“What Goes Around” - · PDF file“What Goes Around... ... This is a story of how jazz reseeds itself. Trombonist Turk Murphy, ... full-sized steam locomotive which

Frisco CricketPublished by the San Francsico Traditional Jazz Foundation Winter 2008

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“““““What Goes ArWhat Goes ArWhat Goes ArWhat Goes ArWhat Goes Around...ound...ound...ound...ound...”””””by William Carter

“What Goes Around...”“What Goes Around...”“What Goes Around...”“What Goes Around...”“What Goes Around...” by William Carter 1Trains And Jazz MusiciansTrains And Jazz MusiciansTrains And Jazz MusiciansTrains And Jazz MusiciansTrains And Jazz Musicians by Various Authors 3Membership Application and Product ListMembership Application and Product ListMembership Application and Product ListMembership Application and Product ListMembership Application and Product List 11

Contents

This is a story of how jazz reseeds itself.Trombonist Turk Murphy, as many of you

know, is often credited as the first one to use theterm “traditional jazz.” Turk and other members of

so, he worked at this enterprise for many hoursoffstage, for every hour he put in playing.

In the early 1950s Turk struke up an acquain-tance with a colorful, eloquent character named Sid

his inner circle, including reed-man Bob Helm, forged a musicalcontinuity with the dance jazz ofNew Orleans as recorded inChicago and elsewhere. At thesame time, they saw themselvesas inheritors of a wide traditionof ragtime, circus music, vaude-ville, minstrelsy, show tunes andother early twentieth centuryforms – even, occasionally,slapstick comedy. (Helm wrote astage show called “Poets Fol-lies.”) Announcing songs, Turkwould say things like “We’d liketo play a tune made famous bythe dance team of Vernon andIrene Castle” reminding listenersthat, at least for him, “traditionaljazz” included these varied linkswith a storied past in Americanentertainment.

And as seasoned professional musicians, andbroadly experienced arrangers, Murphy and hiscoworkers had a different viewpoint toward the jazzbusiness than many of their more idealistic followers.Bassist/banjoist Dick Lammi, like most of theseconfreres, always spoke of having “worked” in thisor that band at such and such a date (he had a veryprecise memory) as opposed to “playing” in it. Turkwas proud of having kept his band going full timeprofessionally through many difficult decades. To do

LeProtti. They were kindredspirits. Having worked success-fully for many years as a rag-time pianist/arranger/band-leader on the Port of SanFrancisco’s booming BarbaryCoast, LeProtti seemed anembodiment of the ragged-but-right tradition that Turk and hisplayers sought to perpetuate.Turk sat Sid down with a taperecorder and a piano to remi-nisce about the early days. Theresult was a series of tapes thatbecame our best primary re-source on a little known, wildand woolly episode of jazz hist-ory. A great storyteller, LeProttiemerges as a tough, gifted,humorous, and worldly-wisesurvivor – Turk’s kind of guy.

These and other pieces of evidence demon-strate how jazz’ first migration out of New Orleanswas – not to Chicago and New York as so oftenstated in the official history books – but to SanFrancisco and Los Angeles, where Kid Ory’s bandmade the world’s first jazz recordings by a black(Creole) band shortly after World War I.

In the 50s Murphy had a strong supporter inGeorge Avakian at Columbia Records in New York,an artists’ (A&R) man whose stable included LouisArmstrong and other important names. Turk mailed

Raffish ragtimer Sid LeProtti in San Francisco,1953. Photo by Harry Bowden, courtesy CharlesCampbell

The Frisco Cricket Winter 2008

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The Frisco CricketIssue No. 38

Published by theSAN FRANCISCO TRADITIONAL

JAZZ FOUNDATION41 Sutter Street, PMB 1870

San Francisco, California 94104Phone: (415) 522-7417, FAX: (415) 922-6934

Website: www.sftradjazz.orgE-mail: [email protected]

Publisher: William CarterEditor and Layout: Scott Anthony

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

Office Manager: Lindy RowePublic Relations Consultant: Laura Browne

Directors

Bud Spangler

William AlhouseJohn R. Browne IIICharles Campbell

William CarterJim Cullum

Charles HugginsJohn MatthewsWilliam Tooley

Leon OakleyTerry O’Reilly

Advertise in the Cricket!

In an effort to help defray the costs ofmaintaining all the varied programs that SFTJFsupports, including The Frisco Cricket itself,we’re going to begin providing limited advertis-ing space here. We want to be fair to everyone, sothere are a few rules we’d like to follow:

• The advertiser should be in a musicrelated (preferably Traditional Jazz related)business (band, club, cruise, radio station, etc.).

• No more than a total of 2 full pages willbe used in any single issue of the Cricket, so adswill be accepted on a first-come, first-servedbasis.

• We need to be able to maintain the rightto accept or reject advertisements at our discre-tion.

• Please send your ad to:Cricket Editor

San Francisco Traditional Jazz Foundation41 Sutter Street, PMB 1870

San Francisco, CA 94104• Or (preferably) by email to:

[email protected] or [email protected] Rates

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

Unless otherwise noted,all contents copyright © 2006

San Francisco Traditional Jazz Foundation

him the original LeProtti interview tapes hoping theywould be issued – but Turk neglected to copy them.The tapes were filed in Columbia’s vaults but neverissued. But Bay Area writer and collector TomStoddard had managed to get access to them; in 1982Stoddard put these together with other rare sourcesto publish Jazz on the Barbary Coast with an obscurepublisher in England, a limited edition book so ob-scure as soon to be rare itself.

In 1998 the San Francisco Traditional JazzFoundation initiated a three-way expansion and re-publishing of the book together with Heyday Books(Berkeley) and the California Historical Society. (Westill offer it for sale.)

But the precious original tapes appeared tohave been lost forever. Then Avakian phoned SFTJFBoard Member Charles Campbell – an old friend andsupporter of Turk’s. While long gone from Columbiaand its new owner, Sony, Avakian had received someinklings that the tapes might still be found. This hadto be pursued carefully, and – as it turned out – over along period of time. Eventually, Avakian phonedCampbell again. The good news: Avakian had copies

of the tapes. The bad news: he lost them, probablyin his own home. Gentle prompting and a few moremonths brought a happy result: Avakian found thetapes and sent copies to Campbell, who placed themin the SFTJF Archive. Fast forward another coupleof decades to now: major portions of that Archive,including those tapes, are being accessed by theStanford University Libraries’ Archive of RecordedSound, where this primary jazz resource will beavailable to scholars in perpetuity.

This spring, Stanford is hosting the annualconvention of the Association for Recorded SoundCollections. Your foundation is making the book,Jazz on the Barbary Coast, available free to each ofthe several hundred attending members.

Also this spring, probably in May, cornetist/bandleader Jim Cullum (another of our boardmembers, also Turk’s kind of guy) will air one of hisnationally broadcast radio shows, this time on –guess what – “Jazz on the Barbary Coast.” As wewrite, Stanford is preparing to send Jim copies ofthe LeProtti tapes. Check your local listings.

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TTTTTrrrrrains and Jazz Musiciansains and Jazz Musiciansains and Jazz Musiciansains and Jazz Musiciansains and Jazz Musiciansby Various Authors

As far as traditional jazz musicians’ passionsgo, aside from the music itself, trains, railroading,and railroad modelling seem to be high on the list.There are probably many reasons for these passions;perhaps one main one is the fact that virtually all themusic we play was written during what manyconsider to be the golden age of railroading.

Whatever the individual inspiration, thereseems to be an inordinate number of tradtional jazzmusicians involved in railroading in one form oranother. What follows is an overview, in no particu-lar order, of some, but by no means all, contempo-rary (and one late) “train buffs,” be they modellers,collectors, watchers, or actual engineers.

View of the narrow gauge Emma Nevada Grizzly Flats Railroad locomotive, "Coach 5"passenger car and a caboose at the home of Ward Kimball in Los Angeles (LosAngeles County), California. Shows an engine shed, a windmill and and smokeabove the locomotive. June 16, 1946. Photographer unknown

Ward Kimball in his Grizzley Flats Station. Photogra-pher unknown

Kimball is also credited with helping WaltDisney with the inspiration to install the DisneylandRailroad at Disneyland. Inspiration for the DisneylandRailroad also partly came from Walt’s own personal7¼ in gauge, live steam backyard Carolwood PacificRailroad — also partly built by Ward. Kimball’sGrizzly Flats train station was the model for theDisneyland Frontierland Train Station.

Hal Smith - Trains On The BrainHal Smith - Trains On The BrainHal Smith - Trains On The BrainHal Smith - Trains On The BrainHal Smith - Trains On The BrainBy Hal Smith, Drummer, SFTJF Special Projects Coordinator

There is a “streak of rust” in my blood. Mygranddad, uncle and dad all worked for the railroad.As a toddler I rode the New York Central’s JamesWhitcomb Riley from Indianapolis to Chicago, lookingout the window and watching the smoke billowingfrom a Hudson-class 4-6-4. I became a “foamer” in1958, when the “Casey Jones” series debuted on TV.

My first big-time rail adventure came in 1959,when my family traveled to Southern California onSanta Fe’s El Capitan. For a month, we lived in anapartment which was, fortuitously, close to a busySouthern Pacific route. Two years later, my familyrepeated the cross-country trek, once again taking theEl Capitan. After we moved to San Diego in 1962, wefrequently boarded Santa Fe’s San Diegan, to visitrelatives in Los Angeles. The San Diegans of that era

WWWWWararararard Kimballd Kimballd Kimballd Kimballd KimballWard Kimball, leader and

trombone player of the FirehouseFive Plus Two was perhaps theultimate example of a passion fortrains. Along with his employerand friend Walt Disney, Kimballcollected old railroad ephemera,was an avid railway enthusiast,and donated his 3 ft gauge collec-tion to the Orange Empire RailwayMuseum in Perris, California. Afull-sized steam locomotive whichKimball ran on his private threeacre backyard railroad, GrizzlyFlats, in San Gabriel, Californiabears some of his original artworkon the head-lamp and cab, and ison permanent display at themuseum.

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were usually pulled by Alco F and E units, thoughAlco PAs and even Santa Fe “Bluebonnets” (usuallyfound in freight service) were also used for passengerservice on the run. The consist usually included head-end cars full of mail, express and baggage and some-times the coaches were older, heavyweight models.The ride to Los Angeles was a special treat, as thenorthbound San Diegan passed its southbound coun-terpart and numerous freights. Arrival into LosAngeles meant a backing move through Hobart Yard,passing uncounted freight and passenger trains,switch moves, etc. Upon arrival at Los Angeles Union

from the grandstand, seeing a plethora of Alco Fs,Es and PAs parked on the race track sidings.

My last cross-country trip was also my first(and last) trip in a Pullman. In 1964, we took the SanDiegan north to Los Angeles, then Union Pacific’sCity of Los Angeles to Chicago, and finally NYC’sJames Whitcomb Riley to Indianapolis. The ride inthe Pullman and the variety of trains and equipmentviewed during the trip was just about everything arailfan could hope for. But the best part of the tripoccurred off the train. On the return leg, we had alayover of several hours in Chicago. My Dad de-

Hal Smith at the throttle of an Alco RSD-1 at the Orange Empire RailwayMuseum, 2007. Photo by Hal Smith

Passenger Terminal, Santa Fe, Southern Pacific andUnion Pacific streamliners were parked on adjacenttracks, loading and unloading passengers, express andmail.

On occasion, we took the San Diegan toAnaheim, then a cab to Disneyland, for an evening ofDixieland played by the Firehouse Five Plus Two.(This, in turn, led to a visit to Ward Kimball’s back-yard “Grizzly Flats Railroad” in San Gabriel). In the‘60s, even an afternoon at the Del Mar Racetrack couldbe a memorable experience for a railfan. At that time,there were stub-end tracks located at the west end ofthe grounds. Santa Fe “race specials” arrived from LosAngeles into the early afternoon, sometimes haulingspecial “horse cars.” I remember looking at the tracks

cided to take us to all of thepassenger stations in the city!The variety of trains andequipment was mind-bog-gling. However, none of thetrains compared to the sightof Illinois Central’s gleamingchocolate-and-orange stream-liner, the Panama Limited,departing Central Station forNew Orleans!

Subsequent vacationsincluded rides on the Denver& Rio Grande Western’snarrow-gauge line fromDurango to Silverton, Colo-rado; a ride behind a Shay onthe Roaring Camp & BigTrees tourist line near SantaCruz; and countlessroundtrips between home,Orange County and LosAngeles on the San Diegan.

In the recent past, Ihave written about the con-nection between railroads and

popular music: “The Katy; A Very Musical Line”(Katy Flyer - Katy Railway Historical Society news-letter, September, 2000) and “Clancy, Parsons andthe Katy (Frisco Cricket, Winter, 2002). I also con-tributed photos and research to the Illinois CentralHistorical Society Green Diamond (December, 2004).That special issue celebrated the “Yellow Dog”(Yazoo & Mississippi Valley Railroad) and the fabledcrossing in Moorhead, Mississippi “where theSouthern cross the Yellow Dog.” Since the magazineappeared, the City of Moorhead has instituted a“Yellow Dog” music festival!

In 2005, our Carl Sonny Leyland Trio re-corded a CD called “Railroad Boogie.” This discfeatures several of Sonny’s compositions, with titles


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I suggested—“Green Diamond Boogie,”“Cotton Belt Boogie” and “M&B Special.”He also wrote “Kansas City Southern,”describing long-gone KCS passenger trainsand based on my research.

At the present time I collect books,DVDs, videos and railroadiana; hold mem-berships in nine railroad historical societies;and am willing to travel as far as Shreve-port, Yazoo City and Texarkana to watchtrains.

Performances at the Fresno MardiGras and the Sacramento Jubilee contiune toprovide railfanning opportunities for me andfor a host of other musicians who are alsorailfans. A few years ago, at the SacramentoJubilee, the number of these individualscame as quite a shock to an observer…Following a set in Old Sacramento, KatieCavera accompanied me to my car, parkedin Downtown Sacramento. Along the waywe encountered Bob Schulz, Larry Wright,Ray Cadd, Clint Baker and several others.Every conversation was along the lines of,“Did you see the PA at the museum?” “Wasthe 0-6-0 running behind the tent when youplayed there?” “Did you see the 4-8-4 on thetracks tbehind the Roseville shops?” Afterthe fourth such exchange, Katie asked “Howmany of you ARE there?” Answer: There’salways room for one more, Katie. Join us!!!

Mike & Leah Bezen, InterurbanMike & Leah Bezen, InterurbanMike & Leah Bezen, InterurbanMike & Leah Bezen, InterurbanMike & Leah Bezen, Interurbanand Electrand Electrand Electrand Electrand Electric Ric Ric Ric Ric Railfailfailfailfailfansansansansansby Mike Bezin, Trombone/Leader, West End Jazz Band,Chicago & Leah Bezin, Banjo, West End Jazz Band

I am a rail fan at heart. The eras I’minterested in are earlier ones, preferably theteens through the 1950s. My first choice inter-est would be electric interurbans with steamengines a close second. They represent a modeof transportation that was truly excitingcompared to what we have today. The wholeatmosphere of railroads was different then,and they had so much more character thanthey do now.

I was into the model railroading hobbyfor a number of years, but that has finally beenphased out of my life.

I suppose if the Chicago Aurora &Elgin could be brought back to life with theoriginal wood cars with the leaded glass

Chicago Aurora & Elgin Interurban at OakPark, IL in 1903. Photofrom the Philander Walker Barclay Collection courtesy MikeBezin

Pennsylvania Railroad GG-1 Electric locomotive. Photo from the Philan-der Walker Barclay Collection courtesy Mike Bezin

windows and full wood interiors, I’d probably be the first oneon the platform waiting to go for a ride.

Note: Leah Bezin, Mike’s spouse is also an enthusiastictrain fan, having a special fondness for the Pennsylvania RRGG-1 electric locomotive (see photo below).

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LarLarLarLarLarrrrrry Ky Ky Ky Ky Kososososostktktktktka - Ra - Ra - Ra - Ra - Rail Modeller andail Modeller andail Modeller andail Modeller andail Modeller andPhotographerPhotographerPhotographerPhotographerPhotographerby Larry Kostka, Drummer, Nightblooming Jazzmen

I was nuts about trains before I was nuts aboutjazz. I lived near the Burlington rail yards in Cicero Illwhen I was growing up. Two gentlemen had a 30 x 40foot model railroad in the basement of a mortuary intown. That was my introduction to scale model trainsin O gauge. I learned many things about modelbuilding from them that I still use today. I wrote amagazine article about them in Railroad Model Crafts-man in 1976.

running the steam engines at Knotts Berry Farm.Boy, that was like the kid in the candy store!

My photos have appeared in various modelrailroad magazines as well as magazines dealingwith real trains. For the past twenty years I’ve hadmy photos appear in calendars. My proudest effortwas a shot of Southern Pacific 4449 on the frontcover of Those Magnificent Trains calendar for themillenium 2000 year. My model building efforts havegiven me multiple awards in the model buildingfield.

In 1994 I suffered a heart attack which led toa triple bypass. While recovering from that I decided

I had a Lionel train set likemost kids in the 1940-50s era, andmy appetite for building modeltrolleys was very intense. I livedaround an area that allowed me totravel to the outlying suburbs ofChicago as well as Milwaukee,Wisconsin and South Bend, Indianaby electric railway. I also startedphotographing these trains on B&Wfilm as well as 8mm movie film,35mm slides and finally video. Steamlocomotives, intrerurban lines andstreet car systems were fading fromthe American scene and I felt a needto record their passing.

I also belonged to several RRmuseums where I learned aboutoperating electric cars as well assteam locomotives. When I moved toCalifornia in 1978 my first job was

to launch a video company called Remi-nisce Rails. I produced three videos aboutChicago Electric lines and the C.B.&.Q.steam excursions in the 1950’s and 60’s.The video company lasted for three yearsand then I had to give up due to my fulltime work schedule and playing in theNightblooming Jazzmen. The September2000 issue of Classic Toy Trains magazinehad a feature article about the trainlayout that is in my garage.

That’s sort of it in a nutshell. I’mstill building models but have backedaway from train photography since 9-11.If you go around rail facilities now, youare sure to get arrested, or have your filmtaken.

City scene on Larry Kostko’s O-Scale layout. Photo by Larry Kostko

Steam locomotives at the maintenance yard on Larry Kostko’s O-Scale layout.Photo by Larry Kostko

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RRRRRaaaaay Cadd - Ty Cadd - Ty Cadd - Ty Cadd - Ty Cadd - Tuba and Livuba and Livuba and Livuba and Livuba and Live Se Se Se Se Sttttteameameameameamby Ray Cadd, Tuba, Titanic Jazz Band

This picture shows one of my locomotives, a 2.5" scale 7.5"gauge “Chloe”, modelled after a typical Baldwin 0-4-2sugar plantation locomotive. At the throttle is GregRobinson, publisher of Grand Scales Quarterly. That’s mekneeling on the right. Picture was taken at the Bittercreek& Western RR in Arroyo Grande, Ca., in 2006 (seewww.bittercreekwesternrr.org).

I have always been interested in archaic technol-ogy, particularly steam power, whether full size or minia-ture. I’ve done all sorts of model trains in my lifetime, butthere is something unique about a ’living’, fire breathingmachine that sets itself apart from anything else.

My interest in railroading has always gravitatedtowards the narrow gauge and shortline railroads of thewest, and around the world. In addition to the “Chloe”pictured, I have a vertical-boilered gear driven 0-4-0“Crab” in 1.5" scale, patterned after an early B&Oprotoype (also 7.5" gauge), a 4.75" gauge Koppel 0-4-0 tankengine (1.5" scale narrow gauge), and several cars for theabove.

I also have several small scale steam locomotivesfor use on an outdoor elevated #1ga. track, including anarrow gauge Shay and C-16. In addition to the above, Ishould also mention that I’m still attempting to become ahalfway competent machinist, to help with repairs andfabrication inherent in this end of the hobby.

Ray Cadd (right) and Greg Robinson with “Chloe”.Photo by Ray Cadd

Larry Wright - Larry Wright - Larry Wright - Larry Wright - Larry Wright - RealRealRealRealReal Old Timey Rail Old Timey Rail Old Timey Rail Old Timey Rail Old Timey Railby Larry Wright, Drummer

I had the opportunity to work on a film forKalmbach Publishing which featured Ward Kimball as theOld Railroader Host. As the director of a Busby Berkleymusical number about trains, I would instruct the crewwhat shot I needed, then, while they set up that shot, I justmessed around while John Kimball (Ward’s son) drove meback and forth in the Chloe, the Hawaiian plantationlocomotive. If that wasn’t enough, I was able to drive andfire the Marie E., Ollie Johnston’s narrow gauge Porterengine on the property that he shared with pianist FrankThomas in Julian, CA.

However, as special as these excursions have been,my real passion is the study of early railroading. And Imean early — from the turn of the nineteenth century toaround 1840. After that the form and inventions of classicrailroading were by and large well-established, and subse-quent developments were mostly a refining process. Butthe trial and mostly error stories are funny, frustrating,tragic and inspiring at the same time. Sadly, very littleinformation exists and the search for more is always achallenge. Maybe that’s why I like it so much; the chase!

Larry Wright with models and bass drum. Photo by LarryWright

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Baltimore and Ohio, Class P-7, 4-6-2 Pacific. This locomotive, named President Washington, pulled the B and O's famousNational and Capitol Limiteds. The metal model uses components from several different kits. It took several months to paint.It has a set of matching custom built passenger cars.Photo by Jim Klippert

Jim Klippert - ModellerJim Klippert - ModellerJim Klippert - ModellerJim Klippert - ModellerJim Klippert - Modellerby Jim Kippert, Trombone

When I was young, my dad traveled by trainfrom the great Cleveland Union Terminal, a massivemarble and brass palace constructed when railroadswere king in the late 1920s. To a child’s eyes thenumber of boarding tracks there seemed limitless.You could travel anywhere in the world. My dad didjust that. He was a rubber planter, and his Clevelanddepartures often ended in the jungles of Sumatra orBrazil.

When I was six, I contracted scarlet fever.While I was convalescing, my mom helped me build aStromBecker wooden model kit of the DeWitt Clinton,one of the earliest American trains. I learned to waitpatiently while the powdered glue mixed from the kitslowly hardened.

I built hundreds of wooden models after that –planes, trains, automobiles, ships, tanks. The ceilingof my room was a suspended forest of model air-planes. When my sister was mad at me, she got evenby breaking a few of my models. Sometimes myplaymates would come over, and we would set upnaval task forces to cruise the carpets of our house.

All of these models were a connection to thewonder of the huge world. I couldn’t actually travelto exotic places the way my dad did, but I could travelin fantasy with my models.

I didn’t build metal trains then. We had sulfurwater at our house. Hydrogen sulfide attackedanything with copper or brass in it. Nothing electricallasted very long.

About thirty years ago when our childrenwere small, my wife gave me a metal HO-scale modeldiesel mechanism kit for my birthday. Putting ittogether required lots of fitting and filing – that same

old patience that my mom taught me as a child.I was hooked. From 1975 to 1995 I built the

models in the photographs plus many more. Someof them are the locomotives that pulled my dad’sgreat passenger trains of the 1940s and 50s. Allexcept one are solid metal. I also built matchingpassenger cars for each of the locomotives. Theyhave interiors and lighting. When they run at night,they are lovely to see.

Today you can buy very detailed plasticmodels of most of these trains. They are made inChina. All you have to do is put them on the trackand watch them run. I think that is a shame. Fewpeople now allow themselves the time to experiencethe pleasure of making the trains themselves. Theymiss the thrill of seeing a dream flow through thework of the hands into a realized fantasy. It’salmost as much fun as playing music.

Chicago and Northwestern, Electro-Motive E6, diesel.This locomotive pulled the "400" streamliners betweenChicago and the Twin Cities. The model uses compo-nents from several different kits. It has a heavy cast metalbody and easily pulls its set of custom built passengercars. Photo by Jim Kippert

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Leon Oakley - Mt. Susitna RailroadLeon Oakley - Mt. Susitna RailroadLeon Oakley - Mt. Susitna RailroadLeon Oakley - Mt. Susitna RailroadLeon Oakley - Mt. Susitna Railroad

Bob ScBob ScBob ScBob ScBob Schulz - Collecthulz - Collecthulz - Collecthulz - Collecthulz - Collector and Laor and Laor and Laor and Laor and Layyyyyout Builderout Builderout Builderout Builderout Builder

Some scenes from Leon Oakley’s Mt. Susitna Railroad, a very large, beauti-fully landscaped and detailed G-scale (1/2” to the foot) outdoor gardenrailroad. Photos by Leon Oakley

I received my first Lionel train set when I was10 years old. It was a #221 NYC streamlined steamerwith freight cars. I can’t say I was hooked on trains atthat time, but I did have it out every Christmas until Iwent to college. Like most everyone else...graduatingfrom college, entering the army, my first teaching(music) job and then marriage quickly brought an endto my interest in trains. However, I did have the trainaround the Christmas tree as long as I can remember.(and still do to this day)

My good friend Larry Kostka got me seriouslyinterested in collecting in the mid ’70s when he

moved to California and sold me some of his oldLionel trains. After that it was “Katy bar the door”(whatever that means) and I started collecting, notonly Lionel, but American flyer trains as well...I haveseveral hundred trains of all vintages (1906 - present)in numerous variations. I am in the process of buildingmy layout in the basement of my home in SanAnselmo. How long it will take, who knows? It’s likebuilding the Winchester Mystery House, but it’s agreat hobby, great fun and also a neat place to hideout, have a glass of wine and practice mycornet...Linda even loves it :-) Who could ask formore...

by Bob Schulz, Cornet

“Trad Jazz Express,” hand-painted locomotive with cars hand-built and painted by Larry Kostka for Bob. Photo by Bob Schulz

“Help! Where do I go from here?” Photo by Linda Jensen

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About the San Francisco Traditional Jazz FoundationWhat is the Foundation?

Created in 1981 as an archive of several thousand items relating to the jazz revival begun in San Francisco about 1939,the Foundation now seeks to enhance that collection and extend its uses. A wider aim is to help foster live, high qualitytraditional jazz, regionally and worldwide.What does the Foundation do?

Current activities include archival preservation, supporting live events and broadcasts, collaborating with other jazzand educational institutions, and developing new products and media applications.

Although the Foundation lacks the funding to open its archive to the general public, other means are being found tomake its resources available. For example, historic recordings and documents are being made available to radio stations;and consumer products such as posters, books and tapes are being publicly offered.Who is involved?

You are. Membership is $25 per year. Benefits include this quarterly newsletter, invitations to special events andavailability of Foundation products (often at exceptionally low prices).

Donations welcomedThe San Francisco Traditional Jazz Foundation accepts gifts and grants in many forms, including historical items

which shed further light on the history of traditional jazz on the West Coast, such as recordings, music, newspaperclippings, photographs and correspondence. Contributions of materials or funds are tax-deductible under IRS rulingstatus 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 andphotos of many San Francisco (and other) jazz figures from the 1930s to the present. Please visit us at www.sftradjazz.org.

Join (or rejoin) the San Francisco Traditional Jazz Foundation today to begin taking advantage of reservations tospecial events, discounts on selected jazz books and recordings, and a year’s subscription to The Frisco Cricket. If you arealready a member, give the gift of Foundation membership to a friend! Use the form at right.

Beth Goodfellow - Rhythm of the RailsBeth Goodfellow - Rhythm of the RailsBeth Goodfellow - Rhythm of the RailsBeth Goodfellow - Rhythm of the RailsBeth Goodfellow - Rhythm of the Railsby Beth Goodfellow, Drummer, Mighty Aphrodite

As I sit here, I’m listening to what I assume is a Southern Pacific train rumbling through Lodi, CA. I’vebeen hearing the lonely, sometimes joyous whistles of these trains since I was born. Every time I see a train orhear a whistle I getexcited! The trains arelike phone booths orgreyhound stations,they romanticallysuggest the possibilityof being SOME-WHERE ELSE, oftaking a journey, of anew experience. Theyof course also conjurup thoughts of JackKeroac... and they are very rhythmic.

Sometimes it’s fun to walk down the center of the tracks, looking down, watching row after row of tiespass beneath you, the sharp smell of tar in your nose... and you MUST be singing the blues, or trying to, at thismoment. I pay homage to these trains on the drum set every time I play a rockabilly beat— the boom boomCLACK boom of the rhythm is just like a train. Whenever I hear those whistles I am reminded that this coun-try, no matter how big, is connected by trains and their tracks. Hearing a whistle is almost like looking at themoon and knowing someone you love might be looking at it too; maybe someone you love, or maybe someoneyou never even met, heard that same whistle a little farther back up the track.

Beth Goodfellow on an SP diesel. Photo by Nina Goodfellow

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PrPrPrPrProduct Oroduct Oroduct Oroduct Oroduct Order Fder Fder Fder Fder Forororororm & 2008 Memberm & 2008 Memberm & 2008 Memberm & 2008 Memberm & 2008 Membership/Rship/Rship/Rship/Rship/Reneeneeneeneenewwwwwal Applicational Applicational Applicational Applicational ApplicationName __________________________________________________________________________Address ________________________________________________________________________E-mail _______________________________ Phone ( ) ____________________________

Compact Discs ($13 for members, $16 for non-members) Quantity AmountA Musical Tribute to Lu Watters—The Bay City Stompers ............................................ (BCD-280) _____ $ _______Firehouse 5 Plus 2 Live at Earthquake McGoon’s 1970 ....................................... (BCD-450) _____ $ _______William Warfield—Something Within Me ..................................................... (DELMARK DE-772) ___ $ ______Bob Mielke and his Bearcats ......................................................................................................... (SFCD-3) ___ $ ______The Legendary Russ Gilman ................................................................................ (SFTJF CD-109) ___ $ ______Clancy Hayes—Satchel of Song .................................................................................... (SFTJF CD-108) ___ $ ______Turk Murphy Jazz Band—Wild Man Blues .......................................................... (SFTJF CD-107) ___ $ ______Lu Watters Yerba Buena Jazz Band, Vol 2, 1946–1947 ................................... (SFTJF CD-106) ___ $ ______Lu Watters Yerba Buena Jazz Band, Vol 1, 1937–1943 ................................... (SFTJF CD-105) ___ $ ______Turk Murphy Jazz Band—Euphonic Sounds ......................................................... (SFTJF CD-104) ___ $ ______Turk Murphy Jazz Band—Weary Blues ................................................................ (SFTJF CD-103) ___ $ ______Turk Murphy Jazz Band—In Hollywood ............................................................... (SFTJF CD-102) ___ $ ______Turk Murphy Jazz Band—Live at Carson Hot Springs ......................................... (SFTJF CD-101) ___ $ ______Turk Murphy Jazz Band—At The Italian Village, with Claire Austin ................. (MMRC CD-11) ___ $ ______Lu Watters Yerba Buena Jazz Band—At Hambone Kelly’s, 1949–1950 ........ (MMRC CD-10) ___ $ ______Bob Helm with the El Dorado Jazz Band—1955* ........................................... (SFTJF CD-110) ___ $ ______*Specially priced two-CD set. Members: $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 jazzJazz West 2, by K.O. Ecklund, published by Donna Ewald $12 $15 ___ $ ______The A-to-Z guide to west coast jazz music; a unique source.Preservation Hall, by William Carter $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 revivalMeet Me At McGoon’s, by Pete Clute & Jim Goggin $25 $33 ___ $ ______Another Jazz Scrapbook by the authors of The Great Jazz Revival

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 $ ______

Credit Card MasterCard Visa American ExpressName (as appears on card) _______________________________________________________________Account Number (16 digits) ___________________________________ Expiration Date (mo/yr) ________Cardholder Signature ____________________________________________________________________

Complete the credit card information below,or enclose check or money order for Total.Send to:San Francisco Traditional Jazz Foundation41 Sutter Street, PMB 1870San Francisco, CA 94104

*contributions to SFTJF, above the basic membership level, are tax deductible

The Frisco CricketSAN FRANCISCO TRADITIONAL JAZZ FOUNDATION41 Sutter Street, PMB 1870San Francisco, California 94104www.sftradjazz.org

NONPROFIT ORG.U.S. POSTAGE PAID

SAN FRANCISCO,CAPERMIT NO. 3981

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Documents

“What Goes Around” - · PDF file“What Goes Around... ... This is a story of how jazz reseeds itself. Trombonist Turk Murphy, ... full-sized steam locomotive which