Vol. 8 -Nos. 1-2			NEW ORLEANS JAZZ CLUB		Jan. - Feb., 1957

	GEORGE GIRARD DIES
On Friday, January 18th, 1957 at 5:10 A.M. New Orleans music suffered one of its worse losses in years. Born near New Orleans (in Jefferson Parish), October 7, 1930 - with a musical career which barely spanned 9 years, George's spectacular climb up the musical ladder came to a quiet end. After a losing fight with a malignant condition of the lower bowel since January, 1956, he lapsed into a merciful semi-comatose condition which lasted about one week. Quietly he went to sleep as a weak dawn greeted New Orleans coldest day.			most successful being for "Berrycup." Another very successful run on radio and TV was for "How Now, Brown's Cow," advertising Brown's Velvet Ice Cream.
			George became even more well known nationally when a long series of broadcasts over CBS emanated from O'Dwyer's Night Club. Each Sunday afternoon for over two years, Girard's horn was heard on almost every outlet in the nation.
			Early in 1954, George took still another group into the "Famous Door" on Bourbon Street. Again, his musicianship and showmanship proved to be an attraction - not only for visitors to the Crescent City, but to "home folks," who flocked there night after night to pay homage to that fine horn. "George Girard and His New Orleans Five" remained at the Famous Door, until George's illness forced him to give up.
Graduating from Jefferson High School in 1946, at the age of 17, George joined Johnny Archer's Orchestra for a tour that included most of the important jazz-minded cities in America. On his return to New Orleans, he joined Phil Zito's band - which became a hit immediately at the "El Morocco" Lounge, Iberville corner Bourbon. His first important recording date was the result of this connection, and the L. P. album this group cut under the name of "Dixieland Express" - (Phil Zito and His New Orleans International City Dixielanders) immediately drew the jazz public's attention to young trumpeter Girard.
			In late 1955, George recorded several sessions for Joe Mares' "Southland" label - which were among his very finest. Mares thought enough of George's playing to include him on a trip to the Annual Dixieland Jubilee in Los Angeles, which is known as "The World Series of Jazz." The 8 or 10 thousand fans gathered in that mammoth arena gave George such a mighty round of appreciative applause that it must have rung in his ears until they could not hear anymore. In the spring of 1956 he made a session for "VIK" (Subsidiary of RCA-Victor). To "Good Time Jazz" went the honor of having Girard for what was to be his last recording date.,
His next affiliation was with a splendid group which called themselves "The Basin Street Six." It was essentially the same as the above band, but with a different drummer. This band was known as a "Co-Op" organization, with all 6 musicians pooling their resources and sharing the profits. They worked together for over 4 years. This band recorded extensively for "Mercury" and for "Circle," and were in demand by numerous advertising firms for broadcasts, one of the longest and
			The New Orleans Jazz Club shall never forget George's contribution to
				(Continued on Page 2)
1 The "'GOOD TIME JAZZ" records have nor been released as yer. We are assured by Les Koenig that they should positively be issued in late February or early March, 1957.
THE SECOND LINE, Jan. -Feb., 1957   1

GEORGE GIRARD

(Continued from Page 1)

- took out their music and music racks, and waited for the "stomp off." That's as far as they got. Not one of them blew a note you could hear across the bandstand. They sat back, agape, in wonder at what George was doing.

them in the early days at the St. Charles Hotel. Month after month, George Girard did a yeoman's share of blowing - for free and for fun, and to help the Club on its way up. One particular night stands out in your reporters memory - the night Ray McKinley came over from the Roosevelt Blue Room to take part in one of our famous "Jam Sessions." McKinley, being the nationally known guest star was naturally given the most prominent spot. Back of him were the tried and true "regulars" from New Orleans. McKinley's session lasted about 45 minutes, with his drum being especially in the limelight. Purely by accident, a tape recorder had been set up in front of the band and turned on. During the progress of the session, all musicians - AND guests were aware of the magnificent horn that George was blowing from the background. Thank God that we have down on tape what Gcorge did that night! In our humble opinion it was far and away the finest thing he has ever done - either at a jam session, on the job at any of the many night clubs at which he played, or for any recording session that he made.2

New Orleans has lost a fine citizen. The N. O. Jazz Club has lost one of its best friends. America has lost one of its finest musicians. We feel certain that in time to come, George's best records will be sought oftcn - just as BIX Beiderbeck's are today.

The Jazz Club sends its deepest sympathy to Mrs. George Girard (his wife), his parents, his sister and his grandmother. We include his two darling little nieces, Dianne and Denise Breaud - because this was a close knit and affectionate family. We of the Club would like this family to know that our affection for George was very akin to the love which they themselves have for him. Here is a man who has left a mark in this world. His family have every right to be proud_!

2We suggest that at the February meeting of the "WAX-WING" this tape be played, and the entire program be dedicated to George. Also, that the proceedings of this meeting be in turn taped and sent to his family as a memento - and as a reminder

of our boundless esteem for our good friend

Ray McKinley was so impressed with George and the rest of the jazz club band members, that after his second shown at the Blue Room, he inveigled

George.

5 of his "star" men to come over to the St. Charles to "jam." We happened to be standing behind a marble pillar on the mezzanine just before McKinley led his men into the Claiborne Room. He stopped them and said. "Men don't fool around with this bunch. Give ;hear all you've got. These fellows really play 'for keeps' - especially that Girard fellow." The McKinley's men got on the bandstand, wet their mouthpieces, blew a few scales

2

THE SECOND LINE, Jan. -Feb., 1957

	HARRY SOUCHON
NEW JAZZ CLUB PRESIDENT
				corresponding secretary, and Helen Arlt, recording secretary.
				Mr. Souchon is well qualified to assume the leaders roll, as he has long been known to have one of the most comprehensive collections of records in the South. He has been an unfailing promoter of the "WAX-WING," and at his home, most of these interesting and instructive meetings are held. Souchon is a member of one of the most prominent legal firms in this neck of the woods, (Lemle and Kelleher) and has always been available to all who needed legal advice pertaining to things musical. In other words, he has been a friend of music for a long, long time.
On Monday, January 14th, 1957, at the University Room of the Roosevelt Hotel, an open meeting was held. As is the custom, nine nominations are made from the floor, which is to constitute the Board of Directors for the coming year. The following were elected:				Bob Morris is no newcomer to jazz, although he is a comparative newcomer to New Orleans. Formerly from Texas, Bob migrated to New Orleans two years ago and is associated on the staff of the New Orleans Item. He has written many fine articles for "The Second Line" (even before moving to N. 0.) and has already made his mark in this city by his fine series on jazz and jazz personalities which have appeared in the Sunday edition of the "Item."
Frank Bonansinga, Mina Lee Sinske, Harry Souchon, Bob Morris, Phil Giroir, Bill Crais, Jo Schmidt, Helen Arlt and Edmond Souchon.
The ensuing Monday night, the Board met at "Johnny's Restaurant" on North Rampart - to bend elbows, to share a festive meal - and for the important business of selecting a president. for the next 12 months. (This is another custom of the NOJC - the 9 selected as members of the Board select the officers from this same group.)				Philip L. Giroir the new treasurer, is well selected to fill the shoes of our good and faithful John L. Favaloro who has done such a wonderful job for many years, and who is now retiring from office ("but not from the club!"). Aside from being an enthusiastic member for several years, Mr. Giroir comes to this office rightfully, as he is a "Cost Accountant," a member of the firm of "Roussell Equipment Company."
We are happy to announce that an excellent and enthusiastic meeting wound up with Harry Souchon being elected president. Bob Morris was made vice-president; Phil Giroir is treasurer; Mrs. Henry Schmidt ("Jo"),
				Helen Arlt and Mina Lee Sinske need no introduction, as they both hold the
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THE SECOND LINE, Jan.-Feb., 1957								3

			HARRY SOUCHON
		(Continued from Page 3)				is old enough to know what it's all about, and young enough (and good looking enough) to have all the bobby soxers in the NOJC heaving Elvis Presley (well almost, anyway!) sighs whenever he plays.
same offices they held last year - and are doing grand jobs. Mina Lee is especially enthusiastic in her handling of the "WAX-WING" affairs, and also in being half of the team that selects the records and writes the script for our Sunday night WWL show at 10:30 P.M. Helen continues to be efficient in her job of recording secretary, and contributes much info that goes into articles and news bits that appear in "The Line."
						Frank Bonansinga is retiring president, who remains on the Board. A wonderful job Frank did too, for the meetings at the Roosevelt have been fabulous, the general feeling of friendship prevailing among the members, and the treasury in fine condition. The Club is fortunate that he will be on the Board for at least another year.
Jo Schmidt (Mrs. Henry Schmidt) takes full rein on the very taxing job as "Corresponding Secretary" which Myra Menville has held for so many years. (For a long time Myra also did the job of recording secretary, secretary to the Board, Editor of "The Second Line," telephone contact between visitors, musicians, members and what have you!) Mrs. Schmidt has every qualification to fill this position, and is enthusiastic about doing it. She has spent much time bringing the files up to date, and the correspondence is just about squared away. She should be able to start the year with a clean slate.
						Edmond Souchon is Harry Souchon's brother, and the Club has tried to get rid of him for the past 5 years, without
							(Continued on Page 12)
Outgoing Myra will NEVER be replaced. What she has done for the club and musicians in general around New Orleans is immeasurable!
Bill Crais, new member of the Board, is welcomed with open arms. A lawyer by profession, he is also a member of Local 174. Which means that he is a musician also. And what a musician he is! Playing one of the best trombones in the city, Bill is one of the most dependable members in our organization. And he'll not only attend every single meeting that he can, but he'll sit in the trombone chair in every set that needs him. The Board has long needed "young blood" - well, here it is - in the form of a guy who
						THE SECOND LINE, Jan. -Feb., 1957
4

Basin Street - 1957 Edition

By Margaret Ashley, WWL, New Orleans

Basin Street and Canal, looking downtown towards the Municipal Auditorium, in front of which is "Congo Square."   PHOTO By E. SOUCHON

No longer are the hot, clear notes of a trumpet, or the tinkle of a honkytonk upright piano heard on Basin Street in New Orleans. The sounds today are those of racing motors, roaring motorcycles and the nervous screech of tires as traffic ebbs and flows on a busy metropolitan boulevard. The wails of Charity Hospital ambulance sirens add to the typical metropolitan cacaphony.

lined with small, drab one-story houses and honky-tonks. Saloons - interspaced generously along the way, led northward to the pretentious but foreboding line of celebrated brothels. As night fell, blinking red lights glared from behind half-drawn blinds - as nocturnal creatures resumed t h e i r predatory trade.

In New Orleans they say that jazz was born on the levees of the Mississippi, where stevedores loaded cotton, sugar cane and raw materials onto the river boats plying between New Orleans and Memphis. As they

Not too long ago this was a narrow unpaved street, flanking the old terminal railroad. Shuttered tightly during the day against the jungle heat of the blazing southern sun, it was

(Continued on Page 7)

THE SECOND LINE, Jan. -Feb., 1957

5

		BASIN STREET - 1957
	(Continued from Page 5)					faithful devotees all through the years - and the West Coast was discovering that jazz was exciting and rewarding. Soon jazz was heard everywhere again.
worked, the men chanted and hummed and sang - each in his own way. Tattered roustabouts-clutching their day's pay; dandies and card-sharks - their money belts bulging at the seams, all found their way down to Basin Street after sundown. Strange peoples from strange lands - born with mysterious rhythms i n their souls, met and gave vent to the true folk music of inarticulate people, expressing their joys and sorrows the only way they could.
						Visitors to New Orleans - their only knowledge of the music having been gained from the one tune, "Basin Street Blues", began asking where Basin Street actually was. Blocked at one end by the foreboding railroad terminal, lined on both sides by dilapidated nondescript houses, it o n 1 y bespoke of squalor and sadness. Nothing that remained suggested the happiness of the music they sought.
As the years went by, the music of Basin Street hushed - and was almost forgotten. The old street was swallowed up by a changing city. Almost ... but not quite forgotten. The strange music lived on in the hearts of simple people, who passed it on to their children as their only heritage. Nor was it forgotten by the few musicians who found sanctuary in the vicinity of Basin Street.
						In the spring of 1955 these last buildings too were torn down. Restless old Basin Street underwent another metamorphosis. Caught up in the restless march of civic progress, it now became an eight-lane super highway. Far into the night headlights stab at traffic signs - and find bright new street markers proclaiming to the world that THIS was Basin Street.
It was retained vividly in the memory of a boy who lived in an orphanage near Basin Street. That boy was Louis Armstrong, who poured his heartache and loneliness into a battered old cornet - until it made a sound that was heard around the world! Tired old musicians who had played for coins tossed into a hat, shaped the destiny of that certain kind of music - by lending a helping hand to that raggedy waif who became America's No. 1 ambassador of good-will!
						In the hours before dawn, it is easy to imagine by the half light of a waning moon an unseen host of disembodied voices singing as they sang so long ago on the levee of the Mississippi River at the head of Canal Street - and along the vanished unpaved sidewalks of lower Basin Street. And overhead - high above us -that same music MUST have its humble place in the celestial choir. Led by the gutbucket cornet of King Oliver, seconded by the unforgettable wail of Big Eye Louis Nelson's horn, accompanied by the barrelhouse piano of Jelly Roll Morton embellished by the glissandos of Johnny Dodd's clarinet - and challenged into brilliance by Old Bunk Johnson's blue cornet - surely Bessie Smith's haunting voice is not far behind! These were the sounds that meant singing the blues.
More than ten years ago a group of men and women - professional and business men, musicians and jazz enthusiasts in every walk of life - banded together to form the New Orleans Jazz Club, for the sole purpose of keeping alive the music they all loved.
New Orleans had never really forgotten; New York and Chicago had
							THAT was Basin Street.
THE SECOND LINE, Jan. -Feb., 1957
										7

T,

BOOK REVIEWS

out his book, Mr. Hobson is vitally aware of every phase of jazz - and especially the earliest recorded examples - which appeared so "pitiful and floundering" to Mr. Hodier. Wilder Hobson's evaluation of jazz origins, commercial and "concert" jazz - and his sagacious differentiation between New Orleans, Chicago and New York jazz is one of the clearest we have ever read. His discussions are in simple but forcible language, and not too technical for even a jazzman to read (?), and understand.

AMERICAN JAZZ MUSIC

By Wilder Hobson

Jazz Book Club (English)

Herbert Jones, Esq.

No. 1, Travistock Chambers,

Bloomsbury Way.

London W. C. 1, England

Two hundred and twenty - seven pages - six excellent (and NOT runof - the - mill) halftone illustrations. Several musical "illustrations" are included, as are 30 currently available recorded musical examples. Hard cover, attractively bound, and with excellent, large readable type. Available only through membership in the "Jazz Book Club". (See end of article for price, etc.)

Although the actual "history" of jazz is pretty well covered, there are no re-hashed themes nor guilded favorites to mar his discussions. His style is so readily readable that even a person who is not at all interested in jazz will find the book most absorbing.

This book is one your reviewer completely missed when it made its appearance in 1941. How we could have missed it is beyond our ken. Now, we are deeply grateful to the Jazz Book Club for a book that should, without question, be among their jazz library. As we all know, Wilder Hobson is one of the most astute students of music in the world. Not only is he a student, however, but he is also a musician of note, and a composer of great merit. One would judge from this build-up that he might fall into the same category as Andre Hodier - whose book we reviewed in the MayJune, 1956 issue of "The Second Line" (and not very favorably), But this is not true. Just the opposite.

We congratulate the "Jazz Book

Club" on another excellent selection. and we know, from the announcements of "what's ahead" that this standard will continue right along. A tip-off on the next three selections will no doubt make you take your pen-in-hand at once to write Mr. Herbert Jones, at No. 1 Travistock Chambers, Bloomsbury Way, London W. C. 1, England to enroll you as a member pronto. The "coming attractions" are: "We Called It Music", by Eddie Condon; "I Play As I Please", by Humphrey Lyttelton (f a m o u s English trumpeter and clarinetist); and "King

Instead of placing technique ahead of good taste, as Hodier does through

(Continued on Page 12) THE SECOND LINE, Jan. -Feb., 1957

8

The Influence Of Jazz
	On American Popular Culture
			By Dr. Irene Pierce, Department of Psychology Welleslev College
								the kind of jazz which has been commercialized by such popular jazz bands as Guy Lombardo and Wayne King. The latter is a less interesting phenomenon psychologically because of its greater acceptance on all cultural levels in our society. As for real jazz, however, there is a general tendency to take one of two extreme positions. On the one hand we have the devotees of jazz. This position takes the character of cultism. On the other hand are those who view jazz with extreme distaste, believe that it is vulgar, not real music, primitive, and ugly. From a Freudian point of view this immediately arrests the psychologist's attention. Freud was constantly dealing with opposites in his theoretical frame work and he talked about either direct expression of one's impulses or what he called the mechanism of reaction-formation, which for him meant a conscious denial of one's impulses and the maintenance, therefore, of an opposite position, to protect oneself from admitting to have undesirable impulses. The civic minded person, for example, who spends his time banning books, literature, and movies, which he considers obscene, etc., is for Freud one who unconsciously would wish to be stimulated by pornography but denies this and consciously takes the other extreme position. Again, the man who is basically dependent and attached to his mother and finds this difficult to accept consciously, develops on the conscious
		Dr. Irene Pierce
				PHOTO BY E. SOUCHON
I am going to speak more as a layman than as a psychologist because my approach to music, and in particular, to jazz, is a naive one: I know only what I like, that is what moves me, and what does not. And I don't understand why, and could not verbalize or describe the musical construction which has determined my taste. Nevertheless, I shall try to talk about jazz from the point of view of peoples' reactions to it.
What kinds of reactions do we find to jazz? Why or how can we explain these reactions? Who likes jazz? Who doesn't? Can we emerge with some generalizations about how and why jazz exerts its influence and enable us, therefore, to understand ourselves a little better?
								level strong antagonistic feelings to her. These examples are to point out how extreme reactions to one thing (Continued on Page 10)
The first thing that strikes us as interesting is the type of reactions to jazz, and I mean here to real jazz, not
THE SECOND LINE, Jan. - Feb.. 1957   9

			INFLUENCE OF JAZZ
		(Continued from Page 9)				justment in a white society which has not yet accepted him. The Negro, too, therefore, has a need to rebel and seek release in some way.
might in the last analysis be explained by the same principle. But first let us look at the groups which seem especially responsive to real jazz in our society.
						In summary, then, the three groups which make up the majority of the jazz enthusiasts have in common the problems of adjusting to a society which does not accept them, and the fact that the existing values, mores, and taboos are repulsive and disturbing to them. They are all oppressed by greater tensions than the rest of society and look for some kind of emotional release, which is, in part, probably satisfied by jazz.
Among the white population we find adolescents, and intellectuals making up the bulk of this group, and the Negro is also well represented among jazz enthusiasts. In some respects the reasons for the attraction to jazz by these different groups are similar. The adolescent, the intellectual, the Negro, are faced with unique cultural problems in our society. The adolescent is torn with conflicts and tensions which are typical of an age group which must suddenly learn to make new adjustments to life. Puberty brings with it strong sexual tensions which cannot be directly expressed because of cultural taboos. It is also the period of growing up with respect to economic responsibilities. Choices must be made, adulthood with all its obligations in our anxiety-torn culture, must be faced. It is little wonder that the adolescent presents such extreme problems to his parents and to society. He is looking constantly for some kind of release for all the pentup energy and tension, which he cannot directly dissipate.
						But let us go back a moment to the other group, the one which finds jazz repulsive, vulgar, etc. If we look carefully we see that the majority of this group falls into the middle-class of our society. And if we look still further we see that this class of our society most effectively has carried on the traditions, values, and way of life characterizing the Victorian age, and perpetuated by the puritanism which laid the foundations of this country. What is this tradition, and what are the values? Actually they are too complex and involved to go into in too much detail here. Let us look, however, at those aspects of puritanism which are of greatest relevance to the problem at hand.
The intellectual, too, has a difficult time in a society of the Horatio Alger myth, where making money is the most desirable value and goal. The intellectual is considered as eccentric, the "absent-minded professor", and in the last analysis a foolish wise man. Higher intellectual capacities also allow this group to be more sensitive, more aware of the environment, which in this day and age, of necessity, creates anxieties and tensions. They too, therefore, look for a release.
						Here we must look at the attitude toward emotional expression and the expression or rather the acceptance of one's basic impulses. In regard to emotional expression, the attitude is one of reserve and repression. It is considered in bad taste to express one's emotions too readily. The stereotype of the Englishman is held up as the model for our behavior and this model emphasizes control. We hear constantly the cliches of "stiff upper lip", "the show must go on", etc. Just
The Negro, needless to say, faces an infinite number of problems of ad
							(Continued on Page 11)
10						THE SECOND LINE, Jan.-Feb., 1957

		INFLUENCE OF JAZZ
	(Continued from Page 10)					cause here is one of the rare occasions where within the group, in the jam session itself, there is social approval for release of intense emotional feelings. Social facilitation and group approval (even though the group represents a sub-cultural group which is at variance with the broader cultural values) add a great deal to allowing oneself to let go and express himself. Apparently, however, for most of American middle class society, the deeply ingrained puritanism is too strong to allow for the social facilitation to compensate for the tremendous threat this kind of situation offers.
as grief, fear, and sorrow must not be overtly or too intensely expressed, so also must one control joy, affection, and elation. The American Way must, therefore, be a way of emotional control in order for one to be accepted as a lady or a gentleman. One does not laugh too loudly nor cry too vigorously. But bear in mind that something has to happen to all the emotional tension which is never or rarely allowed free expression.
Now let us look at what happens to people at a jam session. Primary among the reactions, is a participation of the group with the music and with the musicians. One claps his hands, beats his feet, and in general reacts in a truly emphatic way with his whole body. In some instances the empathy and bodily reactions become so intense that the individuals appear to lose their control, and in the ultimate extreme trance states do occur.
						Let us go back now to the adolescent, one of the groups which is at
						tracted to jazz. They do let themselves go in a jam session. The bobby-sox crazes, the trance states exhibited by some adolescents while listening to the matinee idol, Frank Sinatra, John
						ny Ray or Elvis Presley, all are examples of the same thing. For them, apparently, the tension and anxiety they experience in adjusting to an adult world is great enough so that the social facilitation and sub-group approval in a jam session, can compensate for the threats this engenders in a puritan culture. Remember also that this group is a group in rebellion, which is constantly fighting those prohibitions and mores which are responsible for its state of anxiety and disturbance, and perhaps expressing the rebellion further by responding to anything which is not generally accepted. I am reminded here of something I witnessed in Paris not long ago. Some of you may have heard of the night spots in Paris called "Cavres" - so called because they are night clubs in the cellars, i.e. caves. Originally these places were called Existentialist Cavres, and the adol
Why is this behavior both attractive and repulsive to this middle-class group? First there is a lack of control, which, according to American middle class values is not only in bad taste, but dangerous. It is dangerous because if one loses control, then anything can happen. Because this cultural group has learned to repress so completely its basic impulses, then it will be all the more afraid of doing all the things which it wants to do but cannot and must not do. The fear of one's impulses has apparently been strong enough to make it necessary to deny having either sexual or aggressive impulses, and to deny having strong emotions. This group employs, therefore, the mechanism of reactionformation described above. Thus the jam session is a threat to all the defense mechanisms which have been built up and at the same time it is highly appealing. It is appealing be
							(Continued on Page 12)
THE SECOND LINE. Jan. -Feb., 1957										11

Influence of Jazz

BOOK REVIEW

(Continued from Page 11) escent group frequenting these places called themselves Existentialists, af ter the philosophy of Jean Paul Sar

(Continued from Page 8)

Joe Oliver", by Walter C. Allen and Bryan A. L. Rust. This book was privately issued in mimeographed form last year, and is probably the most wonderful example of what research can reveal by two dedicated individuals. There were only 200 copies of the original, and we are exceedingly happy to discover that this book will be dignified and perpetuated by this very wise book club.

tre. The use of this term by this group reflected a naive identification with a philosophical point of view which was probably too sophisticated for most adolescents to understand. Nevertheless they caught on to one phrase of this philosophy, a phrase incidentally taken out of context, which considered that one lives for the present without consideration of responsibilities arising out of the past or future. Sartre, I might add, recognizing this distorted interpretation of his point of view had posters put up all over Paris denying any connection with these so - called existentialist groups. Nevertheless, these "cavres" became the haunts of adolescents, where hot jazz was played and jam sessions the rule. The group adopted various fads for the purpose of furthering group identification. For example, they all dressed completely in black, they drank a great deal, cut school or work frequently, and spent all their time living "recklessly" in these haunts. I went to one of these and the thing which left its greatest impression on me was the wild abandon with which these youngsters responded to the music. The dancing was exaggerated, sensual, and wild. One almost had the impression that these youngsters were under the influence of drugs. In the last analysis this probably represented this group's desperate attempt to resolve all the fears, anxieties and tensions which they could not resolve directly in the society in which they lived. Actually they were responding to only one aspect of the music. They were responding to jazz for the wrong reasons. They were not listening to the music and what it had to offer as a form

Books which originally sold for $2.50 or more are available at approximately 85 cents (plus postage). But these are only obtainable through membership in this book society. One year's subscription amounts to in the neighborhood of $5.25 - which is less than we usually pay for one single 12" L.P.! Get busy, you guys and dolls, and write immediately!

Harry Souchon

(Continued from Page 4) success. He's like that bad penny - keeps bobbing up all the time!

Outgoing members of the Board are: George Blanchin, president for two years, and knowledgeable jazz connoisseur from way back. His two terms of office are goals for every jazz prexy to shoot at; Louis Kohlmeyer and Dr. D. V. Longo both served on the Board during 1956 - and we might add, "With distinction!" The NOJC thanks them for their excellent cooperation and enthusiasm, for these three men rendered their service to the Club in spite of terrifically heavy schedules in their own chosen field of endeavour.

of creative expression but rather as an excuse for their own self expression, otherwise not allowed. This may be the reason for the wide appeal jazz has for this group.

(To Be Continued In Next Issue)

12

THE SECOND LINE, Jan. -Feb., 1957

Southern California

Hot Jazz Society News

that are available about jazz, record sessions, lectures, record auctions, concerts, discussions, and so forth. They hold monthly meetings with live jamsessions predominating.

The first two articles of their Constitution are very similar to those of the N. O. Jazz Club, and are worthy of printing:

Article I. We, the members of the Southern California Hot Jazz Society, have joined together because of our mutual interest in jazz, and to arouse similar interest in others.

Article 2. Policies:

Johnny St. Cyr

(a) The purpose of this Society

shall be both educational and recreational.

Good news travels slowly. That's why we of the N. O. Jazz Club have only recently found out that our own Johnny St. Cyr was elected President of the S.C.H.J.S. in their June meeting by a landslide vote. Belatedly, we send our sincerest congratulations to Johnny - and to the Sou. Cal. Hot Soc. We feel that neither side could do any better!

(b) The Society and its business shall be non-profit, non-secret, and non-partisan.

(c) No person shall be excluded from any activity of the Society for racial, religious, political or social reasons.

Other officers for the year 1956-'57 were as follows: Harold Calkins, VicePresident; Carlos Flores, Secretary; Ethel Hiett, Treasurer. They are so very right, too. New Orleans' loss was definitely their gain when Johnny St. Cyr moved there permanently!

This society was organized in late 1949, and has been most active ever since. For the past seven years they have engaged in practically every activity pertinent to the promotion of jazz: dances, showing the few films

THE SECOND LINE, Jan. - Feb., 1957

13

			That Man Is Here Again!
					"The Second Line", 1954, a certain gent got himself in a hassle with "GOOD TIME JAZZ" and "RIVERSIDE" record companies by statements which appeared in a book review. An apology followed in the NovemberDecember issue of the same year. The gent who made the statements that needed correction was one R. A. Tiug. Resident of New Orleans, record collector, jazz enthusiast, and a loafer of the first water, Mr. Tiug was not discouraged by having to apologize for inaccuracies. Evidence of his thick hide: many articles and reviews and stories about jazz have continued to appear in "The Second Line". This is the guy who has accepted the thank
In January, 1957, the old Editor, Dr. Edmond Souchon, resigned the post he had held "Pro-Tern" (for five years). Mr. Albert Diket. of Algiers. La., a thoroughly qualified and astute gentleman for the post, took over and has done a fine job for the past six issues.
					less job of "Editor-Pro-Tern". This is the guy who asks your indulgence while he treads water for the club - until the right man comes along. Patience, my dear people, while R. A. Tiug does his very best - even if it's second rate!
At the December meeting of the Board of Directors of the New Orleans Jazz Club Mr. Diket announced to the Board that he would be unable to continue in the capacity of Editor, as he was moving to Baton Rouge to live. It was with much regret that the Board accepted his resignation.
Then came the question, W-H-O would take over our beloved little magazine. Souchon was definitely out of the question - would not, could not find the time. Here's where that man stuck his chin out once more!
	In the September-October issue of
14					THE SECOND LINE, Jan.-Feb., 1957

JAZZ JAMBALAYA

By BOB MORRIS

Nothing in the world is quite like a banjo, and this distinctive instrument stole the show at the November meet

Eccentric apart and put them together again with facile dexterity.

Following the string quartet set, more Dixieland tunes were reeled off by Tony Almerico, trumpet; O'Neil, trombone; Francis Murray, clarinet; Al Marranto, piano; Al Lobert, bass, and Monk Hazel, drums. Introduced as the "Dixieland All-Stars," they produced evidence of more than a casual claim to that title.

inn of the Jazz Club.

Highlight of the evening w a s the performance o f a string quartet composed of Johnny Chaff e and Malcolm Genet, banjos; Dr. Edmond Souchon, guitar; and Sherwood Mangiapane, bass.

String melodies took the spotlight again as interpreted by Mangiapane's bass, Dr. Souchon's guitar, and Chaffe and Russ Wait strumming the banjos. Raymond Burke then joined the "Dixie

Bob Morris

After an opening duet by the two banjos on Whistle Stop, the full quartet tromped through Robert E. Lee, Carolina In The Morning, and Cotton Pickin' Rag. Audience enthusiasm left no doubt that the lilting Carolina scored the biggest hit.

(Continued on Page 16)

A Young Dixieland band, the Harmonaires, opened the meeting at the Roosevelt Hotel's University Room. TV personality Dick Bruce was emcee.

The Harmonaires comprised Paul Emenes, trumpet; Leo O'Neil, trombone; Henry Barroco, clarinet; Gordon Jones, piano; Clark Griffin, bass;

Charlie Little, drums, and Dottie Campeaux, vocalist. The band gave several jazz standards a thorough workout, with The Saints as a rousing finale.

Minus a lead horn, Mangiapane presented a jazz band which showed itself more than equal to the occasion. (Trumpeter Bill Gallaty was ailing and couldn't appear.)

Besides Sherwood's ever-solid bass, the group consisted of Tom Brown, trombone; Raymond Burke, clarinet; Jeff Riddick, piano; Dr. Souchon, banjo, and Wilbur Lawrence, drums. They took numbers like Fidgety Feet and

THE SECOND LINE, Jan. -Feb., 1957

15

JAZZ JAMBALAYA

(Continued from Page 15)

way of observing respect for the victim.

land All-Stars" as they returned for another set.

Santa arrived at midnight and presented everyone with souvenir jazz records. After Almerico's group concluded its music, Francis Murray rounded up some accompaniment and kept a small combo going for another hour or so.

The meeting came to a thrilling close with Armand Hug banging out Jelly Roll Morton tunes on the piano.

December saw the Jazz Club's annual Christmas dance open in the Grand Ballroom of the Roosevelt, with Tony Almerico's band engaged for the event.

Helen Arlt and Jo Schmidt of the arrangements committee expressed appreciation of all the women members who assisted with the decorations.

The room presented a festive note, with a tree, decorations of red felt musical notes and miniature instruments, and elaborate centerpieces on all the tables.

*   *   *

January's meeting in the Grand Ballroom was largely preoccupied with election of the new board of directors. Some excellent jam session music managed to get played, however.

Tragedy intervened during the course of the evening when John A. Feehan, Jr., collapsed and died at his table. Mr. Feehan, 45, was chief clerk of the United States circuit court of appeals in New Orleans. He had suffered a previous heart attack three years before.

Oldtime cornet man H o w a r d Voorhies was aided by Bill Crais, trombone; Francis Murray, clarinet: Frank Bonansinga, piano; Al Lobre, bass, and Stan Surgi, drums.

Following this group were Curtis Davidson, trumpet; Bruce Voorhies, trombone; Murray, clarinet; Bill Farrell,

At the request of authorities, the remainder of the meeting was transferred to the hotel's Gold Room. It was decided that the party should continue, being under the circumstances the best

(Continued on Page 19)

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THE SECOND LINE, Jan. -Feb., 1957

Jazz Club Enters New Field!

Pete Miller, ex-President of a few years ago, must have something on the ball the members of the NOJC do not know about. It looks like he's starting a "Matrimonial Agency" with headquarters at the New Orleans Jazz Club!

ment and said: "Pete, why don't you introduce that guy to my wife. If she goes for Mr. Anderson, I will pay you - and most assuredly she will too. So you'll make it 3-ways!"

On December 23rd, 1956, Pete received the following letter - which we find much too good not to print.

Nuff said . . . except we sure would like to see a picture of the guy who mailed that letter to Pete!

"Stewartville, Minn. 12-20-56.

Dear Sir:

I saw your name in Esquire magazine about joining the jazz Club. I will now ask you to do me a favor ; Can you fine me a wife in New Orleans? a lady 38-40 years old, wit some money. If you do, and I get married to her, I will pay you for it, and maybe join your club, as I am interested in musick. I hope to hear from you soon. Season's Greetings

Yours truly

A. C. Anderson,

Box 237,

Stewartville, Minnesota."

Pete showed this letter to a friend of his over the lunch table at D. H. Holmes. His friend thought for a mo

THE SECOND LINE, Jan. - Feb., 1957

17

Jazz Club Vital Statistics

November 3rd, 1956

January 28th. 1957

Mrs. Peter Fountain gave birth to her third child. It's her second son, and weighed in at 6 pounds, six ounces.

Mrs. Joe L. Humphrey (the daughter of Roger Johnston - former drummer of "The Dukes" and one of the best in the business today - came up with just what her husband wanted - an eight-pound bouncing boy. Pretty young Grandma and Grandpa!

November 26th, 1956

Mrs. Harold Cooper (who'se husband is with the much-travelled "Dukes of Dixieland") gave birth to her third son, - a puny little guy only pushing the scale down to 8 pounds, nine ounces. January 23, 1957

Add all the above to the alreadyknown new babies of Frank and Freddie Assunto, and we come to the con-clusion that the "Dukes of Dixieland" are a very prolific lot, and have taken the Lord quite seriously when he said to "Go forth and multiply!"

Artie Seelig, Jr. former pianist of "The Dukes," became pappy of a fine

7 pound 5 ounce daughter. Artie stood the ordeal real fine, as did Charlie Du

pont (new "Business Manager" for Local 174) and Mrs. Dupont. Mrs. Artie

Seelig is their niece.

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THE SECOND LINE, Jan. -Feb., 1957

Jazz Jambalaya

(Continued from Page 16)

piano; Lobre, bass, and Len Ferguson, drums.

The first band then took over again, with a couple of replacements; Stu Bergen, trumpet, and Doc Mulley, piano.

The December and January meetings of the "WAX-WING" were held (as usual) at the home of Harry Souchon on Octavia Street. Attendance was excellent, and attention during the playing of records remarkably good. This is especially commendable, because it means that those who have been fortunate to attend have a definite and serious interest in the music and what is being said'.

During the business session member Frank Parker urged that new musicians be encouraged to join in the Jazz Club programs and inquired about the feasibility of varying the meeting place occasionally.

Torn Sisson, a New Orleans insurance counselor, became the first new member to sign up in 1957. Not an instrumentalist himself, he declared he is interested in nearly all kinds of music and has long been wanting to explore the possibilities of New Orleans and Dixieland jazz.

The January meeting (Jan. 14th) was especially good. Dick Allen, noted discographer and record-research member of the NOJC gave a talk on the "Folk Roots of Jazz." His lecture was interspaced with Musical examples

"You know," he said after the meeting, "I think I'm going to like this."

which were excellently chosen. Evidence of the great interest which this

talk provoked was shown by the absence of a cross-current of "whispered"

conversation. Dick always does a good job on this sort of thing, as it comes

easily - because of his intimacy with the subject. You can see he loves it,

solid - were provided by "Shine" (Harry Souchon - nicknamed since his grammar school days because some of his buddies found "Sou-chon" hard to pronounce and "Shoe-Shine" was the easiest to roll off their tongues). Although we have said so in our last issue, we repeat that this meeting is one we hope can continue for a long, long time. It is the real basis upon which jazz lovers can meet and enjoy jazz and where the members really get to know each other. It also serves for a good means of instructing nov

and in spite of Dick's retiring temperament, his selection of words and

fluidity of speech is quite surprising. Refreshments - both liquid and

ices - and entertaining the old initiates.

THE SECOND LINE, Jan. -Feb., 1957

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20   THE SECOND LINE, Jan. -Feb., 1957