April 2014 Volume 39, Number 04 NO NOT ON EASTER SUNDAY! SIDEWALK STOMPERS BOOKED ONE WEEK LATER APRIL 27TH By Rod Belcher Because Easter Sunday happens on our usual third Sunday of the month, for one time only, our PSTJS concert moves to the FOURTH Sunday, April 27, featuring the Sidewalk Stompers. The sextet led by banjoist Karl Walterskirchen is composed of jazz veterans from both sides of the Cascades. They ve performed for us in past years, spotlighting a standout front line that includes reed-master Paul Woltz, trombonist-vocalist Dave Loomis and trumpeter Rick Holzgrafe. Holzgrafe is less familiar to PSTJS members, but was impressive in a 2013 appearance. The solid but non-intrusive rhythm section is led by Walterskirchen as well as Dave Nelson on piano and Paul Hagglund (a PSTJS jazz camp grad) on tuba. As a unit, they offer all shades of the jazz genre, from New Orleans origins through 1920s Flapper Days tunes and the World War Two swing era. WHERE: Ballard Elks Lodge, 6411 Seaview Ave. NW, Seattle. WHEN: Sunday, April 27, 1 p.m. - 4:30 p.m. ADMISSION: $12 PSTJS members; $15 non-members. Pay only at door. FURTHER INFO: Carol Rippey, 425-776-5072. Or - website: www.pstjs.org. Plenty of free parking; great view & dance floor, snacks, coffee, and other beverages available. NOTES FROM the PREZ! Almost four years ago, Curt Beard s family donated his very extensive CD collection to us. We have been sharing those CD s with our members at $5 each ever since, and the money has been placed in the General Fund. He had such a great collection that the response has been wonderful and we have all benefitted from your purchases. Last month at Jazz I announced a new idea. Since we have very few of his CD s left, I m suggesting that we all go through our personal collections and find CD s we could share with the membership. I know I have many I just never listen to, and would be pleased to bring them to our Sunday Jazz. Just as Curt s collection was of various types of music, please feel free to donate whatever type of music you have. We ll continue to sell them at $5 each and the money will, as always, be deposited in the General Fund. Bring them on down to Jazz any month not just this month, and we ll add them to our CD table. And be sure to check out the new arrivals each month, that one CD you ve always wished you had might just be there, for only $5! Spring cleaning that will benefit our Society, what a deal, that s definitely called a win-win. Just a reminder to those of you who haven t yet sent your Bob Schulz Pledge it s time to get them to Carol now. It is still very necessary that we have extra sponsors for the September gig with the Schulz band. And many thanks for your continued support! Cheers, Judy
Jazz Soundings Puget Sound Traditional Jazz Society 19031 Ocean Avenue Edmonds, WA 98020-2344 425-776-5072 www.pstjs.org April 2014 Gigs for Local Bands BELLINGHAM TRADITIONAL JAZZ SOCIETY 1st Saturday 2-5 pm VFW Hall 625 N. State St Page 2 UPCOMING EVENTS Elks Lodge, Ballard, 6411 Seaview Ave N.W., Seattle April 5 May 3 June 7 Bob Storms Dixieland All-Stars Combo de Luxe Ain t No Heaven Seven April 27 Sidewalk Stompers May 18 holotradband June 15 New Orleans Quintet PRESIDENT Judy Levy jazzdancer2@msn.com 425-890-6605 VICE PRESIDENT Jack Temp 425-242-0683 SECRETARY Cilla Trush paultrush@yahoo.com 206-363-9174 TREASURER Gloria Kristovich gkristo@live.com 425-776-7816 BOARD OF DIRECTORS Joanne Hargrave shorejo1@comcast.net 206-550-4664 Leroy Johnson moldyfig@hotmail.com 206-772-4378 Jan Lemmon djlemmon@msn.com 425-776-9763 Edmunde Lewin 360-297-6633 Gary Lydum glydumup@hotmail.com 206-719-3955 George Oelrich goelrich@comcast.net 360-793-0836 Carol Rippey trianglejazz@comcast.net 425-776-5072 George Swinford grs-pms@comcast.net 425-869-2780 MEMBERSHIP COORDINATOR Carol Rippey trianglejazz@comcast.net 425-776-5072 EDITOR Anita LaFranchi jazzeditor@q.com 206-522-7691 WEBMASTER George Peterson ggpeters99@gmail.com 425-453-5218 FIRST THURSDAY BAND 1st Thursday, 7-10 pm, New Orleans Restaurant, 114 1st Ave S., Seattle, WA CALL TO SEE IF BAND IS PLAYING! 206-622-2563 GREATER OLYMPIA DIXIELAND JAZZ SOCIETY 2nd Sunday 1:00 4:30 PM Elks Club 1818 4th Ave, Olympia, WA April 13 Hume Street Jazz Band May 4 Columbia Classic Jazz Band June 8 Mudd Bay Jazz Band NEW ORLEANS QUINTET Mondays, 6:30-9:30 pm, New Orleans Restaurant, 114 1st Ave S., Seattle, WA CALL TO SEE IF BAND IS PLAYING! 206-622-2563 PEARL DJANGO April 11 9pm The Royal Room 5000 Rainier Ave S, (Columbia City) Seattle, 98118 206-906-9920 April 26 7:30pm The Conway Muse This really is a fun place - come on out! 18444 Spruce (@ Main), Conway, WA; 360-445-3000 JAZZ SOUNDINGS Published monthly except July and August by the Puget Sound Traditional Jazz Society. Anita LaFranchi, Editor, jazzeditor@q.com Ads must be submitted in a jpeg or PDF format Payment in advance to: Gloria Kristovich, P.O. Box 373, Edmonds, WA 98020-0373 Advertising Rates: Full page $100. 7 1/2 wide by 9 1/2 tall Half Page $60. 7 1/2 wide by 4 1/4 tall Quarter Page $40. 3 5/8 Wide by 4 1/4 tall Deadline is the 10th of the month for the next month s issue On Your Dial... Saturday 7-12 pm Swing Years and Beyond KUOW 94.9 FM Sunday 3-6 pm Art of Jazz, Ken Wiley, KPLU 88.5 FM
Jazz Soundings April 2014 Page 3 Names of Jazz Songs By Ray Skjelbred One night many years ago I happened to be in Portland with my friend Jim Goodwin and we decided to drop in on Monte Ballou: banjo player, singer, leader of the Castle Jazz Band and a Portland traditional jazz legend who was playing a gig in some place I ve long forgotten now. Jim and I often played with Monte, but not this night, and we just sat back and listened for fun. At some point he and the band played some improvised blues, and afterward a woman asked him the name of the song. Without a moment s hesitation Monte answered, Fish Are Flexible. I was amazed. It was a crazy, creative thing to say and I am sure Monte made it up on the spot. He was having fun and being playful with language, something musicians tend to do. Recently I had occasion to recall that night and it made me think more about the titles of jazz songs. Why do compositions end up with the titles they have? Here is a little exploration. In the early years of jazz, musicians simply played pop songs of the day in addition to material written specifically for jazz bands. The song structures were similar and crossover use of material was common. Love, of course, was the most common theme, sometimes happy but more often lamenting, with specific angles of thought and relationships like You Took Advantage of Me, Memories of You, and Mean to Me. Another common theme that fell into the lap of jazz was the South or at least a fantasy of the South that forgot about a history of bigotry, the segregation system and Jim Crow laws. Songs about happiness in the south, especially the good old days, and happy Negroes picking cotton, playing banjos and eating (or stealing) chicken (or watermelons) ran wild. Some of these songs had some musical values but I cringe at the underlying thinking. There are plenty of examples, but I don t want to think about them. Remember, even Duke Ellington played at the Cotton Club, a place where blacks were not allowed, except as performers. A more positive direction for me came from the titles that indicated personal events or little details in people s lives. One that stands out to me is Monday Date, which came about because Louis Armstrong and Earl Hines on a Tuesday agreed to meet at a certain place on the following Monday. One of them forgot to show up. The title and words refer to this experience. Joe Sullivan wrote Del Mar Rag to honor his friend Bing Crosby and his racetrack. San Francisco clarinetist Bunky Colman, a doctor, wrote Blue Guaiac Blues to celebrate an unpleasant medical test, which we would all rather not know about. Nevertheless, the title has an exotic sound. Although it is true that racial stereotypes were a dark part of early jazz and American history, there are a number of interesting songs that consider the problem from a more enlightened viewpoint. James P. Johnson s A Porter s Love Song to a Chambermaid tells a love story cleverly with housecleaning images that show romantic attitudes. But the song clearly was an acknowledgement that black society was seen as lower class, that being a domestic was something that everyone in the black world could understand. And yet, in the melody and lyrics there is a kind of joy that lifts the participants above the social world that they are expected to stay in. Louis Armstrong recorded Hustlin and Bustlin for Baby which recounted a working class world and dreams that might just be unrealistic. Again there is a joy and a belief that obstacles can be overcome with hard work. This is one of my favorite Armstrong records and the lyrics bear out the thought that the dream is worth the hard work. Black and Blue is a composition that deals with a subtle kind of discrimination within the black community. Ethel Waters made a great record of this and when you hear all the words you realize the song is not just about being black but how black you are compared to other black people and that there was a sliding scale of social acceptability that was more positive if you were lighter. Jazz is full of well-known and obscure titles that refer to geographical locations, streets and addresses and cultural identifiers. Lu Watters Big Bear Stomp is a reference to a roadhouse in the Oakland hills. Bob Helm s Dawn Club Joys refers to the nightclub where the Watters band first played. Sunset Café Stomp refers to a club where Louis Armstrong played in Chicago. Clark and Randolph is a street corner memorialized by Art Hodes. Shreveport Stomp has a good sound to it and, of course, Seattle Hunch is a keeper. These last two come from Jelly Roll Morton. The Australian musicians are well known for playful and creative titles. Trumpeter Roger Bell wrote The Wombat about a delightful animal and pianist Dave Dallwitz created Nullabor to describe an Australian territory that had no trees. Sometimes titles grow from the playing of a particular instrument. Ory s Creole Trombone is probably the most well known example. There is also Banjoreno a wild banjo number featured by the Dixieland Jug Blowers. Louis Armstrong recorded Cornet Chop Suey and later Bob Helm humorously responded with Clarinet Foo Young. Songs and titles actually do grow from each other. Earl Hines took the chord structure of Shine and rewrote it as Piano Man. Gene Krupa took the same song, featured himself, and called it Drummer Man. Word play is like improvising and we can see that in some titles. Sanford Newbauer, trombonist with the Bay City Jazz Band wrote Aileron Strut which has an obscure swinging sound, if strut is seen as a kind of dance or walk. But a strut is also a support fixture that could hold in place an aileron or the flaps on airplane wings. My favorite is Paul Lingle s Dance of the Witch Hazels, and I probably don t need to discuss the double meaning of witch. For a variety of reasons some songs have more than one name, like Shine and Piano Man. Jelly Roll Morton took the well known Chimes Blues and reimagined it as Mournful Serenade, a bluesier and more melancholy piece. But it s really the same song. Morton often stole from himself. For example, Chicago Breakdown is also Stratford Hunch. One last song title. I ve told it before but the story is fun. Pianist Johnny Wittwer recorded for the Asch label which was later purchased by Stinson. Then a series of recordings came out. One of the masters had been scratched and there was an unclear title, something long beginning with a C and ending with t. So the producers just guessed and called it Canned Meat Rag. It was issued that way, but it was wrong. The real title was Joseph Lamb s Contentment Rag. It sounds just as good with either title! Of course I have now written a piece called Canned Meat Rag because no such song ever existed before.
Jazz Soundings April 2014 Page 4 Lifetime Members: Patron Members Wilma Bradley Jack Burgeson Richard Carlson Norm & Barbara Chamberlain Jan Champlin Lucille Curtis Colin Dearing Lillian Diamond Steve & Arlene Erickson Verna Eriks Jerry & Eva Fader Carl Fielding Joanne Hargrave Lance & Laurie Haslund John A. Heinz Jerry & Pat Herndon Dave Holo Kathy Ilyin Jan James Robert Jordan Jeanne Keller Randolf Scott Keller Gloria Kristovich Nancy Langdon Andrew Larsen B.V. & Janette Lemme Judy Levy Gary Lydum Ian McKenna Bruce Moser Anita Nordstrom Lola Pedrini H.B. Pemberton Janet Perrins Jim & Ginger Reid Carol Rippey Terry & Karin Rogers Ron & Janis Rustad Joel Searles Michael Shilley Edgar Steinitz C. Herbert Stephens George & Pat Swinford Frederic S. Taylor Joe & Marian Thomason Karl Walterskirchen Jill Weber Pat Woods Alexander Yan Rod Belcher Carol McFarlane Leroy Johnson Clermont & Ellen Powell Al & Joan Powers Let s Welcome these New Members! Roberta DeVore Roy D. Miller Richard Champlin Lisa Anderson Mark & Marly Forster We re looking for new Members YOU can help with little effort and that s by bringing just one of your friends or family members into our club. If WE ALL do that, our membership will double.
Jazz Soundings April 2014 Page 5 Puget Sound Traditional Jazz Society 19031 Ocean Ave., Edmonds, WA 98020-2344 Please (enroll) (renew) (me) (us) as a member or members Name Address City, State Zip Code Phone E-Mail Check when renewing if your address label is correct Dues for 12 months: Single $25 Couple $40 Lifetime single $200 Lifetime Couple $350 Patron $500 (One or two lifetime membership) Please enclose a self-addressed, stamped envelope. The Puget Sound Traditional Jazz Society is a nonprofit, tax-exempt organization dedicated to the performance and preservation of traditional jazz. Your membership and contributions are tax-deductible. Thank you. ~ FESTIVALS ~ APR 11-13: THREE RIVERS, CA. 41st Annual Jazzaffair Headquarters: Veterans Memorial Bldg., Hwy 198 & Skyline Dr. Guest Artists: Bob Draga, Jerry Krahn. Featured Bands: High Sierra J.B., The AU Brothers, Blue Street J.B., Cornet Chop Suey, High Street J.B., Ivory&Gold, Night Blooming Jazzmen, Reedley River Rats, Titan Hot Seven, Tom Rigney & Flambeau, Wally s Warehouse Waifs. A.E. Badges: $90 until 3/15/14 then $95. Be A Sponsor: Jazz Fan: (2 Badges $250); Jazz Patron: (2 Badges, $500 Preferred Seating, Access to Hospitality Room); Band Sponsor: (4 Badges, $1,000 Preferred Seating, Access to Hospitality Room). Daily badges available. Contact Info: S.T.J.C. Jazzaffair, PO Box 712, Three Rivers, CA 93271-0712. 559-561-4549. Email: i564391@thegrid.net Website: www.jazzaffair.info Lodging: Call for brochure. SUBSCRIBE TODAY News You Can Use About Traditional Jazz and Ragtime U.S. One Year: $26 -:- Canadian $39 U.S. Funds* U.S. Two Years: $48 -:- Canadian $74 U.S. Funds* (*) Includes Airmail Delivery Make check payable to: The American Rag 20137 Skyline Ranch Dr., Apple Valley, CA 92308-5035 Phone/Fax: 760-247-5145 Name Address City State Phone Zip + 4 Puget Sound Traditional Jazz Society
Puget Sound Traditional Jazz Society 19031 Ocean Ave. Edmonds, WA 98020-2344 Address service requested Non-profit Org U..S. Postage Paid Seattle, WA Permit 1375 X on your Jazz Soundings address label means your dues are payable. XX means Good-bye BANDS, CONTACTS AIN T NO HEAVEN SEVEN Leader: Terry Rogers terryrrogers@comcast.net 206-465-6601 COAL CREEK JAZZ BAND Leader: Judy Logen, 425-641- 1692 Bookings: judy@coalcreekjazzband.com COMBO DE LUXE Bookings: Candace Brown www.combodeluxe.net jazzstrings@comcast.net 253-752-6525 CORNUCOPIA CONCERT BAND Leader: Allan Rustad www.comband.org 425-744-4575 DUKES OF DABOB Bookings: Mark Holman, 360-779-6357, seaclar7@embarqmail.com. DUWAMISH JAZZ BAND Bookings: Carol Johnston carolanjo@yahoo.com 206-932-7632 EVERGREEN CLASSIC JAZZ BAND Leader: Tom Jacobus email: t.jacobus@comcast.net ph: 253-852-6596 or cell 253-709-3013 FIRST THURSDAY BAND Leader: Ray Skjelbred, Rayskjelbred@gmail.com 206-420-8535 FOGGY BOTTOM JAZZ BAND Leader: Bruce Cosacchi 360-638-2074 GRAND DOMINION JAZZ BAND Bookings: Bob Pelland bobpelland@gdjb.com 360-387-2500 holotradband Leader: Dave Holo email: dave@daveholo.com www.holotradband.com HOT CLUB SANDWICH Contact: James Schneider www.hotclubsandwich.com 206-561-1137 HUME STREET PRESERVATION JAZZ BAND Bookings: Karla West 406-862-3814 JAZZ UNLIMITED BAND Leader: Duane Wright duane.janw@frontier.com 206-930-9998 JAZZ STRINGS Bookings: Candace Brown jazzstrings@comcast.net 253-752-6525 LOUISIANA JOYMAKERS! Leader: Leigh Smith smithtunes@shaw.ca 604-294-9464 THE MARKET STREET DIXIELAND JASS BAND Ansgar Duemchen: 425-286-5703 Tim Sherman 206-547-1772 www.marketstreetdixielandjass.com MIGHTY APHRODITE Co-leaders: Bria Skonberg, Claire McKenna mightyaphroditejazz@hotmail.com 405-613-0568 NEW ORLEANS QUINTET Jake Powel 206-725-3514 jake_powel@comcast.net RAINIER JAZZ BAND Manager: Randy Keller randolphscottkeller@gmail.com 206-437-1568 RAY SKJELBRED Rayskjelbred@gmail.com 206-420-8535 RONNIE PIERCE JAZZ ENSEMBLE ronniepiercemusic@yahoo.com, 206-467-9365 UPTOWN LOWDOWN JAZZ BAND Leader: Bert Barr uljb@yahoo.com 425-898-4288 WILD CARDS JAZZ Leader: Randy Keller randolphscottkeller@gmail.com 206-437-1568