[Dixielandjazz] RE: Boondockers in Ohio

Tamas Ittzes bohem at fibermail.hu
Wed Mar 9 15:00:35 PST 2005


Bob Ringwald wrote:
------
We are looking for gigs on June 20-24 & even during the daytime on June
25.
We are willing to drive quite a distance.
------
Hey, Ohio, Indiana listmates and people around the area. The Boondockers
is a good band, hire them. They only have problem when Ringwald is
driving - not the piano but the car. So don't let him do it and you'll
be fine.

Tamas
_________________________________________________
Tamas ITTZES - violin teacher, ragtime pianist, festival organizer
Bohem Ragtime Jazzband, Kecskemet Jazz Foundation
Mailing address: H-6001 KECSKEMET, Pf. 652., Hungary
Phone: +36(20)82-447-82
E-mails: tamas at bohemragtime.com, bohem at fibermail.hu
Web site: http://www.bohemragtime.com
_________________________________________________


-----Original Message-----
From: dixielandjazz-bounces at ml.islandnet.com
[mailto:dixielandjazz-bounces at ml.islandnet.com] On Behalf Of
dixielandjazz-request at ml.islandnet.com
Sent: Tuesday, March 08, 2005 9:00 PM
To: dixielandjazz at ml.islandnet.com
Subject: Dixielandjazz Digest, Vol 27, Issue 15

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Today's Topics:

   1. Susanna McCorkle (Steve barbone)
   2. Kipling/banjo (Charles Strauss)
   3. Re: Re: Banjos and Bagpipes
      (LARRY'S Signs and Large Format Printing)
   4. Ted Des Plantes eMail (David W. Littlefield)
   5. Re: Ted Des Plantes eMail (Dan Augustine)
   6. Re: Re: Ted Des Plantes eMail  --  Reply!
      (Jazzadvocate (Ron Gable))
   7. Re: Restoring old 78 rpm jazz recordings (Arnold Day)
   8. The Boondockers In Ohio (Robert S. Ringwald)
   9. FW: [Dixielandjazz] Restoring old 78 rpm jazz recordings
      (Jim Kashishian)
  10. Youth Orchestra,	a view from those on the serious side.
      (Steve barbone)
  11. Re: FW: [Dixielandjazz] Restoring old 78 rpm jazz recordings
      (Arnold Day)
  12. Joe Bithell obituary and services announcement (David Richoux)


----------------------------------------------------------------------

Message: 1
Date: Mon, 07 Mar 2005 12:45:54 -0500
From: Steve barbone <barbonestreet at earthlink.net>
Subject: [Dixielandjazz] Susanna McCorkle
To: <dixielandjazz at ml.islandnet.com>
Message-ID: <BE51FD82.1E7F%barbonestreet at earthlink.net>
Content-Type: text/plain; charset="US-ASCII"

"Robert S. Ringwald" <robert at ringwald.com> wrote

> My daughter is doing some research on Susanna McCorkle.  She would
like to
> find anyone who knew her & possibly interview them.
> 
> She has not been able to find any books about her.  Is there anyone on
the
> List who knew her?
> Does anyone know of any books or articles about her?
> Could you forward this message to any appropriate Lists that might
have a
> member who can help?

Hi Bob:

Has she tried the Alumni Association of UC at Berkeley? Surely someone
there
knew her, probably very well.

Cheers,
Steve Barbone




------------------------------

Message: 2
Date: Mon, 07 Mar 2005 13:31:36 -0500
From: Charles Strauss <cstrauss at draper.com>
Subject: [Dixielandjazz] Kipling/banjo
To: dixielandjazz at ml.islandnet.com
Message-ID: <5.2.1.1.2.20050307132957.02159db0 at popx.draper.com>
Content-Type: text/plain; format=flowed; charset=us-ascii

See the first two lines of the third verse of "Mandalay":


When the mist was on the rice-fields an' the sun was droppin' slow,
She'd git 'er little banjo an' she'd sing "~Kulla-lo-lo!~"

/cms 




------------------------------

Message: 3
Date: Mon, 7 Mar 2005 13:24:51 -0600
From: "LARRY'S Signs and Large Format Printing" <sign.guy at charter.net>
Subject: Re: [Dixielandjazz] Re: Banjos and Bagpipes
To: <richard88jazz at att.net>, <dixielandjazz at ml.islandnet.com>
Message-ID: <002101c5234b$563d3b60$21e1d918 at gateway2000>
Content-Type: text/plain;	charset="iso-8859-1"

It's not only those two instruments.  I played two gigs where the fill
in
piano player showed up with bongos.  This guy was really hyper and the
leader of the band let him do it.  The leader used the wide Buddy Rich
big
band "V" set up where the drums and rhythm are in the center and the sax
section is off to the right.  I was playing Bari Sax on the end of the
line.
The leader was off to the left about 25 ft away.  This idiot parked
himself
right behind me and played every tune including Misty, In a Sentimental
Mood
and Star Dust.  The only thing worse would have been a tambourine.
(Sorry if
I offended the tambourine players)  He bonked all evening and to make
matters worse he played very fast and was often off beat.

Well I thought after the first night of that the leader would get the
hint.
He didn't.  The next gig I was appalled to see Charlie walk in with his
bongos and sit down behind my chair.  I told the leader that if he
wanted a
bongo in the band he should have him right behind the trumpet section.
I
then read the riot act to Charlie and he moved behind the Trumpet
section
who enjoyed him as much as I did. He proceeded to play nonstop the whole
evening, before tunes, after tunes, during solos and on the breaks.  The
Idiot wouldn't stop.  I was first in line to lay down the law to the
leader
that there would be no more Bongo Charlie.

That's usually the unmistakable mark of the non pro musician.  Some guys
just don't get it.  It's also the mark of the non professional leader
who
should clue these guys in as to what's expected of them.  It's the same
with
talking between tunes, late after the break, carrying cell phones on the
job, wearing the wrong tie or cloths.  The list goes on and on but
practicing on the gig is a no no and personally annoying to me.

There are a certain group of musicians that either believe that they
can't
be replaced or they can do whatever they want.  This is arrogance toward
the
audience.  They pay to see us perform not practice, tell jokes etc etc.

Larry

P.S. My thoughts on the Wide V setup for the big band are pretty
negative.
If you have the bucks to set up and maintain an excellent monitoring
system
it can work but never if you don't.  That setup is great for TV and
exceptionally good pros with a good monitoring system.  The leader of
this
band was an idiot too but for this and other reasons.  It was the only
band
that I ever committed gigicide with, that is burning all bridges so they
would never hire me again.  But that's a whole another story.

Add to the musicians dictionary
Gigicide a verb i.e. to commit gigacide.  to destroy all likelihood that
you
will ever be hired again by a leader.
----- Original Message ----- 
From: <richard88jazz at att.net>
To: <dixielandjazz at ml.islandnet.com>
Sent: Sunday, March 06, 2005 8:56 AM
Subject: [Dixielandjazz] Re: Banjos and Bagpipes


> Gents:
>
> Just my two cents worth on the subject:
>
> Only one problem with banjo and bagpipe players - they NEVER stop
playing
on the job.  It's like they wait for the gig to start their praticing
and
then never stop!  Ever try figuring out the chords with that BAGPIPE
bleating all the time?  Or figuring out the next tune you want to play
with
that BANJO plunking your ear?  Given a choice, though, I'd have to pick
the
banjo over the bagpipes - at least you get an occasional right chord!
>
> Here's to pianos.
>
> Rich Skrika
> Albany, NY
> richard88jazz at att.net
> _______________________________________________
> Dixielandjazz mailing list
> Dixielandjazz at ml.islandnet.com
> http://ml.islandnet.com/mailman/listinfo/dixielandjazz
>




------------------------------

Message: 4
Date: Mon, 07 Mar 2005 17:01:40 -0500
From: "David W. Littlefield" <dwlit at cpcug.org>
Subject: [Dixielandjazz] Ted Des Plantes eMail
To: dixielandjazz at ml.islandnet.com
Message-ID: <4.1.20050307165040.00b9d140 at cpcug.org>
Content-Type: text/plain; charset="us-ascii"

Anyone out there have an eMail address for Ted Des Plantes?

I wanna see whether he has published sheet music for Chris Smith's 
"Roamin'" (no, Audrey doesn't have it, nor the LoC, nor a bunch of other
places) 

If Ted hasn't bopped on into the 21st century, I'll be happy to have his
phone number.

Since I want to include it in "DixFB Vol. 2", I need a definitive
source;
unfortunately neither the Henry Red Allen record nor Ted Des Plantes CD
play it straight enough to be certain of the melody. Shoot, it might
even
have a verse...

Thanks.




------------------------------

Message: 5
Date: Mon, 7 Mar 2005 15:52:00 -0600
From: Dan Augustine <ds.augustine at mail.utexas.edu>
Subject: [Dixielandjazz] Re: Ted Des Plantes eMail
To: DJML <dixielandjazz at ml.islandnet.com>
Message-ID: <p06210204be527cf47b11@[192.168.0.100]>
Content-Type: text/plain; charset="us-ascii" ; format="flowed"

Sheik (c: DJML)--
     Try tedzdp88 at yahoo.com
     I found it on an email from last September, so it might be current.
Dan
-----------------------------------------------------------------------
>Date: Mon, 07 Mar 2005 17:01:40 -0500
>To: dixielandjazz at ml.islandnet.com
>From: "David W. Littlefield" <dwlit at cpcug.org>
>Subject: [Dixielandjazz] Ted Des Plantes eMail
>
>Anyone out there have an eMail address for Ted Des Plantes?
>
>I wanna see whether he has published sheet music for Chris Smith's
>"Roamin'" (no, Audrey doesn't have it, nor the LoC, nor a bunch of
other
>places)
>
>If Ted hasn't bopped on into the 21st century, I'll be happy to have
his
>phone number.
>
>Since I want to include it in "DixFB Vol. 2", I need a definitive
source;
>unfortunately neither the Henry Red Allen record nor Ted Des Plantes CD
>play it straight enough to be certain of the melody. Shoot, it might
even
>have a verse...
>
>Thanks.

-- 
**--------------------------------------------------------------------**
**  Dan Augustine     Austin, Texas     ds.augustine at mail.utexas.edu  **
**      "Hard work never killed anybody, but why take a chance?"      **
**            -- Charlie McCarthy  (Edgar Bergen, 1903-1978)          **
**--------------------------------------------------------------------**



------------------------------

Message: 6
Date: Mon, 7 Mar 2005 17:51:19 -0500
From: "Jazzadvocate \(Ron Gable\)" <jazzadvocate at kbcom.net>
Subject: Re: [Dixielandjazz] Re: Ted Des Plantes eMail  --  Reply!
To: "DJML" <dixielandjazz at ml.islandnet.com>,	"Dan Augustine"
	<ds.augustine at mail.utexas.edu>
Message-ID: <029f01c52368$2d874d60$0b01a8c0 at one>
Content-Type: text/plain;	charset="iso-8859-1"

Why didn't you ask me?  Ted plays with Dave Greer's Classic Jazz
Stompers
every Wednesday night in the Stars Lounge of the Crowne Plaza Hotel in
Dayton, Ohio.  This is right across the street from my office.

E-mail: TedZdP88 at Yahoo.com
Phone: (513) 731-8776

Thanks for supporting jazz,

Ronald L Gable
Jazz Advocate, & Publisher
211 South Main Street
Suite 980
Dayton, Ohio 45402
(937) 371-4953
jazzadvocate at kbcom.net
www.jazzadvocate.com
**********************************************

----- Original Message ----- 
From: "Dan Augustine" <ds.augustine at mail.utexas.edu>
To: "DJML" <dixielandjazz at ml.islandnet.com>
Sent: Monday, March 07, 2005 4:52 PM
Subject: [Dixielandjazz] Re: Ted Des Plantes eMail


> Sheik (c: DJML)--
>      Try tedzdp88 at yahoo.com
>      I found it on an email from last September, so it might be
current.
> Dan
>
-----------------------------------------------------------------------
> >Date: Mon, 07 Mar 2005 17:01:40 -0500
> >To: dixielandjazz at ml.islandnet.com
> >From: "David W. Littlefield" <dwlit at cpcug.org>
> >Subject: [Dixielandjazz] Ted Des Plantes eMail
> >
> >Anyone out there have an eMail address for Ted Des Plantes?
> >
> >I wanna see whether he has published sheet music for Chris Smith's
> >"Roamin'" (no, Audrey doesn't have it, nor the LoC, nor a bunch of
other
> >places)
> >
> >If Ted hasn't bopped on into the 21st century, I'll be happy to have
his
> >phone number.
> >
> >Since I want to include it in "DixFB Vol. 2", I need a definitive
source;
> >unfortunately neither the Henry Red Allen record nor Ted Des Plantes
CD
> >play it straight enough to be certain of the melody. Shoot, it might
even
> >have a verse...
> >
> >Thanks.
>
> -- 
>
**--------------------------------------------------------------------**
> **  Dan Augustine     Austin, Texas     ds.augustine at mail.utexas.edu
**
> **      "Hard work never killed anybody, but why take a chance?"
**
> **            -- Charlie McCarthy  (Edgar Bergen, 1903-1978)
**
>
**--------------------------------------------------------------------**
>
> _______________________________________________
> Dixielandjazz mailing list
> Dixielandjazz at ml.islandnet.com
> http://ml.islandnet.com/mailman/listinfo/dixielandjazz




------------------------------

Message: 7
Date: Mon, 07 Mar 2005 18:53:50 -0500
From: Arnold Day <arnieday at optonline.net>
Subject: Re: [Dixielandjazz] Restoring old 78 rpm jazz recordings
To: Bill Gunter <jazzboard at hotmail.com>
Cc: dixielandjazz at ml.islandnet.com
Message-ID: <422CE98E.9050606 at optonline.net>
Content-Type: text/plain; charset=ISO-8859-1; format=flowed

Bill,

As you have discovered, transferring from LPs to CDs (including removing

clicks and pops) is relatively straightforward. However, 78s present 
some unique problems which can be summarized as follows:

1. "78s" (especially early ones) were actually cut at an rpm of anywhere

between roughly 75 and 83, so playback at the right speed/pitch needs 
attention. Not difficult to correct though, once in digital format.

2. Not many modern turntables have a 78 rpm setting. This again is not a

big problem....play at 45 rpm and then convert once in digital format.

3. Modern cartridges for playing LPs do not have the optimum stylus 
(needle) shape for 78s. this too is not too difficult to take care of it

your TT has a P-mount cartridge that you can easily switch to a spare 
one with a 78 compatible stylus .

4. This one is the major problem.  The signal level from most turntables

is too low for recording through the line-in jack of a computer 
soundcard. So a "phono pre-amplifier is needed, either built into the TT

or in the phono stage of your stereo receiver/amplifier (although many 
receivers/amplifiers these days come without a phono-input. Now, even if

you have a phono pre-amplifier (either in the TT or in the 
receiver/amplifier) there is another problem. Except for speciality 78 
turntables, these pre-amplifiers include what is called  "reverse RIAA 
equalization". This is to correct for the RIAA eqalization that all LPs 
have had applied to them in the recording process since about 1955. This

recording equalisation attenuates the bass frequencies (to keep the 
signal within the very narrow micro-groove) and amplifies the high 
frequencies. Now, this RIAA equalisation was not applied to 78s, so if 
you use a typical modern pre-amplifier (which applies the unneeded  
reverse equalisation) you will end up with a signal that has far too 
much bass and too little treble. Hope that is clear!
There are two ways to get around this. One is to buy a small 
pre-amplifier that does not apply the reverse RIAA equalisation (they 
used to be available at most electronics and audio stores...but I 
haven't checked lately. The alternative is to let the pre-amp do its 
dirty work and then correct for this once the recording is in digital 
format.

In the unlikely event that you are still interested in going ahead with 
such a project, I have a lot of detailed information on the issues I 
have tried to summarize above. E-mail me off-list if you want to discuss

it further.
Cheers,
Arnie
~~~~~~~~~~~~~~~~~
Bill Gunter wrote:

> Hi all,
>
> In casting about for a topic for my column next month in the American 
> Rag about "Jazz on the Internet,"  I came across a web site for a 
> Canadian recording engineer who has developed a technique for 
> transferring old 78 to digital files and then burning them onto CDs. 
> The result is much cleaner recordings than the old 78s (who's got a 78

> record player anyway this day and age?).
>
> I have transferred a few old recordings to CDs for my own archives and

> certainly do not consider myself professional enough to do such a 
> thing as a business venture either for fun or profit. However, it's 
> possible that some of you may have developed an interest in this sort 
> of thing.
>
> If you can clean up old 78 jazz records and convert them to digital 
> .wav files for burning onto CD, and if you do this on any sort of 
> professional (or even amateur) basis for others, would you please 
> contact me and tell me about it.
>
> Those of us jazz nuts who would like to archive our old 78s in a 
> convenient clean form, playable using digital technology would, I'm 
> sure, be interested in techniques for doing it themselves or 
> references to those who do this sort of work.
>
> Are there software programs for such purposes that will clean up 
> cracks, scratches, clicks, and other strange and unwanted noises and 
> then burn such cleaned up tracks onto CDs playable in any CD player?
>
> Thanks in advance for your input on this.
>
> Cheers,
>
> Bill "Archivist" Gunter
> jazzboard at hotmail.com
>
>
>
> _______________________________________________
> Dixielandjazz mailing list
> Dixielandjazz at ml.islandnet.com
> http://ml.islandnet.com/mailman/listinfo/dixielandjazz
>
>


-- 
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Checked by AVG Anti-Virus.
Version: 7.0.308 / Virus Database: 266.6.3 - Release Date: 3/7/2005




------------------------------

Message: 8
Date: Mon, 7 Mar 2005 16:19:38 -0800
From: "Robert S. Ringwald" <robert at ringwald.com>
Subject: [Dixielandjazz] The Boondockers In Ohio
To: "DJML" <dixielandjazz at ml.islandnet.com>
Message-ID: <0abb01c52374$d485e390$5702fea9 at laptop1>
Content-Type: text/plain; format=flowed; charset="iso-8859-1";
	reply-type=original

I have posted this before but will do it again.

We, The Boondockers, will be in Logan, Ohio near Columbus, playing the
5th 
Annual International Washboard Festival on June 17-19, 2005.  We will
also 
be playing a private gig on Sat June 25 & for the Jazz Society in
Columbus 
on Sunday afternoon, June 26.

We are looking for gigs on June 20-24 & even during the daytime on June
25.

We are willing to drive quite a distance.

If anyone has any ideas, please contact me, robert at ringwald.com or (530)

642-9551.

See our web  site, http://www.theboondockers.com

--Bob Ringwald K6YBV
Placerville, CA USA

"There are three kinds of men:
The ones that learn by reading.
The few who learn by observation.
The rest of them have to pee on the electric fence and find out for
themselves."
--William Penn Adair (Will) Rogers B: 11/4/1879 D: 8/15/1935





------------------------------

Message: 9
Date: Tue, 8 Mar 2005 10:02:02 +0100
From: "Jim Kashishian" <jim at kashprod.com>
Subject: FW: [Dixielandjazz] Restoring old 78 rpm jazz recordings
To: <dixielandjazz at ml.islandnet.com>
Message-ID: <E1D8abm-0007Ih-00 at ml.islandnet.com>
Content-Type: text/plain;	charset="us-ascii"

Arnold wrote a very interesting letter on the subject:

1. "78s" (especially early ones) were actually cut at an rpm of anywhere
between roughly 75 and 83, so playback at the right speed/pitch needs
attention. 
4. The signal level from most turntables is too low for recording
through
the line-in jack of a computer soundcard.

To see how I solved the two above points go to
www.kashprod.com/eng/galeria
and click on "The Studio at Kash".  There, in the top row of photos one
can
see my solution.  I used a replica of an old player, placing a
SoundField (4
capsule) microphone in front of the horn.  I recorded onto the AMS Neve
AudioFile hard disk editor which is incorporated in my Neve digital
mixing
desk.  (See photo to the right of the one with the player.)

To solve problem number 1, I used my trombone to play along with the
music
until we had it at the right tone.  This was a digital collection of
Spanish
Pasadobles being collected off of original "oldies" (thick 78's)for the
composer's grandson.

Jim

Cedar noise removal was used to clean up the music, along with the
filters
on the console which are marvelous.  AudioFile has all the "change speed
with no effect on pitch" tricks, etc., although we did the pitch by
correcting the speed on the actual player.  




------------------------------

Message: 10
Date: Tue, 08 Mar 2005 09:55:39 -0500
From: Steve barbone <barbonestreet at earthlink.net>
Subject: [Dixielandjazz] Youth Orchestra,	a view from those on the
	serious side.
To: DJML <dixielandjazz at ml.islandnet.com>
Message-ID: <BE53271B.1E92%barbonestreet at earthlink.net>
Content-Type: text/plain; charset="US-ASCII"

For those who believe that Youth Bands are not worth the price of
admission,
and so they must play for free in order to be heard, note what our
classical
musician friends are doing at CARNEGIE HALL.

Not only performing, but commissioning works from YOUNG composers.

Is it any wonder that OKOM languishes when we ourselves do not support
the
mechanism for helping it to grow? (E.G. paying gigs for youth bands)

THIS IS A MUST READ FOR ALL OF YOU "EDUCATORS" OUT THERE.

Cheers,
Steve Barbone

--------

March 8, 2005 MUSIC REVIEW | NEW YORK YOUTH SYMPHONY - NY TIMES

The Passion of a Romantic Strikes a ChorBy JEREMY EICHLER

With all those broadly winged melodies that are so much fun to play, and
the
intense emotions that resonate with the highs and lows of adolescent
life,
the symphonies and concertos of Tchaikovsky can seem made-to-order for
the
young classical musician. They certainly did on Sunday afternoon, when
the
New York Youth Symphony passionately devoted itself to a mostly
Tchaikovsky
program for the second Carnegie Hall concert of its 42nd season.

But before the Russian fireworks began, the orchestra, made up of 108
musicians from the metropolitan New York area, performed something
fairly
common for this ensemble but very rare for most youth symphonies: a
world
premiere. Through its essential First Music series, the orchestra has
commissioned works from 62 young composers. It's hard to imagine a
better
way to support new voices while at the same time building contemporary
music
into the regular diet of emerging musicians. In this case, the composer
was
Thomas Osborne, whose "Nostalgia of the Infinite," after the painting by
Giorgio de Chirico, was a handsome study in musical contrasts, an
evolving
orchestral dialogue between steely, brass-heavy gestures and a more lush
and
pliable response from the strings.

It was followed by Tchaikovsky's Piano Concerto No. 1 with Antonio
Pompa-Baldi, a young professional making his Carnegie Hall debut. Mr.
Pompa-Baldi and the orchestra, under its music director, Paul Haas, did
not
always agree on tempo and pacing, but this did not prevent the soloist
from
displaying a fluid yet hard-edged technique and a fiery Romantic
temperament. Most striking was the sheer amount of sound he produced in
the
outer movements with chords that banged out like pistol shots over the
orchestra. With time, he may develop finesse in equal measure.

The concert concluded with Tchaikovsky's Fifth Symphony, cloaked in
mystery
where appropriate and exultant on the right occasions. Both the symphony
and
especially the concerto are repertory war horses, and yet the great
thing
about youth orchestra concerts is that most of these players are
encountering this music for the first time. Those initial meetings are
precious, for they happen only once, and judging by the applause between
movements and the number of young people in the audience, you can bet
they
were occurring on both sides of the footlights. 




------------------------------

Message: 11
Date: Tue, 08 Mar 2005 10:58:44 -0500
From: Arnold Day <arnieday at optonline.net>
Subject: Re: FW: [Dixielandjazz] Restoring old 78 rpm jazz recordings
Cc: dixielandjazz at ml.islandnet.com
Message-ID: <422DCBB4.5040004 at optonline.net>
Content-Type: text/plain; charset=ISO-8859-1; format=flowed

Very interesting Jim. The only problem is I can't play the trombone!
Arnie
~~~~~~~~~~~~~~~~

Jim Kashishian wrote:

>Arnold wrote a very interesting letter on the subject:
>
>1. "78s" (especially early ones) were actually cut at an rpm of
anywhere
>between roughly 75 and 83, so playback at the right speed/pitch needs
>attention. 
>4. The signal level from most turntables is too low for recording
through
>the line-in jack of a computer soundcard.
>
>To see how I solved the two above points go to
www.kashprod.com/eng/galeria
>and click on "The Studio at Kash".  There, in the top row of photos one
can
>see my solution.  I used a replica of an old player, placing a
SoundField (4
>capsule) microphone in front of the horn.  I recorded onto the AMS Neve
>AudioFile hard disk editor which is incorporated in my Neve digital
mixing
>desk.  (See photo to the right of the one with the player.)
>
>To solve problem number 1, I used my trombone to play along with the
music
>until we had it at the right tone.  This was a digital collection of
Spanish
>Pasadobles being collected off of original "oldies" (thick 78's)for the
>composer's grandson.
>
>Jim
>
>Cedar noise removal was used to clean up the music, along with the
filters
>on the console which are marvelous.  AudioFile has all the "change
speed
>with no effect on pitch" tricks, etc., although we did the pitch by
>correcting the speed on the actual player.  
>
>
>_______________________________________________
>Dixielandjazz mailing list
>Dixielandjazz at ml.islandnet.com
>http://ml.islandnet.com/mailman/listinfo/dixielandjazz
>
>
>  
>


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Message: 12
Date: Tue, 8 Mar 2005 10:44:51 -0800
From: David Richoux <tubaman at batnet.com>
Subject: [Dixielandjazz] Joe Bithell obituary and services
	announcement
To: DJML Jazz <dixielandjazz at ml.islandnet.com>
Message-ID: <a3a1b74da92c4095e4fde591ce70f5e0 at batnet.com>
Content-Type: text/plain; charset=US-ASCII; format=flowed

 From the San Jose Mercury News today:

Joe Bithell, influential Bay Area jazz musician

By Betty Barnacle
Mercury News

He sang and played old-time bluesy jazz in clubs throughout the Bay 
Area, spinning out tunes from the Roaring '20s through the '40s, what 
fellow aficionados call the golden age of jazz.

Music was everything to Joe Bithell, according to his close friends 
from all walks of life.

Mr. Bithell died at 76 on Feb. 19 of a heart attack, a half-hour after 
singing one of his favorites, ``Call Me Dr. Jazz'' for other musicians 
on their afternoon off at a private San Mateo open house. A gathering 
in his honor will be held Saturday.

Bill Armstrong, a sideman in Mr. Bithell's Silicon Gulch Jazz Band when 
the regular banjo player was a no-show, summed up the band's 
performances as ``OKOM -- our kind of music.''

In the Guadalupe Society, a club at St. Lawrence the Martyr Church, and 
the American GI Forum, both in Santa Clara, Gus Ayala became close 
friends with Mr. Bithell.

``Joe and his first wife, Patricia, worked for the United Farm Workers 
union,'' Ayala said. ``He had a band. Music. It was Joe's life.''

Harry Bithell remembers his big brother as a teenager listening 
intently at home to jazz with his buddies. He had a standing date for 
the past 10 to 15 years to go to Sacramento for the jazz festival, this 
time to do the listening as his brother performed with a washboard 
band.

``We all are in shock,'' said Armstrong, one of the musicians present 
when Mr. Bithell died in San Mateo.

``There was no indication Joe felt bad,'' he said. ``We talked for 10 
to 15 minutes and then he said he had to go to the car and get some 
music. He walked back in and collapsed.''

Kara Bithell, a goddaughter of labor-movement leader Cesar Chavez and a 
dancer whose dream it was to perform while her father sang live, said 
Mr. Bithell was in apparent good health. But she said he had heart 
surgery three or four years ago. Armstrong said the band leader had 
stents put in his heart.

Born in Utah, Mr. Bithell was raised in the East Bay, where he 
graduated from Alameda High School in 1947. The next two years he spent 
in the U.S. Army and, while finishing up his education at San Mateo 
Junior College, he joined the National Guard. He was an officer when he 
left 18 years later.

Music also is important to his second wife, Ida, who plays piano and 
once had her own band, his daughter said.

To support his family, Mr. Bithell got a job as an engineer at Western 
Electric in Santa Clara and didn't start his band until he retired 
after 25 years in 1980 when he was in his 50s.

But he hadn't waited that long to perform. Friends and family said he 
would visit jazz clubs on the Peninsula and in the East Bay, where he 
was welcome on stage to sing with several bands.

``He was very good on gospel music and had a nice rounded medium to 
bass range,'' said Armstrong.

Self-taught on the tuba, trumpet, jug and washboard, Mr. Bithell was a 
charter member of Washboard International and a member of the New 
Orleans Jazz Club of Northern California and the South Bay Traditional 
Jazz Club of San Jose.

``He was very enthusiastic and really loved the music,'' said John 
Dodgshon, who played trumpet with Mr. Bithell's band for eight years. 
``He did a lot for many musicians, giving them jobs in his band or 
finding other jobs for them. He had a positive influence on jazz here 
in the Bay Area, particularly the South Bay.''

He had a photographic memory not only for the music he loved but also 
for the whereabouts of those who played and shared his love of jazz, 
Armstrong said.

Nancy Gray praised Mr. Bithell, her stepfather, for ``living his life 
to its fullest. He loved his family and his music, and he actually went 
out singing.''

Joe Bithell

Born: Feb. 17, 1929, in Logan, Ariz.

Died: Feb. 19, 2005, in San Mateo.

Survived by: Wife, Ida Bithell of Santa Clara; children, Kara Bithell 
of Madera and Marianne Bithell of Davis; brother, Harry Bithell of 
Laguna; stepchildren, Dennis Whittemore of Tracy, Bob Whittemore of 
Londonderry, N.H.; Nancy Gray of Murrieta and Sandra Strawn of El Paso; 
14 grandchildren and five great-grandchildren.

Services: A gathering in Mr. Bithell's honor will be held from noon to 
3 p.m. Saturday at the Avalon, 777 Lawrence Expressway, Santa Clara.




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