Albums Reviewed In Our July Issue

Life is Better with Syncopation. Spread The Word!

Here are links to albums reviewed in our July issue so you can purchase them knowing the artists will receive as much as possible. When available, please buy the CD. You can enjoy the liner notes, and support the small labels and studios who make the music possible.

Off The Beaten Tracks- Reviews By Joe Bebco

Catching up with New Orleans Part Two

Doro Wat – Doro Wat

CD Available Here. Or Digital Download From Bandcamp

Smoking Time Jazz Club- Take Your Time And Fly

Downloads from Bandcamp. Check the Band’s website for more info.

Haruka Kikuchi- Japan:New Orleans Series Vol.1-6

Download from Bandcamp, iTunes, or CD Baby.

Riverside Jazz Collective- Stomp Off, Let’s Go!

Download or well-designed CD with liner notes from Bandcamp (we vote CD!)

Panorama Jazz/Brass Band- Song of The Month Club: Good Music For You

Details Here

Nights at the Turntable- Reviews by Scott Yanow











Dr. Michael White celebrates three hundred years of New Orleans history with Tricentenial Rag. Cd or Download Available Directly from Basin Street Records

Evan Arntzen Meets La Section Rythmique

Download From Bandcamp

Eric Seddon’s Hot Club: Bootlegs From The Bop Stop

Purchase CD Direct from Artist

The Glenn Crytzer Orchestra: Ain’t It Grand?

Download from Bandcamp or CD From cdbaby

Irving Mills Hotsy Totsy Gang 1930 Plus some Whoopee Makers

CD from the Retrieval Label at Challenge Records

Jazz Classic Of The Month

Jack Teagarden- Think Well Of Me

Available used on CD where you can find it and streaming from several sites.

The Syncopated Bookshelf

Still Ramblin’: The Life and Times of Jim Beatty, by Jim Beatty

Available from Amazon Books

Jazz Tales from Jazz Legends: Oral Histories from the Fillius Jazz Archive at Hamilton College

By Monk Rowe with Romy Britell

Available at Amazon Books




Texas Shout #2 – Unavailable Records

Life is Better with Syncopation. Spread The Word!

The American Rag/Texas Shout Reprints By Tex Wyndham

(The following introduction was added to this column when a series of reprints began in 1997.)

Set forth below is the second “Texas Shout” column, reprinted from the January 1990 issue of The American Rag(then West Coast Rag). It is the only “Texas Shout” not written specifically for this publication, having previously appeared in the August 1989 Jersey Jazz. Because the text has not been updated, I should point out that, during the past decade, nearly everything of jazz interest that was recorded in the twenties has been reissued on CD. However, the points made in the column are still valid because most such reissues are on foreign labels stocked in the U.S. only by specialty dealers. One has to be deeply involved in Dixieland even to know where to obtain them.

Unavailable Records

It hardly needs to be said that you learn how to play jazz by listening to jazzmen perform. It goes without saying that, if you want to play jazz well, you need to listen to the greatest artists in the field. If you have not heard the best, and if you do not fully understand what makes them the best, the odds are that you will not move your own talents in the proper direction, nor stretch your skills to their maximum potential.

Where classic jazz is concerned, most of the truly lustrous names can be found only on recordings. Bud Freeman and Wild Bill Davison are about the last active practitioners from the twenties. If you want to study with Oliver, Bix, Louis, Bessie, Fatha, etc., you need to look toward your record player as a classroom.

Unfortunately, there no longer is any reasonable accessibility to the acknowledged masterpieces in the vintage discography. Go into your nearest record store and try to find any pre-swing jazz at all, much less music recorded in the twenties (regarded today, I suppose, as being in unacceptable fidelity). Although some of this material is beginning to appear on CDs, there is not as yet a whole lot of it, and as far as I know, mall stores, which usually go for high-volume, fast-turnover items, aren’t rushing to stock up on what has been issued.

Similarly, the large domestic corporations with rights to, say, the OKehs, Victors, Vocalions, etc., have minimal interest in producing recordings that will have low-volume sales to a decreasing number of fans of older-style jazz. Further, small collectors’ labels, for understandable reasons, tend to focus on really rare 78s that have never been reissued.

Image result for Japanese CD Louis ArmstrongThus, the budding jazzman who needs sources is cut off at the knees. Seasoned collectors know that classic stuff can be obtained, often on foreign labels, through specialty mail-order houses, but how many of today’s players even know about the limited-circulation publications in which such recordings are advertised?

The net effect of this dearth of masterworks is a change in the nature of the jazz being played. It is only too obvious that many of today’s organized bands are learning licks and tunes not from the originals but from each other, especially at festivals (about the only place where much interchange of ideas can occur these days, or where recordings can be bought in any quantity or variety). If you hear Band X play Tune Y, and you like the tune or it gets a good crowd response, you take the chart, using your hand-held cassette machine, and eventually show up with that tune played much that way in your own book. A natural enough thing to do, and where else can you find new tunes and figures?Related image

So far, so good. But the problem is that the guys on the next bandstand, though certainly capable enough, are probably themselves part-timers just like you. Without demeaning their talents, we still know that few of them deserve to be mentioned in the same breath with the Hall Of Famers. They may have graduated from more modern forms of music in which amplification and heavy rhythm are taken for granted.* How likely is it that your own performances are going to be much improved if you follow their lead?

Thus we have, as once was noted in the letters column of The Mississippi Rag, some bands getting standing ovations today that would have been laughed off the stage twenty years ago. This situation is not their fault. Most of them in that category, I’m sure, are playing as well and honestly as they can. However, their growth has been stunted through lack of opportunity to understand what they’re supposed to be doing via intimate familiarity with the great recordings in the idiom. Audiences conditioned to a steady diet of amorphous music on the radio and in commercials, movie and TV sound tracks, etc., are in the same position and respond enthusiastically to a type of pre-swing jazz that is becoming increasingly hybridized.

Image result for vince giordanoPerhaps there is nothing wrong with this development. Perhaps all music should change over time. Perhaps it is just fine for musicians to play what they want to, and audiences to enjoy it, regardless of what it’s called.

Personally, though, I have some trouble with the way things are going. If our music is going to change, I don’t think it’s right that older-style jazz should become something else without realizing that it is doing so, or without changing what it calls itself.

As one who was lucky enough to amass a collection of music during a time when great material from the golden age was reissued in abundance, I get discouraged at the current flow of recordings from artists who too often have nothing to say, nothing to add to what’s gone before. And yet I think they would have much to contribute, if they only knew how to go about it — as can be demonstrated by a relatively limited number of musicians/bands (Vince Giordano’s Nighthawks, The Jim Cullum Jazz Band, Warren Vache, Jr., Howard Alden and Kenny Davern, among others, are names that come quickly to mind that will be familiar to readers of Jersey Jazz) who have developed personal and valid styles within the bounds of traditional jazz. Which brings me back to the points in my first paragraph. With no solution to my concerns, that is as good a place to stop as any.

Related image

*As an aside, a good classic-style combo shouldn’t need amplification, except for vocals and announcements, on a typical indoor gig — i.e., one that isn’t in a large auditorium. Its instrumentation took shape at a time when sound equipment wasn’t available, and that’s why banjos, tubas, trombones and other instruments that can easily be heard without amplification wound up in Dixieland bands in the first place. Nevertheless, how may of you have seen bands that always operate with each man’s axe stuck into a turned-up mike? Can that kind of music be likely to “swing” in a jazz sense? Or will its rhythmic intensity and excitement be more likely to resemble that of rock rhythm?

Want to read ahead? Buy the book!

The full run of “Texas Shout” has been collected into a lavishly illustrated trade paperback entitled Texas Shout: How Dixieland Jazz Works.  This book is available @ $20.00 plus $2.95 shipping from Tex Wyndham, P.O. Box 831, Mendenhall, PA 19357, phone (610) 388-6330.  On request, Tex will autograph the book and add a personalized note (be sure to tell him to whom the note should be addressed).




Note: All links, pictures, videos or graphics accompanying the Shouts were added at the discretion of the Syncopated Times editorial staff. They did not accompany the original columns and do not necessarily reflect the opinion of Tex Wyndham.

Back To Shouts Index

Texas Shout #1- “Dixieland”

Life is Better with Syncopation. Spread The Word!

The American Rag/Texas Shout Reprints By Tex Wyndham

(The following introduction was added to this column when a series of reprints began in 1997.)

Set forth below is the initial “Texas Shout” column, reprinted from the November-December 1989 issue of The American Rag(then West Coast Rag). Although the scene described therein has changed considerably in the past decade, I think this column is still a good place to start the reprint series because it deals with terminology, a subject that proved to be a frequent theme of “Texas Shout” through its lifetime.

Because the text has not been updated, I should point out that the “Sacramento Dixieland Jubilee” now calls itself the “Sacramento Jazz Jubilee” — not out of any aversion to the term “Dixieland”, but because the Jubilee currently presents such a broad range of jazz and jazz-related music that it can no longer properly be described as concentrating on any one of them. The same is true of Shasta and other festivals which used to include “Dixieland” in their names.


Not so long ago I undertook an assignment to write some liner notes. Everyone seemed happy with the result, except that both the producer and the artist took issue with my use of the term “Dixieland” to describe the music with which they were involved.

Dixieland Jazz Band
Whistlin’ Dixie

 I asked each to define for me what he thought “Dixieland” was. I got two very different answers, one of which went into such things as the clothes worn by the musicians on stage.

This incident caused me to reflect on the way, over the years, the term “Dixieland”, when used by people who have a deep commitment to the music normally covered by West Coast Rag, has become a pejorative word. Interestingly enough, these people rarely go much beyond that point in refining their thinking about “Dixieland”. It’s as if they are saying: “I recognize that music which is heavily informed by devices used by jazzmen during the twenties may be categorized into several styles. I know which of these styles I enjoy. The other styles are ‘Dixieland’.”

Thus, I have Person No. 1 telling me that “Dixieland” is “solo-oriented” twenties-style jazz, meaning (in this person’s case) what we generally refer to as Chicago style, a type which this person doesn’t like much (he prefers an emphasis on ensemble playing with carefully-worked-out routines on little-known titles). However, some well-known Chicagoans are reputed to have expressed a dislike of “Dixieland” and a preference to avoid playing with “Dixieland” musicians (meaning exactly those (usually) part-time organized bands preferred by Person No. 1). Obviously, both can’t be right.

The short answer is that none of these attitudes, though quite prevalent among the cognoscenti, makes musical sense. If “Dixieland” refers to a style of music, then there must be a musical definition of it — that is, we should be able to tell if a band is a “Dixieland” band just from hearing it, without needing to see what it’s wearing, how it moves on stage, etc. Also, if “Dixieland” refers to a style of music, then there must be varying levels of performance of it, from excellent to inferior — that is, there must be good Dixieland as well as bad Dixieland.

Yet, those who resist use of the term “Dixieland” usually do so because, whatever it is, they want to dismiss all of it. At any rate, I have never heard such a person admit that there is a Dixieland performance that he really enjoys.

I submit that denigration of the term “Dixieland” reflects sloppy thinking on the part of the folks who desire to do so. Worse, it is counterproductive to the effort in which we are all engaged to attract more people to an enjoyment of our music.

We should recognize that there is no need for us to preach to the converted. Instead, we should want to present ourselves, via our music, our terminology, etc., so that we can most easily reach the ones who have not yet come to appreciate the merits of twenties-style jazz.

Image result for Classic Jazz bebopIf so, let’s face up to the fact that the most commonly understood term for our music, to those outside the field, is “Dixieland”. How many times have you had to explain to someone what “classic jazz” is? (“No sir, it has nothing to do with classical music.”) Or “traditional jazz”? (After all, bop has been around for nearly 50 years, and I have met bop musicians who consider themselves to be playing “traditional jazz”.) If someone not close to twenties-style jazz is going to associate any term with it at all, I think you’ll find overwhelmingly that the term which makes that association for them is “Dixieland”.

Moreover, to the civilians outside our hallowed halls, “Dixieland” does not have the negative connotation described above. They may not know exactly what Dixieland is, or to be able to define it with precision, but they usually have an upbeat image of it, an image that suggests a good time.

Producers of large festivals have frequently been quick to perceive the positive effects of “Dixieland” on general audiences. The largest, best-attended festival in the world calls itself the “Sacramento Dixieland Jubilee”.

I’m sure all of us can name many other festivals which go out of their way to make sure that the public knows that they are a “Dixieland” or “Dixie” festival (San Diego, Central Ohio, Shasta, Santa Rosa, etc.). The producers of these festivals know that they need the attendance, not only of the small number of traveling jazz fans and jazz club members who read the genre publications, but also of the public as a whole.

I think it is time for our community to stop trashing a term that works on our behalf. This word helps us get gigs and helps us get audiences into those gigs where we then have the opportunity to expose them to quality older-style music. In short, “Dixieland” is not a synonym for bad jazz. It is a very useful umbrella term for describing the type of music played at our favorite festivals, music which is comprised of several styles, all of which can be played badly or well.

(As an aside, I can’t help but be amused at the inconsistency displayed by certain fans and musicians who claim to hate “Dixieland” but who nevertheless take great pains to plan trips to attend — or get invitations to perform at — festivals that proclaim themselves to be “Dixieland” festivals that hire “Dixieland” musicians. Do such musicians make a point of telling the festival chairman, when the invitation comes in, that they really shouldn’t be invited because they don’t play “Dixieland”, or do they take the gig under false pretenses?)

For my own part, my Red Lion Jazz Band’s business card states that we play “Authentic Dixieland”. When people ask me what kind of jazz I play, I respond “Dixieland”; that answer usually strikes sparks of recognition, and of a positive type.

Image result for Red Lions Jazz BandIn the quarter-century the Red Lions have been together, we’ve never once, to my knowledge, lost a booking because the person who got my name decided he wanted a “classic jazz” or “traditional jazz” band and not a “Dixieland” band. Quite the contrary: I always point out to any potential client who’s never heard the RLJB that we are a Dixieland band, and he often responds with a sigh of relief and says that’s just what he wants.

We then go and play our regular show in which we perform as honestly, sincerely and uncompromisingly as we know how to do. Most of the time, both the crowd and the musicians leave with smiles of satisfaction on their faces.

Do yourself and the whole genre a favor. The next time you’re discussing jazz, don’t twist yourself into a pretzel trying to deny that you’re involved with “Dixieland” and trying to persuade others that they should investigate what they may perceive as an esoteric music described by a term they don’t know. Tell them up front that you like “Dixieland” (adding any other descriptive words, such as Chicago or uptown New Orleans, as you wish), and see if you don’t find yourself reaching a common understanding with them a lot faster than before.

Back To Shouts Index

The full run of “Texas Shout” has been collected into a lavishly illustrated trade paperback entitled Texas Shout: How Dixieland Jazz Works.  This book is available @ $20.00 plus $2.95 shipping from Tex Wyndham, P.O. Box 831, Mendenhall, PA 19357, phone (610) 388-6330.  On request, Tex will autograph the book and add a personalized note (be sure to tell him to whom the note should be addressed).

Note: All links, pictures, videos or graphics accompanying the Shouts were added at the discretion of the Syncopated Times editorial staff. They did not accompany the original columns and do not necessarily reflect the opinion of Tex Wyndham.


An Introduction To Texas Shout

Life is Better with Syncopation. Spread The Word!

The following introduction ran in our predecessor paper, The American Rag, as the Texas Shout columns were reprinted in the paper beginning in 1998

Introduction to The American Rag Texas Shout Reprints By Tex Wyndham

Shortly after my “Texas Shout” column began appearing in these pages, the editor told me that it was the paper’s most popular feature. During its nearly seven-year lifetime, it dealt primarily with the characteristics of Dixieland jazz and, to a lesser extent, ragtime; the environment in which those musics were then most commonly found; and how the music interrelated with the scene.

The full run of “Texas Shout” has been collected into a lavishly illustrated trade paperback entitled Texas Shout: How Dixieland Jazz Works.  This book is available @ $20.00 plus $2.95 shipping from Tex Wyndham, P.O. Box 831, Mendenhall, PA 19357, phone (610) 388-6330.  On request, Tex will autograph the book and add a personalized note (be sure to tell him to whom the note should be addressed). In connection with the volume’s publication, The American Rag is inaugurating a series of reprints of selected material from the columns. The first is scheduled to appear in the next issue. To orient new readers, and for the benefit of any “Texas Shout” completists in the crowd, set forth below is the book’s introduction, basically the only textual material therein that did not previously appear in The West Coast Rag or American Rag.

Introduction to Texas Shout: How Dixieland Jazz Works by Tex Wyndham

The text of this volume speaks for itself. However, to orient you properly, I should tell you a little about the source of that text.

This book presents, in the order of their publication, all of the “Texas Shout” columns I wrote for West Coast Rag/The American Rag from the column’s inception in the November/December 1989 issue through the August 1996 column that marked its conclusion as a newly written every-issue feature. (To be precise, one column was not newly written. January 1990 was reprinted from the August 1989 Jersey Jazz.)

No attempt has been made to update these columns to the present. First, doing so would involve too much rewriting. Second, if we did try, something would go out of date before the final printing anyway. Thus, you will see references to recordings and other products that may no longer be on the market; prices, addresses and phone numbers that may not be current; musicians who are no longer among the living; bands that have disbanded; etc.

The columns were meant to be self-contained and to be digested, not in one gulp as you are about to devour them, but over a period of nearly seven years. Thus, you will find points repeated in summary form that were made in earlier columns but resurrected to support the argument of a later one. Again, an attempt to minimize such repetition would have essentially involved starting from scratch to reorganize and rewrite the entire text.

West Coast Rag began as an eleven-times-a-year tabloid published by Woody and Pat Laughnan. It acted as a social calendar for the Dixieland and ragtime festival scene on the West Coast.

While retaining its basic focus on festivals, it quickly became national in scope and increased its circulation until it was one of the country’s two leading independent periodicals focusing on Dixieland and ragtime. In mid-1995, Don Jones took it over from the Laughnans, renaming it The American Rag.

“Texas Shout” is based on two of my most deeply held beliefs:(1) The more you know about something, the more likely you are to enjoy it and stick with it. (2) Dixieland jazz and ragtime, like all other valid art forms, are not in any way dated.

Specifically, Dixieland and ragtime are worth pursuing for their own sakes and have much to say to a contemporary listener who understands them. If artists from the turn of the century could use the conventions of these two musics to create something timeless in its appeal, then today’s artists can do the same thing provided they approach the task with searching creative spirits.

“Texas Shout” drew on my experiences over the decades as a writer, bandleader and performer of Dixieland and ragtime. This background was utilized to organize and discuss these musics along the above lines.

In doing so, I reached certain conclusions that are at odds with the conventional wisdom in the field. Therefore, I suspect that a number of readers will disagree with some or all of what I have to say.

Whether you agree or not, I’ll have accomplished my purpose if this volume causes you to think through your position in a new way. I hope that the exercise will broaden your ability to appreciate music that has brought me, and many others, a great deal of pleasure.

This book would not exist without Dan and Sis Polin, of Dan Jazz Enterprises, my friends and producers. Dan, who believes that there are enough of you who care what I have to say about Dixieland and ragtime (music that has all but disappeared from the general musical marketplace) to justify this tome, has acted as jack-of-all-trades in the production, illustration, layout and other hard work involved in preparing a book for publication. Sis has done the painstaking data input and other detailed labor required to get the text onto computer discs in a format for reproduction in a published form.

Nor would this book have come to pass without three people whose unquestioning support of my interests in obscure old music, movies and fiction enabled me to get deeply enough involved in them to form opinions about them: My parents, Charles (deceased) and Louise Wyndham, and my wife Nancy. Mom and Dad, bless their hearts, never really understood much about jazz. However, if I wanted to play it, that was fine with them. They were proud of whatever I did, no matter how arcane.

Nancy is perceptive and knowledgeable about Dixieland and ragtime. In addition to her dedicated toil as my wardrobe mistress, sales manager, etc., she has been a very valuable sounding board as well as de facto editor for my writings.

In the 1960s, except for an occasional local gig, my musical activity consisted of amusing myself in the music room and basement of my Wilmington, Delaware home. I would still be in that position except for many generous people, some of whom have since departed this world, who opened their homes, sheet music collections, etc., to me, and who undertook to get me out into the larger musical community.

Space prohibits naming all of them, so the following short list will have to act as a surrogate for the complete registry: Fred and Anna Wahler, Johnson and Liz McRee, Shannon Clark, Keith Miller, Jack and Jean Cuff, Roger Hankins, Mike Montgomery, Charlie Rasch, John Arpin, Bill and Mary Cay Donahoe, Bill and Mimi Barnes, Alan Granruth.

On the technical side, typographical and proofreading errors appearing in the original published columns have been tacitly corrected. We hope no new ones have been introduced, though our four-person proofreading team is inevitably not as eagle-eyed as that of, say, a major publishing house.

Quite a few columns ran over more than one issue of West Coast Rag/The American Rag. In those cases, we have indicated where the original breaks occurred by a line of diamond symbols.

I did not title the original columns. However, so that I could find relevant columns easily for reference purposes, I kept offhandedly fashioned working titles on a sheet of paper. These titles have been included here for whatever use they may be to you.

We have not indexed this book for two reasons. First and foremost, I don’t consider it to be the type of reference book for which an index is necessary; the chapter titles should get you where you want to go. Second, none of us is willing to do the work required to compile an index.

In closing, as this is probably the only time when I’m going to have a chance to mention special people in a book of mine, I would like to say that my two children, Buck and Susan, have been steady sources of pride and joy in these quarters. I won’t keep you from the rest of this volume any longer. Keep swinging

                                                               Tex Wyndham

September 1996

Back To Shouts Index

Hot Jazz Saturday Night Cancelled After 38 Years-Petition Started to Save it.

Life is Better with Syncopation. Spread The Word!

 Radios across Washington and computers around the world were tuned into WAMU to hear Hot Jazz Saturday Night hosted by Rob Bamberger. The show has been an island of good music in an ocean of talk, and a staple of the airwaves for 38 years. Nine minutes into his third hour he broke the news. The show has been canceled to make room for more syndicated programming. The final show will air the evening of June 23rd.

As part of his statement, Bamberger noted a fear at public radio stations that “anything having the scent of jazz” will alienate a younger audience and associate their brand with a stodginess they are trying to flee. Bamberger also notes that stations perceive music shows, once a staple of public broadcasting, as “format breakers,” interruptions of what should be a 24-hour news and information service. This thinking has led to the demise of many locally produced music programs over the last decade. Another assumption made by programming managers is that with streaming services catering to even highly specific musical tastes there is no need for knowledgeable DJ’s to curate music shows.

You can listen to his on-air statement here. He calmly discusses the trends he and many other hosts of “legacy” music programs are facing, and why he disagrees with the station’s decision.

After the broadcast Rob Bamberger posted this announcement on the Hot Jazz Saturday Night Facebook Page.

“In the likely (and understandable) event you were watching the Caps play tonight instead of listening to HJSN, I wanted to share with you that WAMU announced earlier this evening a slate of upcoming program changes. Among them is the cancellation of Hot Jazz Saturday Night. My last broadcast will be on June 23rd. You can find a link to the station’s press release on the home page,

The station will be moving LIVE FROM HERE, the successor to A PRAIRIE HOME COMPANION, to air 8:00-10:00, followed by LIVE WIRE, at 10:00 P.M. Judy Carmichael’s JAZZ INSPIRED will be replaced with an additional hour of news from the BBC.

If you wish to hear my comment from this evening’s program, it begins roughly ten minutes into the final hour. The program stream should be available tomorrow. I will try to arrange for it to be excerpted, with a separate link, on Monday.

I am seeing so many wonderful expressions of sorrow and support. Thank you all.

Hundreds of comments have already been left expressing disbelief at the shows passing. The following, from Dennis White, is typical:

(Excerpt) WAMU obviously has no clue as to the “depth” of your show. It is musical history, cultural connectivity, community and so much more. To reduce it to merely a “record program” is insulting. The heart and soul you put into researching and producing this show and your depth of knowledge was understood and appreciated a thousand fold by those in the audience who “get it”.

Here is the relevant portion of the programming changes announcement from WAMU

Unfortunately, these new additions mean eliminating some current programs, including our Saturday evening jazz programming. Hot Jazz Saturday Night, which was created, produced and hosted by Rob Bamberger, will air its final three-hour episode on June 23, 2018. After 38 years and nearly 2,000 episodes, this original WAMU program has had an impressive run. While it is sad to say goodbye to a legacy program, we know each generation of shows paves the way for the next, and all of those that have come before have made the station what it is today. Rob Bamberger’s dedication to Hot Jazz Saturday Night will continue to be valued well beyond his tenure on the air, because Rob and the show are part of WAMU’s foundation.

Additionally, Judy Carmichael’s Jazz Inspired, a nationally distributed show which aired as a fourth-hour of jazz programming after Hot Jazz Saturday Night, will also end on June 23.

A petition to save the show has been initiated by John Hasse on and has garnered 1000 signatures in its first 24 hours.

Here is what our print edition looks like. The PDF edition we offer does not function like this, it is a standard PDF that we find easier to read. If you like it or know someone who would, you can order a subscription here.

Albums Reviewed In Our June Issue

Life is Better with Syncopation. Spread The Word!

Here are links to albums reviewed in our June issue so you can purchase them knowing the artists will receive as much as possible. In general we’d prefer you buy the CD so you can enjoy the liner notes, and support the small labels producing such good music. The experience of reading liner notes while listening can be a better education than any reference work and has over time produced many a well informed jazz ear.

Joe Bebco’s Reviews:

Catching up with New Orleans Part One

Tuba Skinny

CD’s and sometimes vinyl available here.

Digital Downloads are available on Bandcamp:

Twerk Thomson Plays Unpopular Songs:

CD availalable at Louisiana Music Factory, or digital download from Bandcamp

On The Levee Jazz Band: Swinging New Orleans Jazz for Dancing- or Just Listening   Big Al Records BACD 701 Buy CD, you can preview the full album on SoundCloud.

Pops Coffee’s books are available in ebook or paperback from Amazon, click the image for link.


Scott Yanow’s reviews:

Cheek To Cheek: The Complete Duet Recordings [4 CD]Ella Fitzgerald and Louis Armstrong Cheek To Cheek: The Complete Duet Recordings 4CD Box Set or Streaming from Amazon



Futuristic Rhythms: Imagining the Later Bix BeiderbeckeAndy Schumm and his Sink-O-Pators- Futuristic Rhythm: Imagining the Later Bix Biederbecke   CD or MP3



Jen Hodge All Stars CD or Digital from Bandcamp

Dixieland Goes Progressive + Modern Jazz with Dixieland Roots (2 LP on 1 CD)Dick Cary, John Plonsky & Don Stratton: Dixieland Goes Progressive and Modern Jazz With Dixieland Roots Buy CD



Scott Yanow’s Jazz Classic of the Month:

The Original Memphis Five Collection Vol. 1 - 1922-1923The Original Memphis Five Collection Vol. 1 – 1922-1923 American copyright restrictions limit you to buying this CD or Download from Amazon UK


Norman Vicker’s reviews:

Steel Jazz Trio and Friends: Black Licorice  Streaming or Physical CD




Allan Vache: It Might as Well Be Swing Arbor Records ARCD 19461 Digital Download or Physical CD

June Issue Highlights

Life is Better with Syncopation. Spread The Word!

If you’re not a subscriber, no worries, it’s not too late to see these stories. Subscribe now and you’ll get a PDF copy of June and start receiving your print papers in July.

New in June

Drew Nugent

Drew Nugent is on the cover showcasing a variety of exciting venues for hot jazz artists.

Larry Melton tracks W.C. Handy, as he led the Mahara Minstrels to Sedalia, Missouri, in the time of Scott Joplin.

Lew Shaw investigates the 60 year history of The Queen City Jazz Band.

Scott Yanow continues his monthly profiles of jazz legends with Joseph “King” Oliver.

W.C. Handy C. 1893

Van Young remembers Milt “The Judge ” Hinton, who died in 2000.

Randi Cee tells us that her “Mama Tried.”

The Professor is in with advice for jazz musicians sitting in on performances of classical music.

Bill Hoffman reports from the NYC Hot Jazz Camp.

Harvey Barkan reviews a concert by Jimmy McConnell’s Super Big Band.

The Original Cornell Syncopators

Russ Tarby gives us a concert review of the exciting Original Cornell Syncopators.

Joe Bebco weighs in on the controversy over the removal of a statue of Stephen Foster.

Bob Byler reports on Dick Hyman, in a never before published story from the recently deceased jazz journalist.

Lew Shaw notes the passing of New Black Eagles JB front man Tony Pringle, while Russ Tarby reports the future plans for the band.

In “Quarter Notes” Shelly Gallichio reports from the Economy Tent at the New Orleans Jazz and Heritage Festival and gives us a run down of venues to visit in the city.

In “Catching up With New Orleans” we begin to highlight the fantastic new CDs coming from the Crescent City, starting with Tuba Skinny, Twerk Thomson, and the On The Levee Jazz Band, with a second batch planned for July.

More albums are reviewed by Scott Yanow and Norman Vickers including one by Jen Hodge’s All- Stars out of Vancouver.

We also tracked down some new events for The Festival Roundup including the first New York Brass Festival, scheduled in June.