback, Dick Lammi and Fred Higuera are all heard to good advantage on BCD-281. The sound of the 50-plus-year-old tapes was restored and enhanced by the outstanding sound Back (below) and front (above) of new The Unheard Bob Scobey and his Frisco Band CD. engineer Bryan Shaw, of Digital Brothers Studio in Costa Mesa. The CD booklet includes rare photos from the San Francisco Traditional Jazz Foundation archive and liner notes by trombonist/bandleader/ writer James Leigh author of Heaven on the Side, who also writes the West Coasting column for the online Mississippi Rag. (URL here) 3

4 The Unheard Bob Scobey and his Frisco Band by Jim Leigh Lu Watters cast a long shadow on the San Francisco Bay area revival scene in the years after World War II, and perhaps no one was more aware of it than Robert Alexander Scobey, who had played second trumpet in the Yerba Buena band since even before the war. Bob Scobey chose to start his own band in late 1947; when the Watters group disbanded three years later he took over Hambone Kelly s, renaming the club Alexander s. When the El Cerrito club proved past saving, he took his band to work at the Greenwich Village in Palo Alto, the Rancho Grande in Lafayette, Victor and Roxie s in Oakland, The Tin Angel and Storyville in San Francisco. Scobey hired a number of ex-watters sidemen, but from the very beginning, he was marching, literally, to a different drummer By the time Scobey s Frisco Band was at Victor and Roxie s his sound was clearly established which emphasized just how different Scobey s concept was. During the 1950 s he used two excellent drummers - Dave Black, who had worked with Duke Ellington, and Earl Watkins, an ex-earl Hines All-Star, but his first choice was a veteran named Fred Higuera, seven years Scobey s senior. Higuera had worked for Seger Ellis, and at Sweet s Ballroom with Watters; he even subbed with the Yerba Buena band. But Watters taste in drummers was exemplified by Bill Dart, held on a tight rein. Higuera preferred to swing, and Scobey agreed. By the time Scobey s Frisco Band was at Victor and Roxie s his sound was clearly established; it required some guitar work from vocalist/banjoist Clancy Hayes; instead of a tuba it Fred Higuera (drums) with Bob Scobey s Frisco Band at Victor & Roxie s, Oakland, CA, 1951 involved a string bass (first call was the formidable Squire Girsback, later a Louis Armstrong All-Star). Scobey took advantage of the unusual number of fine clarinetists to be hired in the Bay area during those years: King Oliver alumnus Darnell Howard was one of them, YBJB stalwart Bob Helm another. Scobey was ready to give younger reed players a chance, and in the 50s he helped launch the careers of George Probert and Bill Napier. On trombone, Scobey settled early on Jack Buck, another reliable old pro. Either Burt Bales or Wally Rose completed the basic lineup on piano. Cancer would cut short Scobey s career at 47, but through the 1950s he maintained a busy life of performing and recording. Much of his early work was captured on Good Time Jazz. He made two LPs for Verve, the second with singer Lizzie Miles, and concluded with seven for RCA Victor, including one with Bing 4

5 Crosby. Many Scobey fans, however, hold his work from the earlier 50s in particularly high regard, and for them, the previously unreleased live recordings on this SFTJF/GHB production will be buried treasure. Of the many large dance halls in the Bay Area one favorite was Jenny Lind Hall in Oakland, and all but four titles on this CD were recorded there. For all except acoustic perfectionists, the live hall sound will make up for the occasional imbalance. The first seven tracks (aside from those including Probert as a second reed) are made by the same band with which Scobey had recorded his first four sides under his own name (The Frisco Footwarmers) for Nesuhi Ertegun s Jazz Man label. Darnell Howard is front and center in the mix, and the version of Pretty Baby here is perhaps even hotter than the commercial recording. On High Society, Howard does not one but two versions of the traditional Picou solo, one low and one high, despite the fact that the tempo is as fast as it ever gets on this tune. Two more tracks from 1950 feature Helm at the peak of his form, pushed by the more urgent four-beat rhythm Scobey preferred. The rhythm section misses Hayes s propulsive beat but Bales, Girsback and Higuera take care of business nonetheless. Hayes s vocals, which had enlivened the Watters band in its last days, were likewise a popular feature with Scobey s Frisco Band, and he had his own radio show in the Bay area for years. Blessed with an encyclopedic knowledge Bob Scobey s Frisco Jazz Band at Alexander s, From left: George Probert, Squire Girsback, Jack Buck, Bob Scobey, Fred Higuera (hidden), Clancy Hayes, Wally Rose. 5

6 of standard lyrics as well as many forgotten novelties, he could work many nights without repeating himself. Here he sings on all five of the unissued Good Time Jazz tracks from 1952, also made at Jenny Hall. For one of these, a faster version of Hindustan than that issued on GTJ, Higuera lays on an exciting Latin rhythm; afterward Scobey remarks that it was done a little too fast. Girsback weighs in, then Higuera can be heard defending the tempo (which he himself had set) in no uncertain terms. On the last of these tracks, Of All the Wrongs You ve Done to Me, Scobey put together a trombone section, with Bob Mielke and Marshall Nichols joining Buck, to produce a background against which he uncharacteristically featured himself in a bravura mood, testifying to his long admiration for Louis Armstrong. The last four tracks present the Scobey band live at the Tin Angel on the Embarcadero in San Francisco. Whatever the recordings might lack in perfect balance is more than made up for by the relaxed performances, and few groups in Bay Area jazz history ever got more thoroughly relaxed and mellow than the Frisco Band. Scobey s introduction to 2:19 Blues, his half-sung count-off, and his encouragements during the performance, recall the flavor of the band on the job better than any written account. Bill Napier, by then established as a major player in town, plays a lovely solo, and Hayes, not often thought of as a blues singer, does a fine job on the Jelly Roll Morton lyrics. Even the meticulous ragtime king Wally Rose gets in the bucket here. No one could deny the primary association of the label San Francisco style with Watters, Turk Murphy and their gifted disciples, most recently the Yerba Buena Stompers, but other worthy interpreters of the traditional gospel were plying their trade in and out of the Bay Area back in the day, and Bob Scobey s Frisco Band was perhaps chief among them. Anyway, it s great music and great fun, and it s right here. Letters From Paris #1 by Katie Cavera Since I first started working on Looking For Josephine in the summer of 2006, I ve been sending s back home describing my adventures with this show. I ve decided to post them here in chronological order and add in photos to illustrate my descriptions. What started out as a way of keeping touch with a handful of friends and family has become a pretty extensive project. Background New Orleans, LA (May 2006) June 3rd, 2006 Everything has happened so fast that I ve hardly had time to catch my breath. Last month I went to New Orleans and worked with pianist David Boeddinhaus who is organizing the band for this new production. Along with Chris Tyle (Cornet), Otis Bazoon (Reeds), Tom Saunders (Bass), and James Alsanders (Drums) we make a hot band! We were joined at the rehearsals by Jerome Savary (and his entourage) who is writing and directing the production which is loosely titled, Searching For Josephine. It combines Jazz History, The story of Josephine Baker, and the effects of Katrina on present day New Orleans. And it s a comedy! Also during the week we worked with Nicolle Rochelle, the young singer who will portray Josephine. She was very charismatic, a wonderful singer, and will be fabulous in the role. On Friday Night (May 19th) we gave a preview performance at the Palm Court Cafe. (See the Note Below) A lot of press showed up (French and American) and city officials as well as local musicians and some tourists. Things went wonderfully and by end of the night we had all signed contracts for the show and made things official. The Show is in conjunction with the The National Theatre of the Opéra Comique in Paris. There are two parts to this tour. For part one, I fly over to Paris on June 10th and we rehearse until the end of the month with a special show- 6

7 case on June 28th at the Opéra Comique. Then we tour for the month of July hitting summer festivals in South France and Spain. I ve added the listings on my Calendar page, just in case you find yourself over there, or you have friends or family living there. I fly back to Los Angeles at the end of the month. For part two of the trip we all return to Paris on November 12th and rehearse the show again. Then on November 23rd we reside at the Opéra and I hope that with the laptop computer that was loaned to me by Rae Ann Hopkins-Berry (thanks so much Rae Ann!), I ll be able to continue updating this site and let everyone know what is happening on my overseas adventure. NOTE: The night we performed our first preview at the Palm Court Cafe someone from the production company videotaped the show and clips from it are now on the Official Josephine Website. If you go to alarecherchedejosephine.fr/ and click on Presse and then Films vidéos you can see five of the songs we performed that evening with Nicolle : Then I ll Be Happy, Black, Brown, & White, The Man I Love, J ai Deux Amours, and a blues which features Jerome. If you click on Photographies you can see some stills of Jerome and Nicolle rehearsing, and some nice performance photos from the Palm Court. Katie in the orchestra pit. Photo by Chris Tyle Comique doing shows nightly through January I fly back to Los Angeles on January 15th, I can t describe how excited I am to be given this opportunity. I will be playing guitar and tenor banjo in the show and we will be performing a wide variety of music including Duke Ellington, New Orleans Spirituals, Southern Blues, and French songs that were popularized by Josephine Baker. I m very grateful for all the support of my friends and family Rehearsing in Paris & Summer Tour (June & July 2006) June 13th, 2006 Paris, France Hello! Well, I made it over here just fine. I m still a bit jet lagged but hopefully I ll sort that out soon. My computer tells me it s still Tuesday where you are even though it s Wednesday morning here. One thing I ve found out is that this city is slow to wake up in the morning. Of course there s some activity, but where we are staying is more of a stay out late and sleep in sort of place. They have given us apartments in an area of the city called Montmartre. It s an artist district (they filmed the movie Amalie here) and only a couple metro stops from the Opéra Comique where we rehearse every day. It s full of interesting little cafes and shops and I think we re close to the Moulin Rouge although I really can t make heads or tales of anything much on the map they gave us. I m going to have to go out and find a decent guidebook. We did our first run though Monday with the full cast. It was really interesting seeing the show from top to bottom even if most of it was in French. There s also a character 7

8 actor from New York who delivers his lines and sings in English with the other characters reacting and responding in French. I guess they just assume the audience for this show will be bilingual and will understand both languages. Some of the songs are in French, some are in English, and some are in Spanish (We have a few stops in Spain on the tour). They gave us all scripts with the English translation of the show and so we could follow along (and a lot of it *still* didn t make any sense.) But I can tell you this: The cast is really good! They all sing and dance and act and most all of them are bilingual. There s going to be a lot of big production numbers including one of Jerome Kern s song Who where the girls dance with fans and the band really gets to open up and play hot. It s one of the last big numbers and I think it will be a show stopper. The band sounds great and even though the music is pretty formalized, I know we ll still have fun with it. On our rehearsal breaks we ve been playing for fun, and there s been discussion of finding an after show place to play. We ll see what happens! Take Care, Katie June 21st, 2006 Paris, France Hello! I ve been here just a little over a week now and I m starting to get used to the routine around here. I was able to locate a couple good grocery stores here around the neighborhood and we have little kitchens in our apartments so I hope to save some money that way. The food is really unbelievable and the chocolate is by far the best I ve ever tasted. Last Thursday Jerome gave us tickets to see The Barber Of Seville which was currently playing at the Opéra Comique. (He directed that show as well.) We had great box seats and it was amazing seeing the theatre for the first time. It has orchestra seats and box seats going up six tiers high and everything is really ornate. It seems really big and really intimate all at the same time. I can t believe that we re actually going to be performing in this space and I ll try and get some pictures and put them on my website. 8 From her dressing room on a rainy day in Paris. Photo by Katie Cavera Saturday night Chris Tyle cooked and had a dinner party for the band celebrating the end of our first week here. He made red beans and rice and we sampled a lot of great French wine. It was nice having a taste of home after eating French food all week. The show is coming along great. The Barber Of Seville closed this weekend so we started rehearsing in the theatre yesterday. Playing in the pit is going to take some getting used to and we ll have to sort out some things. We can t see what s happening on stage at all. David is playing a grand piano on a riser so we have to really watch him for all the cues. There s talk of raising the pit so that we ll all elevated and I hope they do that I d like to watch the show too! It ll be interesting to see what they finally work out. The sets they are building for this show are huge and the stage has all kinds of tricks built into it hydraulic lifts, mechanical changes, fog machines, even the lighting is very elabo-

9 rate. Nothing is being done on a small scale. We re rehearsing for 8 hours a day now and I think by the time we open we ll really have everything down. I was having a lot of trouble tuning last week and I thought it was the heat. We had a huge heat wave and our rehearsal space doesn t have air conditioning. For some reason everything seemed all out of sorts. After the second day I stopped using my tuner altogether. Finally Tom Saunders asked me if I reset my tuner for Europe. They tune A to 442 over here instead of 440. I changed my tuner and it s amazing what a huge difference it made! Also the weather finally cooled off so it could have been both factors. Anyway I m much happier now that everything is in tune. Someone remind me to go back to 440 when I get back to the states... Au revoir! - Katie June 28th, 2006 Paris, France Bonjour! This week rehearsals have been really intense! All the costumes, props and sets are really coming together and we ve started doing full dress rehearsals. So far I have two costume changes and I may get a third. The director decided that he wants the band on stage for three scenes and about a half dozen songs. We first appear as a New Orleans street band playing The Saints (of course). Then I have a scene onstage myself as a Salvation Army woman (with the big bonnet and everything!). I just play the chords to St. James Infirmary while the narrator talks about New Orleans funerals. Then the rest of the band joins me (in Salvation Army uniforms too) and we play Flee As A Bird for a funeral procession scene with a fake coffin and everything. As we proceed offstage there s a quick change to a rent party scene where we play The Joint Is Jumpin, Stompin At The Savoy,The Man I Love, and a blues tune called Black, Brown, and White. The guys get to wear pinstriped suits and black hats 9 for the rent party. I m still in my Salvation Army outfit although I did have the sense to ditch the hat as I m switching from banjo to guitar. Maybe I m just a Salvation Army girl gone astray at this point...? I really like the parts of the show I can see (when I m onstage). For most of the show I m in the pit and can t actually see what s happening. We re having a preview of the show this afternoon for select invited guests. They told us to invite all our friends and just leave our guest lists at the box office. If any of you would like to come we go on in three hours! Friday morning we start our out of town tours and we won t be back here in Paris until we come back in the fall. It may be a little more difficult to access the internet and so we ll see what happens. In the meantime I plan on updating my website with photos so if you don t hear from me, check my website to see if I managed to post anything there! Au revoir! - Katie July 12th, 2006 On Tour in France & Spain Bonjour! We are now in the midst of our tour. The first place we played was the city of Anjou a very tiny town south and west of Katie in the orchestra pit. Photo by unnamed fellow musician

10 Paris in the heart of French wine country. We performed in an outdoor amphitheater that was over 500 years old. The seats were cut stone set into the side of a hill, in a semicircle. And backstage was a series of caves and tunnels that ran underground. We played two nights there and stayed at a small hotel / truck stop on the outskirts of town. It was amazing seeing the arena fill up at night and I m not sure where all the people came from but maybe it was the only thing to do for miles around. The audiences really enjoyed the show and we got a very nice review in the local paper. From there we moved on to Perpignan which is a town on the south east coast of France. For our first few days here we stayed at a hotel on the beach and then they moved us closer to the city for the festival. We played one sold out show here last Saturday night and I m told there were about 1,300 people in the arena. We did several encores at the end of the performance and the crowd was on it s feet not wanting to leave. We ve started having rehearsals in Spanish and tomorrow we will drive a few miles south of here across the border to Spain and perform the show in Peralada on Saturday. Based on the success we ve had so far, Jerome is talking about doing a cast recording to sell at the Opéra Comique when we come back in the fall. If nothing else I would like to have a record of this band playing together because its a hot group and I m enjoying playing tenor banjo and guitar with them. We ve been getting together and playing for fun on the days we have free and I m going to start keeping lists of all the great obscure new old tunes I m learning. Thank you so much for the s from home. Since we re touring my internet is spotty but Ill try and respond and keep in touch as time / internet service permits. I don t know how people ever survived without computers! Au revoir! - Katie 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 Fran cisco about 1939, the Foundation now seeks to enhance that collec tion 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 archi val preservation, sup porting live events and broadcasts, collabo rat ing with other jazz and educational institutions, and devel oping 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 avail able to radio sta tions; 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 quar terly newsletter, invitations to special events and avail ability of Foun dation products (often at exception ally low prices). 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 org. Join (or rejoin) the San Francisco Traditional Jazz Founda tion today to begin taking advan tage of reservations to special events, discounts on selected jazz books and recordings, and a year s sub scription to The Frisco Cricket. If you are already a member, give the gift of Founda tion membership to a friend! Use the form at right. 10

11 Product Order Form & 2008 Membership/Renewal Application Name Address Phone ( ) Compact Discs ($13 for members, $16 for non-members) Quantity Amount 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 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 $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 revival Meet Me At McGoon s, by Pete Clute & Jim Goggin $25 $33 $ Another Jazz Scrapbook by the authors of The Great 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 Credit Card MasterCard Visa American Express 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 $ *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 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 Spring 2008 Anytime is a good time to renew your Membership! Support Traditional Jazz! 12