[Dixielandjazz] Buescher C, straight soprano sax for sale
Stan McDonald
stanmm at comcast.net
Mon Oct 12 15:25:42 PDT 2009
Selling vintage Buescher straight, C soprano sax. Silver plate. # 96452.
1922. Needs cork, pad and key work. Lacks mouthpiece. Bb will fit, but best
tone and intonation require selection to suit individual. Tapered, hard case
in good condition. Replace leather handle. Expert appraised at $1,000,
assuming overhaul. Asking $400. Photo on request. Stan McDonald.
www.bluehorizonjazzband.com
----- Original Message -----
From: <dixielandjazz-request at ml.islandnet.com>
To: "Stan McDonald" <stanmm at comcast.net>
Sent: Monday, October 12, 2009 3:00 PM
Subject: Dixielandjazz Digest, Vol 82, Issue 23
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>
> Today's Topics:
>
> 1. blind spots??? (ROBERT R. CALDER)
> 2. Sandy Williams ~ Conrad Janis Story
> (richard.flecknell at ntlworld.com)
> 3. please include in mail outs, thanks! (kellyscottmusic)
> 4. Jim ~ Don't put out the fire! (richard.flecknell at ntlworld.com)
> 5. Lewis (and Jim again) ~ I Believe In Miracles Honestly I Do
> (richard.flecknell at ntlworld.com)
> 6. Clayton and Guarneri (Stephen G Barbone)
> 7. Re: Clayton and Guarneri (Jack Mitchell)
> 8. Conrad Janis and Wilbur De Paris (Stephen G Barbone)
> 9. FH5+2 (baglady4 at juno.com)
> 10. Blind Spots (Bruce Stangeland)
> 11. Hawk & Body and Soul (Ken Mathieson)
> 12. Buck Clayton (Ken Mathieson)
> 13. Re: Joe Avery's Piece (andy.ling at quantel.com)
> 14. Re: DeParis Dickenson et al was Buck Clayton & Terrassi's
> (Marek Boym)
> 15. Classic FRENCH Albert 1920s/30s Antique Clarinet For Sale
> (Robert Ringwald)
>
>
> ----------------------------------------------------------------------
>
> Message: 1
> Date: Sun, 11 Oct 2009 23:37:34 +0000 (GMT)
> From: "ROBERT R. CALDER" <serapion at btinternet.com>
> To: dixielandjazz at ml.islandnet.com
> Cc: Dixieland Jazz Mailing List <dixielandjazz at ml.islandnet.com>
> Subject: [Dixielandjazz] blind spots???
> Message-ID: <198187.59385.qm at web87011.mail.ird.yahoo.com>
> Content-Type: text/plain; charset=iso-8859-1
>
> I suppose the real question is whether you can HEAR what the musician is
> doing, or saying.? Humph the variously wise does observe in one of his
> books that especially the more innovative jazz musicians have tended to
> regard the playing of others as NOT MY FIELD.? Hawkins came back from
> Europe and as I recall from my reading said that Lester was doing nothing
> new
> Hawkins was I think preoccupied at the time with?Bach and Bachian harmony
> and finding where the next note could come from that would allow him to
> explore the boundaries of emotional freedom and control as in BODY AND
> SOUL
> That's where his mind was and that's why Lester didn't interest him
> especially
> ?
> Other musicians and listeners tend to begin with an attention span which
> has similar limitations, obviously seldom because of having an independent
> musical vision like Hawk, but usually in terms of freedom and control of
> response
> If grace has descended and they can talk of blind spots rather than MY
> PERSONAL TASTE
> ?
> ?
> ?
>
>
>
>
> ------------------------------
>
> Message: 2
> Date: Mon, 12 Oct 2009 0:48:12 +0100
> From: <richard.flecknell at ntlworld.com>
> To: dixielandjazz at ml.islandnet.com
> Cc: Dixieland Jazz Mailing List <dixielandjazz at ml.islandnet.com>
> Subject: [Dixielandjazz] Sandy Williams ~ Conrad Janis Story
> Message-ID:
> <20091012004812.WF8O2.462561.root at web02-winn.ispmail.private.ntl.com>
> Content-Type: text/plain; charset=utf-8
>
> Steve, love the sound of Sandy Williams, wasn't he on some of Bechet
> recordings (top of my head ~ Nobody's Knows The Way I Feel Dis Mornin').
>
> Janis and DeParis story I heard too ... must be on an album somewhere.
>
> Richard (catching up w your posts - its gone half past eyelids here)
>
> D'Amico soon and Screamin Blues.
>
>
>
>
>
> ------------------------------
>
> Message: 3
> Date: Sun, 11 Oct 2009 16:56:41 -0700 (PDT)
> From: kellyscottmusic <kellyscottmusic at bellsouth.net>
> To: dixielandjazz at ml.islandnet.com
> Cc: Dixieland Jazz Mailing List <dixielandjazz at ml.islandnet.com>
> Subject: [Dixielandjazz] please include in mail outs, thanks!
> Message-ID: <547514.41034.qm at web180312.mail.gq1.yahoo.com>
> Content-Type: text/plain; charset=utf-8
>
>
>
> Panama City, FL
>
> FRIDAY & SATURDAY OCTOBER 16th (7pm) & 17th (2pm)
> 9th Annual JAZZ BY THE BAY FESTIVAL
> JB SCOTT?S SWINGIN? ALLSTARS,
> featuring
> JB Scott (tpt), Lisa Kelly(vox), Ken Calhoun (banjo/gtr) Dave Steinmeyer
> (tbn), Jim Snyder (clrnt), Rick Ravelo (bs), Eric Mason (dms).
> Also presenting a jazz clinic on Friday 11am/area high school.
>
> Oaks-By-the-Bay Park, St. Andrews, Panama City, FL.
>
> 10th and Beck Avenues. Bring longe chair/blankets.
> Info:
> http://www.gulfjazzsociety.com/index.php?option=com_content&view=article&id=45
>
>
>
>
>
> ------------------------------
>
> Message: 4
> Date: Mon, 12 Oct 2009 1:06:57 +0100
> From: <richard.flecknell at ntlworld.com>
> To: dixielandjazz at ml.islandnet.com
> Cc: Dixieland Jazz Mailing List <dixielandjazz at ml.islandnet.com>
> Subject: [Dixielandjazz] Jim ~ Don't put out the fire!
> Message-ID:
> <20091012010657.AH6AZ.462633.root at web02-winn.ispmail.private.ntl.com>
> Content-Type: text/plain; charset=utf-8
>
>
> see Jim just I said. I'm not a fan of FH5 or +2 or +4s but Marek mentions
> Kissin Blues now I'm interested, that's how it works. A quick way for
> others to tell me where to look (or was that where to go).
> I have thousands of records, you probably have as well, others even more.
> So maybe I missed out first time around regarding FH5 and they passed me
> by.
> Chip in with a suggestion you could convert me, no harm is there.
> I'll start up a UK Firehouse Appreciation Society, should get at least a
> quorem.
> I don't just talk Clayton, Hawk and the like. Try Colyer, Watters, etc. If
> that not the bag try Bix. I've spoken to Brian Wood about Bunk and Harold
> Drob, Ginny and New Orleans banjoists. Don't leave it too late I'll be
> back to lurking. What's that you said.
>
> Richard
> Richard
>
>
>
> ------------------------------
>
> Message: 5
> Date: Mon, 12 Oct 2009 1:16:34 +0100
> From: <richard.flecknell at ntlworld.com>
> To: dixielandjazz at ml.islandnet.com
> Cc: Dixieland Jazz Mailing List <dixielandjazz at ml.islandnet.com>
> Subject: [Dixielandjazz] Lewis (and Jim again) ~ I Believe In Miracles
> Honestly I Do
> Message-ID:
> <20091012011634.3ECHN.462674.root at web02-winn.ispmail.private.ntl.com>
> Content-Type: text/plain; charset=utf-8
>
> Lewis, I've deleted that email of yours so cannot remember your surname
> but do remember lots of letters to your name.
>
> Your'e onto something, it seems you've found a jazz album of Maynard for
> me.
> Haven't heard Screamin' Blues, yet, but snippets of Night Train and
> Baltimore Oriole.
>
> But sounds promising, now to buy the thing.
> (There you go Jim).
> I may be an idiot but not a dogmatic one.
> Now for Al Hurt (must I).
> What Hurt and the FH5 never.
> Not really in the Dixieland Sites rules I suppose so next I go off-line.
>
> Richard
>
>
>
> ------------------------------
>
> Message: 6
> Date: Sun, 11 Oct 2009 20:32:17 -0400
> From: Stephen G Barbone <barbonestreet at earthlink.net>
> To: dixielandjazz at ml.islandnet.com
> Cc: Dixieland Jazz Mailing List <dixielandjazz at ml.islandnet.com>
> Subject: [Dixielandjazz] Clayton and Guarneri
> Message-ID: <2399146D-5CF8-43BF-9BEB-86E16603E42C at earthlink.net>
> Content-Type: text/plain; charset=US-ASCII; format=flowed; delsp=yes
>
>
>> <richard.flecknell at ntlworld.com> wrote:
>>
>> Okay where do I find those sides. I've much Clayton (he's so
>> reliably on top form) but can't find or even know of them. Unless
>> someone else is leader.
>
> Dear Richard:
>
> One swinger, (C Jam Blues) to to listen to is at: (Wait for it to load)
>
> http://www.dailymotion.com/video/x15z2k_georgie-auld-cjam-blues_music
>
> Clayton, Eldridge, Guarnieri, Urbie Green, Georgie Auld, Buster
> Bailey, Stuff Smith, Garry Sheppard (vibes), Osie Johnson drums and an
> unknown bass player. Maybe Bill Haesler can supply the bass player's
> name. This kind of music was all around New York City in the 50s/early
> 60s.
>
> BTW: re your question about could Eldridge and Clayton make a good
> living. Yes, they could in Dixieland in the 1950s through mid 1960s in
> NYC. Plus they could supplement their steady gig earnings with casuals.
>
> eg. Wilbur DeParis sidemen got $125 a week at Ryan's in 1951. Good,
> but not great money back then. The pay was better with swing bands in
> the late 1930s, but the travel schedules, especially for black
> musicians were really tough. The white guys took Society gigs with
> Lanin, or Meyer Davis Bands, sending subs to their Nick's or Condon's
> gigs because Society paid very well. This was unavailable to Blacks
> back then. Guys like D'Amico also took studio gigs, playing jazz on
> the side. That was a good middle class living. Things got very tough
> jazz wise from about 1962 on. Then, only the top guys could made a
> decent living. Today?, forget about it. Too many guys playing cheap
> gigs and not so many gigs.
>
> Cheers,
> Steve Barbone
> www.myspace.com/barbonestreetjazzband
>
>
>
>
>
>
>
> ------------------------------
>
> Message: 7
> Date: Mon, 12 Oct 2009 13:34:04 +1100
> From: "Jack Mitchell" <fjmitch at westnet.com.au>
> To: "Stephen G Barbone" <barbonestreet at earthlink.net>
> Cc: Dixieland Jazz Mailing List <dixielandjazz at ml.islandnet.com>
> Subject: Re: [Dixielandjazz] Clayton and Guarneri
> Message-ID: <8655A0FC5FE54128BAC9B501F659BD34 at jackm>
> Content-Type: text/plain; format=flowed; charset="iso-8859-1";
> reply-type=response
>
>>
>> One swinger, (C Jam Blues) to to listen to is at: (Wait for it to load)
>>
>
>> Clayton, Eldridge, Guarnieri, Urbie Green, Georgie Auld, Buster Bailey,
>> Stuff Smith, Garry Sheppard (vibes), Osie Johnson drums and an unknown
>> bass player. Maybe Bill Haesler can supply the bass player's name. This
>> kind of music was all around New York City in the 50s/early 60s.
>
> The bass player was Vinnie Burke - it was from a radio broadcast NY
> October
> 9, 1958.
>
> Cheers
> Jack Mitchell
>
>
>
>
> ------------------------------
>
> Message: 8
> Date: Sun, 11 Oct 2009 23:15:19 -0400
> From: Stephen G Barbone <barbonestreet at earthlink.net>
> To: DJML <dixielandjazz at ml.islandnet.com>
> Cc: Dixieland Jazz Mailing List <dixielandjazz at ml.islandnet.com>
> Subject: [Dixielandjazz] Conrad Janis and Wilbur De Paris
> Message-ID: <A7111CBC-4DF8-46AF-97B1-221BF8EE3E9B at earthlink.net>
> Content-Type: text/plain; charset=US-ASCII; format=flowed; delsp=yes
>
> >Richard Flecknell wrote that he read about Janis and DeParis
> somewhere, maybe on >a liner note
>
>
> It was probably in the Mississippi Rag several years ago. You and
> interested list mates can read about Janis and the NYC jazz scene in
> the late 40's, early 50s in an article Janis wrote. Lots of insight
> about the scene back then, as well as how DeParis got the Ryan's gig
> away from Janis..
>
> http://www.conradjanis.com/MississippiRag4.php
>
> Cheers,
> Steve Barbone
> www.myspace.com/barbonestreetjazzband
>
>
>
>
>
>
>
>
> ------------------------------
>
> Message: 9
> Date: Mon, 12 Oct 2009 04:06:50 GMT
> From: "baglady4 at juno.com" <baglady4 at juno.com>
> To: marekboym at gmail.com
> Cc: dixielandjazz at ml.islandnet.com
> Subject: [Dixielandjazz] FH5+2
> Message-ID: <20091012.000650.7919.0 at webmail06.vgs.untd.com>
> Content-Type: text/plain; charset=windows-1252
>
> Firehouse Five plus2 I cannot
>> understand the adoration thereof.
> ******You must be a lot older than I :o)......Firehouse 5 were the first
> recordings that turned me on to OKOM. However you compare them now,
> cannot escape the fact that a huge audience for OKOM was born because of
> them!!
> But then, I'm only an appreciator....so what do I know????
> Nancie
>
> ____________________________________________________________
> Best Weight Loss Program - Click Here!
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>
> ------------------------------
>
> Message: 10
> Date: Sun, 11 Oct 2009 22:03:08 -0700
> From: Bruce Stangeland <stangeland at earthlink.net>
> To: dixielandjazz at ml.islandnet.com
> Cc: Dixieland Jazz Mailing List <dixielandjazz at ml.islandnet.com>
> Subject: [Dixielandjazz] Blind Spots
> Message-ID: <4AD2B88C.8010909 at earthlink.net>
> Content-Type: text/plain; charset=ISO-8859-1; format=flowed
>
> Steve,
>
> I just picked up a used copy of Leonard Bernstein's book "The Infinite
> Variety of Music".
> I look forward to learning his take on this subject.
>
> Bruce Stangeland
> Berkeley banjoist
>
> --------
>
> ------------------------------
>
> Message: 3
> Date: Sun, 11 Oct 2009 16:23:40 -0400
> From: Stephen G Barbone <barbonestreet at earthlink.net>
> To: dixielandjazz at ml.islandnet.com
> Cc: Dixieland Jazz Mailing List <dixielandjazz at ml.islandnet.com>
> Subject: [Dixielandjazz] Blind Spots
> Message-ID: <3245D883-C05E-4F59-957C-A19C2F3BBD3E at earthlink.net>
> Content-Type: text/plain; charset=US-ASCII; format=flowed; delsp=yes
>
>
>
>> > "Jim Kashishian" <jim at kashprod.com> wrote (polite snip)
>> > Each of us has his or her likes & dislikes.
>>
>
> Hear Hear.
>
> If we are Dixieland fans, then shouldn't we appreciate all styles of
> Dixieland, and all players of it? Perhaps liking some better than
> others, but not "disliking" any?
>
> Cheers,
> Steve Barbone
> www.myspace.com/barbonestreetjazzband
>
>
>
>
>
> ------------------------------
>
> Message: 11
> Date: Mon, 12 Oct 2009 13:42:31 +0100
> From: "Ken Mathieson" <ken at kenmath.free-online.co.uk>
> To: "Dixieland Jazz Mailing List" <dixielandjazz at ml.islandnet.com>
> Cc: Dixieland Jazz Mailing List <dixielandjazz at ml.islandnet.com>
> Subject: [Dixielandjazz] Hawk & Body and Soul
> Message-ID: <00c001ca4b39$78034620$5dd8ae51 at amd2500>
> Content-Type: text/plain; charset="iso-8859-1"
>
> Hi All,
>
> With all the talk about the above, I've been trying to recall the source
> of a brief article I once read about the genesis of that classic
> performance. I recall it was written by a musician who lived in the same
> building as Hawk in the period prior to the famous recording. He said it
> just about drove him nuts, because Hawk developed the solo over a three
> month period and would practise it every day. By the end of that period,
> the solo was perfected and committed to memory, not just by Hawk, but also
> by the other musician, so when the record came out, this musician's
> reaction was "what's all the fuss about?" In working out his solo in
> advance, Hawk was following a tradition that goes back to the beginning of
> jazz: Jelly Roll, Louis, Bechet and numerous others worked up many of
> their solos and then stuck rigidly to them other than for details of
> ornamentation, which doesn't diminish their artistic achievements in any
> way.
>
> I thought the source of this story was Ira Gitler's great book Swing to
> Bop, which tells the story of that transition in the words of the
> musicians themselves, however, when I checked the book, I could find no
> trace of it. Does anyone recognise the story and can anyone advise the
> source?
>
> Incidentally, Gitler's contribution was to edit the interviews into a
> coherent sequence and provide a commentary where needed. This he did
> expertly and as a result it's one of the best jazz books ever simply
> because the story is told by people who actually understood the subject
> matter inside out and were part of the transition themselves. I'd
> recommend it to anyone, but especially musicians, as a remarkably factual
> history, unclouded by personal judgements.
>
> Cheers,
>
> Ken Mathieson
> www.classicjazzorchestra.org.uk
>
>
>
> ------------------------------
>
> Message: 12
> Date: Mon, 12 Oct 2009 13:57:15 +0100
> From: "Ken Mathieson" <ken at kenmath.free-online.co.uk>
> To: "Dixieland Jazz Mailing List" <dixielandjazz at ml.islandnet.com>
> Cc: Dixieland Jazz Mailing List <dixielandjazz at ml.islandnet.com>
> Subject: [Dixielandjazz] Buck Clayton
> Message-ID: <00c701ca4b3b$869780f0$5dd8ae51 at amd2500>
> Content-Type: text/plain; charset="iso-8859-1"
>
> Hi All again,
>
> One of Buck's great albums from 1959 seems never to have been re-issued
> either on Vynil or CD: Songs for Swingers was full of great Clayton charts
> played by an all-star cast of Buck and Emmett Berry (tpts), Dicky Wells at
> his most whimsical (tbn), Earle Warren and Buddy Tate (saxes and clts), Al
> Williams (pno), Gene Ramey (bs) and Herbie Lovelle swinging fiercely on
> drums. It came out in Europe on the Philips label, but swiftly disappeared
> again and I've never seen a re-issue in years of hunting. Does anyone know
> if it was ever re-issued? Sounds like one for Prof Bill in Oz.
>
> Cheers,
>
> Ken Mathieson
> www.classicjazzorchestra.org.uk
>
>
>
>
> ------------------------------
>
> Message: 13
> Date: Mon, 12 Oct 2009 13:58:26 +0100
> From: andy.ling at quantel.com
> To: dixielandjazz at ml.islandnet.com
> Cc: Dixieland Jazz Mailing List <dixielandjazz at ml.islandnet.com>
> Subject: Re: [Dixielandjazz] Joe Avery's Piece
> Message-ID:
> <OFD390E7B2.93069BC7-ON8025764D.004738E1-8025764D.0047E48D at Quantel.Com>
>
> Content-Type: text/plain; charset="US-ASCII"
>
> Dave Stoddard wrote on 10/10/2009 04:43:42:
>
>> There is an
>> unconfirmed rumor that the real composer was an ornithologist and
>> the original title was the Joe Aviary Blues.
>>
>
> This reminds me of a story Humph told about an interview
> he gave to a local radio station. The interviewer had heard that
> Humph enjoyed watching birds and had asked "I understand
> you are a bit of an Orthinologist". At the time Humph couldn't
> think of a reply, but driving home he wished he had said,
> "Not an Orthinologist, more of a word botcher"
>
> It would have probably been lost on the interviewer though :^)
>
> Have fun
>
> Andy Ling
>
>
>
>
> --
>
> Quantel is the trade name used by Quantel Holdings Limited and its
> subsidiaries. Quantel Holdings Limited is registered in England & Wales.
> Registration No: 4004913
> Contact details for all Quantel Offices and Companies can be found on our
> website www.quantel.com or by writing to the holding company.
> Registered address: Turnpike Road, Newbury, Berkshire, RG14 2NX, United
> Kingdom
>
>
>
> ------------------------------
>
> Message: 14
> Date: Mon, 12 Oct 2009 16:56:54 +0200
> From: Marek Boym <marekboym at gmail.com>
> To: Stephen G Barbone <barbonestreet at earthlink.net>,
> Dixielandjazz at ml.islandnet.com
> Cc: Dixieland Jazz Mailing List <dixielandjazz at ml.islandnet.com>
> Subject: Re: [Dixielandjazz] DeParis Dickenson et al was Buck Clayton
> & Terrassi's
> Message-ID:
> <28fe10560910120756q40d20f95p34ed370c9423e3fd at mail.gmail.com>
> Content-Type: text/plain; charset=ISO-8859-1
>
> You deduction is all wrong.
> I did not disagree with the statement that " musos like DeParis,
> Dickenson et al, switched to Dixieland by 1950, because that's where
> the money and the gigs were." I only argued that the de paris
> Brothers (both) layed dixieland on labels which were quite prepared to
> record swing, and had done so. It was THEIR choice. But you would
> rather refute arguments never put forward. Perhaps you should learn
> to read?
>
> why did he and his brother choose to play
>> > Dixieland on Commodore and Blue Note? On Blue Note it is especially
>> > conspicuous, as almost the same band, under James P. Johnson's
>> > leadership plays swing, and becmes Dixieland when S. de paris assumes
>> > the leadership role?
>> >
>>
>> They chose to play Dixieland on Commodore and Blue Note because a paying
>> gig
>> is a paying gig and in the 1940s, times were changing musically, from big
>> and small band swing to Dixieland in New York City.
>
> In 1944, swing was still king, although perhaps and old and weak one.
>
> Cheers
>>
>> >
>> > Sure. When there was big band or small group swing work, he did not
>> > need to change. I did not argue that he preferred Dixieland - that
>> > related to the de paris brothers. I just said that I heard him play
>> > Dixieland before I heard him playing swing (with his septet which
>> > included Ruby Braff). I came to jazz in the mid-fifties. as to
>> > Clayton, I did not realize he, too, played Dixieland before joining
>> > condon in the mid-60's. And I know that this happened to many others
>> > - Trummy Young, for example.
>
>
> Of course, you preferred to ignore this paragraph, because it did not
> seve your purpose.
>
> Cheers
>
>
>
> ------------------------------
>
> Message: 15
> Date: Mon, 12 Oct 2009 09:45:00 -0700
> From: "Robert Ringwald" <rsr at ringwald.com>
> To: "DJML" <dixielandjazz at ml.islandnet.com>
> Cc: Dixieland Jazz Mailing List <dixielandjazz at ml.islandnet.com>
> Subject: [Dixielandjazz] Classic FRENCH Albert 1920s/30s Antique
> Clarinet For Sale
> Message-ID: <1AAFC7A1D232474ABD8C58A434CD54B2 at hplap>
> Content-Type: text/plain; charset="iso-8859-1"
>
>>From Rex Allen. Please respond directly to him, not to me.
>
> Rex Allen
> 415-899-8099
> rcajazz1 at aol.com
>
>
> Classic FRENCH Albert 1920s/30s Antique Clarinet --An Early Jazz
> Standard/Collectible
> French-made, crack-free dark hardwood, originally played by my late father
> as late
> as c. 1980. Untouched and stored in original case ever since.
>
> Barrel and bell logos say: SIOUR ROBERT - PARIS. Ligature: MARTIN - PARIS:
> Mouthpiece
> Cap: FRANCE Model: Educator
>
> In Very Good condition, playable. I played it with a new reed the day
> before placing
> this ad, getting a few gorgeous low timbre-tones in "chalmeau" register
> favored by
> early Jazz clarinet giants who favored the Albert system over now dominant
> "Boehm"
> system.
>
> Keys all seem in intact and working, but need a good buffing up. Pads
> appear to uncracked,
> but hard. Appears clean inside. No missing pieces. Serial # unknown. Corks
> appear
> old but in good condition.
> Matching ligature.
> Case in fair, but working condition.
> Pics available. See eBay.com item #260489979972
>
> Asking $200.00
>
> Rex Allen 415-899-8099 ---
> rcajazz1 at aol.com
>
> __________ Information from ESET NOD32 Antivirus, version of virus
> signature database 4497 (20091011) __________
>
> The message was checked by ESET NOD32 Antivirus.
>
> http://www.eset.com
>
>
>
>
> __________ Information from ESET NOD32 Antivirus, version of virus
> signature database 4497 (20091011) __________
>
> The message was checked by ESET NOD32 Antivirus.
>
> http://www.eset.com
>
>
>
>
>
>
> ------------------------------
>
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> End of Dixielandjazz Digest, Vol 82, Issue 23
> *********************************************
--------------------------------------------------------------------------------
No virus found in this incoming message.
Checked by AVG - www.avg.com
Version: 8.5.421 / Virus Database: 270.14.10/2429 - Release Date: 10/11/09
18:34:00
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