Glenn's Picks #5: a few flamboyantly melodious film fillets for some "Fine Dinner" music

[Glenn Allen Howard]

 
A giant gin and Kryp-tonic toast to all you mild-mannered Supermen  
and all the lovely lowest Lanes running around all over the  
Metropolis out there on this emailcious daily planet!


Welcome to GP #5 - s'more e-motional picturals of "old" film clips  
scientifically designed by an old school Hollywood "mad scientist"  
from a low-budget fifties-era central casting that even Ed Wood could  
afford) to widen your eyes, unfold your earlobes, loosen your wig and  
set your sitter on a steady course to flip, flop and fly in the  
general direction of the nearest 4 and 20 dogstars baked in a pi in  
the sky. I mean like the 3.14159 rounded off kind, which is like way  
out and well past the source of all those saucers in Plan Ninesville,  
which has like a million figure zip code.

I've been "working on the wailwoad" the past several months, layin'  
tracks through youtube lookin' for golden spikes and buried stashes  
and have rounded up another nice little eighth of nuggets so all you  
YouthTubers and Grouch Potatoes can pack it in for the evening and  
dust your respective brooms.

Don't try this at home - I can find this stuff faster & more  
efficiently since I've been collecting music on film nearly as long  
as I been rackin' up all these records. I already know what is "out  
there" (in more ways than one), and I've dug that only about an  
eighth of what I know exists has been caught in the net yet. The  
other 7/8's are still nyetsville for now, but spaces are being filled  
and lotsa cool cybercats are getting loaded and uploading all the  
time, some small fraction of which is actually worth your time.

You wouldn't believe how much useless, tubeless trash I've waded  
through, but I know where the bodies are buried with treasures that  
trump Tut's little stash of solid gold: clips from old movies, TV,  
newsreels, and documentaries containing incredible music of all  
styles and eras.

The concept of this little missive is that I'll post one email every  
three or four weeks, containing links to 5-10 brilliant old musical  
clips.  Anyone can join the list and start getting these posts, and  
anyone can leave the list by unsubscribing. No one can see your email  
address and it won't be sold into slavery or shared with anyone  
outside of the AMHF and yours truly.

I've scribbled some semblance of an ocean of liner notes for your  
education and Edison-ification, which start right after the links.  
This way you can read all about it after you see the clip which is  
the best way I've found to learn about the music. Reading books that  
are about records you don't have access to is definitely lame in a  
frame.

As always, if you got any kind of "kind" speakers, now's the time to  
plug 'em in and crank 'em all the way up, so your cribmates and all  
the neighbor cats and mice can get hip by the process of osmousis.  
Even dollar store headphones are better than the speakers in your  
computer, this stuff sounds great plugged into a real stereo.


Don't Bogart these clips, my friend, pass them (and the pipe, if  
appropriate) over to all your buds.


1.  Johnny Otis  "Willie and the Hand Jive" Cameo by Lionel Hampton   
(circa 1959)
http://www.youtube.com/watch?v=qOrQTh_Cq7U

2.  Spencer Davis Group (with 16 year old Stevie Winwood!)  "Keep on  
Running"   1966
http://www.youtube.com/watch?v=SR-WnT6d-GY

3.  Raymond Scott Quintette   "Powerhouse"                 1955
http://www.youtube.com/watch?v=YfDqR4fqIWE
4.  Sammy Davis Jr.  "I've Got You Under My Skin" with drums and  
percussion accompaniment only!   Michael Silva, drums.  Johnny  
Mendoza, conga.    1966

http://www.youtube.com/watch?v=epib6STqmMs


5a.  Dean Martin with the Red Norvo Quintet  "Ain't That a Kick in  
the Head"

http://www.youtube.com/watch?v=huKSm0tAvhs

5b.  Check out the 45 rpm version's bitchin' brass, arranged and  
conducted by Nelson Riddle

http://www.youtube.com/watch?v=4sTP994tOMk


6.  Lambert, Hendricks & Ross    "Spirit Feel" 1959
http://www.youtube.com/watch?v=DqmUgDUx7o0&NR=1

7a.  Miriam Makeba  "Qongqothwane" aka  "The Click Song"   1966
http://www.youtube.com/watch?v=OHxkiXALQjU
7b.  Miriam Makeba "Pata Pata" late 60s   (very loud, turn it down!)
http://www.youtube.com/watch?v=e-VrfadKbco

8.  Slim Gaillard and Slam Stewart + Whitey's Lindy Hoppers
http://www.youtube.com/watch?v=R0BHxhUnokU  Slim & Slam jam & dancers
http://www.youtube.com/watch?v=mTg5V2oA_hY    Just the dancing

9.  Tom Lehrer Channel

http://www.youtube.com/profile? 
user=6funswede&annotation_id=annotation_480227&feature=iv#play/ 
uploads/0/QKWI41G8h_A

======


1.  Johnny Otis  "Willie and the Hand Jive" Cameo by Lionel Hampton   
(circa 1959)

http://www.youtube.com/watch?v=qOrQTh_Cq7U

Since the Ur-liest days of rock 'n' roll-also known as the era of the  
blackface minstrels (1841-1939 or 2000 if you count Spike Lee's  
"Bamboozled)," there have always been white folks that wanted to get  
down with black music and culture. Sometimes it was by "blacking up"  
with burnt cork a la Al Jolson and Eddie Cantor and later by hangin'  
out in Harlem and livin' like de black folks do a la Mezz Mezzrow,  
the early Jewish jazz clarinet-kitty that was also the "go to" cat to  
score the most righteous weed in the greater uptown area.  You should  
really really read "Really the Blues," his book, if you want to learn  
about hip culture.

One of the all time best examples ever to come blazin' a path through  
the R & B world was Johnny Otis, a Greek-American Vallejo-born daddy- 
o who wanted to be black - and pretty much succeeded in passing. He  
laid down some bad R & B from the get go ("Harlem Nocturne") about  
the same time as the Enola Gay made its bombsight-seeing tour of  
Hiroshima and Nagasaki.  In WWII ration-speak, "Was this trip really  
necessary?"

Otis soon settled in Watts, opened a Club, and in short order managed  
to discover Little Esther, the Robins (who later became the  
Coasters), Big Jay McNeeley, Etta James, Little Willie John, Hank  
Ballard & the Midnighters, and Jackie Wilson - as well as producing  
Big Mama Willie Mae Thorton's original version of "Hound Dog."  Elvis  
heard Freddie Bell and the Bellboys' pop-novelty cover version in  
Vegas and decided to record it himself. I've always assumed that  
Elvis would have heard her original and maybe the Jack Turner country  
version on RCA, being a country and an R & B cat.

In 1994, the Rock 'n' Roll Hall of Fame inducted Otis as a NON- 
PERFORMER, "for his work as a songwriter and producer for Elvis  
Presley." This consisted mainly of "cleaning up" the lyrics for a  
more mainstream "Pat Booneish-boorish" 1956 pop audience.  What a  
bogus thing to celebrate, even if Elvis still made the "Clean  
American" lyrics sound somewhat suggestive. The original words  
probably would have garnered zero airplay and this since the producer  
(s) thought it would help RCA get the big sales they wanted for the  
$35K they had to kick down to Sam Phillips for Presley's contract.   
For Johnny's trouble, a court decision removed him from his co- 
writing credit and of course, the rainbarrels of royalties that he  
should have received for Elvis' biggest record of all time.  Maybe  
they just assumed Johnny was black, so it was standard operating  
procedure.

One story goes that he was producing this Elvis track but had to give  
it up because Lieber & Stoller needed him to play the drums, which  
left only them to take over the production.  Another story is that it  
was Elvis who produced it himself.  Elvis has writing credits on  
songs, too.  AS IF!   RCA says it was produced by Steve Sholes and I  
believe it was Sholes, since he was a company man who had less R & B  
taste and no rock 'n' roll credibility whatsoever.  It was the first  
time the pop-gospel quartet The Jordanaires were used (singing simple  
block chords) which just happened to tone Elvis down a few notches,  
and functioned like the blatant sweetening and pandering for the  
mainstream pop audience that it was already the beginning of the end.

Since most of Johnny's work did NOT make the pop (white) "top 40,"  
only "Willie and the Hand Jive," which went to Billboard #9 in 1958,  
would have made him "eligible" as a performer for Cleveland's R n R  
Hall of Fame.  (One has to have made the Pop-Tart 40 at least 25  
years before the nomination date).

My take on Elvis was that he had a brilliant start at Sun records,  
then lost one of his balls when he signed with RCA and then lost the  
other one when the evil non-Colonel "Alias Tom Parker" pushed his  
unwilling boy into the Army when some of the old payola would have  
fixed it all as easy as pie.

Presley broke my widdle grade school heart when he came out of the  
Army singing with the likes of Sinatra and doing pop tunes instead of  
rock 'n' roll.  I knew even as a dumb kid that "It's Now or Never"  
was a rewrite of Caruso's "O Sole Mio" and wasn't no kind of rock 'n'  
roll.  He could have been a singing James Dean - you can see the  
potential in three of his first four films, "Jailhouse Rock," "Loving  
You" and "King Creole."

I don't buy that he was the King of Rock 'n' Roll, either. I give  
that to Chuck Berry, Little Richard, Jerry Lee Lewis and Gene Vincent  
Elvis was easily the best teen idol, and I'll give you that he made  
some great pop-rock records and was a serious contender till they cut  
his hair off.   I even like some of the early 60s schlock like "I  
Can't Help Fallin' in Love With You." But nothin' is going to  
convince me that was rock 'n' roll.

Johnny Otis gets an AMHF Award for his records in general, his songs,  
and all his discoveries and a FULL PARDON for toning down the  
original lyrics of "Hound Dog" to please the old geezers at RCA.  
Presley might have lasted a little longer if the original raw lyrics  
had been used and it probably would have been even a bigger hit since  
the kids were already searching for something sexier than the major  
labels were willing to serve up.  With absolutely no airplay, "Sixty  
Minute Man" and "Work with Me Annie," "Annie Had a Baby," "Sexy Ways"  
and "Roll With Me, Henry" sold a million each to most of the same  
white kids that were going to be buying Elvis' post-"Heartbreak  
Hotel" records.  They probably would have tripled their sales at  
least if they'd let him sing it down and dirty. Elvis singing it to a  
Bassett Hound on TV was more beginning of the end  "He coulda been a  
contender!"


2.  Spencer Davis Group (with 16 year old Stevie Winwood!)  "Keep on  
Running"   1966

http://www.youtube.com/watch?v=SR-WnT6d-GY

This is easily my favorite cut by this  British '60s band. Chris  
Blackwell brought in Jamaican songwriter Jackie Edwards to provide  
material for these guys and it was completely reworked by Stevie from  
a ska song into a rocker, adding a "Satisfaction"-like fuzztone lick  
to make it their first single, which was a hit in the UK.

Meanwhile, back at the LBJ Ranch, in 1966 the Great Society's radio  
stations were still pretty much segregated by race.  The white  
stations didn't play it because it sounded too black, and the black  
stations stopped playing it as soon as they took a gander at a  
picture of the band. This rocks even harder than "Gimme Some Lovin'"  
or "I'm a Man" or for that matter, anything else they ever did. At  
the AMHF, we believe that records have an Absolute Value regardless  
of whether or not the sheep were buying enough copies to make it a  
top hit on the cash register. The lesson here is "fuck the charts."    
What didn't sell is at least as good as what did.

This little clip starts off with some pretty cool footage of  
teenagers running from the English Bobby-Sockers! Whaddariot!  Does  
anybody know what was happening?  What are the Texas Angels doing  
over there? And who clobbered the kid?  Email me if you know.

Little Stevie Winwood rocks!  What were you doin' at 16?


3.  Raymond Scott Quintette   "Powerhouse"                 1955

http://www.youtube.com/watch?v=YfDqR4fqIWE

I've always called this little combo tune "Art Deco Jazz" because  
'tis.  Instead of the Satchmo-inspired swing groove that had taken  
over the world by 1937, this groove is strictly for the robotniks, a  
few serious squares and the terminally whitebreaded. Still, it has a  
great mechanical groove and one that Devo would pick up on when new  
wave was still new, which was a long, long time ago. The Black and  
Silver Brunswick was one of the first 78s I turned up as a young  
collector and centuries later I still play the original Master first  
issue when I need to have my hat spun.

Fortunately, Raymond Scott took a break from his day job - the  
terminally tedious "Your Hit Parade" to lay down one of the kindest  
kinoscopes ever krafted - his own Quintette playing his most filling  
masterpiece of a platter pie, "Powerhouse."

A big hit on radio and TV since the late '30s, "Your Hit Parade"  
pretty much established the top ten as a concept to sell the public  
and it was just about to become irrelevant.  The formula was to have  
a staff of professional singers covering the hits of the day.  At one  
time, Sinatra was on board, and that helped, but by 1955, rock 'n'  
roll was starting to rear its ugly head. The singing of snotty little  
cookies like Snooky Lanson was not going to make it when covering the  
likes of Little Richard and Chuck Berry in a way that could be  
convincing to anyone to the left of Pat Boone's right pinkie.  The  
lines had been drawn, and now it was the record that was the hit, not  
the song. Breaking with the whole history of popular music, the  
performance of a song was about to be king.

Note the minimalist psychedelic black and white "light show" which   
follows the horns, an easy decade and a decimal before the Fillmore  
and Avalon Ballrooms about to run rampant with this art form.  It's  
not like there weren't people dosing in 1955. Huxley was about to  
publish "The Doors of Perception," it was legal and ramping its way  
up to really, really rabidly rampant in psychiatric circles  
especially in and around Southern California.  Maybe this suggests  
usage by the highly stressed, high-pressure, always on a deadline  
world of the TV industry. They were pretty much all under analysis by  
then.

Everyone knows this tune from old Warner Brothers cartoons where it  
was used over and over again, especially by Carl Stalling, who most  
certainly did NOT write it. It is likely you have never heard the  
whole piece, let alone watched it being played by the composer's cool  
and crazy little combination.


Here's a Two-Pac and a half of a couple of Rat Packers:

4.  Sammy Davis Jr.  "I've Got You Under My Skin" with drums and  
percussion accompaniment only!   Michael Silva, drums.  Johnny  
Mendoza, conga    1966


http://www.youtube.com/watch?v=epib6STqmMs

By 1970 I was actively collecting Sinatra, but Sammy was at his  
cheesiest with his current hits of  "Candyman," "I've Got to Be Me,"  
and his embarrassing sucking up to Tricky Dick who had somehow become  
Head Prez of the wholedamn U.S. of A. One day I found a stack of his  
50s Decca LPs and I asked myself "Didn't Sammy Davis Jr. used to be  
black?"  I quickly scored all of his old records since nobody else  
wanted them and found that there was definitely some fine eatin' in  
with the chaff.


Nothin' could be finer than his recording of the Colester's most  
Porterble standard, "I've Got You Under My Skin."  The film clip is a  
bit different but just as good.



5a.  Dean Martin with the Red Norvo Quintet  "Ain't That a Kick in  
the Head"


http://www.youtube.com/watch?v=huKSm0tAvhs


5b.  Check out the 45 rpm version's bitchin' brass, arranged and  
conducted by Nelson Riddle


http://www.youtube.com/watch?v=4sTP994tOMk


In 1970, Dino was even cheesier than Sammy (on acid) thanks to his  
hugely popular TV show for geriatrics - while the gap between them  
and the Baby Boomers' youth culture were peaking as well (on acid).   
I did like some of his 50s stuff especially "Memories Are Made of  
This," so I started piling up his old wax, too, especially the  
earlier Capitol recordings. One promo 45 blew me away completely-  
"Ain't That a Kick in the Head," which not only failed to chart but  
was even left off the LP "This Time I'm Swingin'."  What moron made  
this one an "outtake"?  The record sunk like a stone and the original  
45 is pretty rare.


It did appear on film with no less than the Red Norvo Quintet who had  
recently backed Sinatra in his tour of Australia. This was the one  
where he succeeded in offending Rudyard Kipling's family and most of  
Australia over his swingin' version of "On the Road to Mandalay."   
That version was recorded and eventually bootlegged in the late 70s  
with all five Nervous Norvo's who set Frankie up for his jazziest  
performance to date. It is now considered a classic   - even by the  
Aussies who have since taken it to heart.


In the early '90s some retro-swing lounge lizards picked up on it,  
but the original never saw much action. It's the best thing he ever  
did, and it never nudged not even for a half-a- banana-nanasecond,  
even a nice #99 on any kind of a chart. This was the just the kind of  
major label music that wasn't being purposely excluded. Go figger.  
This happens a lot. Get used to it.


Neither this writer nor the AMHF advocates kicking anybody in the  
head or putting holes in boats. If there's anyone out there whose  
politics either has or hasn't been corrected- the song isn't really  
about violence towards skulls or ships.




6.  Lambert, Hendricks & Ross    "Spirit Feel" 1959

http://www.youtube.com/watch?v=DqmUgDUx7o0&NR=1

Here's some scat singing on a stick.  Dave, Jon and Annie are for now  
and always the hottest vocal group in jazz.  They took the jazz vocal  
from where it was when they found it and commenced to put it up  
numerous notches higher than anybody had ever thought possible. They  
take this little R.C. caffeinated-cola tune like they'd been slamin'  
cappicinos all afternoon and well into the evening.

Towards the end of this number, Jon and Dave start trading fours and  
don't pack it in till both of them have piled up a solid stack of scat.

For those of you who are keeping score, the basic groove is all kept  
swinging by Basie's nifty little combo.


7a.  Miriam Makeba  "Qongqothwane" aka  "The Click Song"   1966

http://www.youtube.com/watch?v=OHxkiXALQjU

7b.  Miriam Makeba "Pata Pata" late 60s (very loud, turn it down!)

http://www.youtube.com/watch?v=e-VrfadKbco

This uberly-uppity African Goddess and her charming little Xhosa song  
had a lot to do with bringing down Apartheid in South Africa.  When  
someone asked her what that noise was, she replied that it wasn't a  
noise, it was her language. After teaming up with Harry Belafonte she  
became an artist in exile when she was denied entry back into the  
South Africa for her mother's funeral in 1960.

At the height of her popularity in 1963, she testified about  
Apartheid before the U.N. and South Africa revoked her citizenship  
and banned her and her music. This was one of the dumbest things  
those Rhodesian Island Rednecks could have ever done.  The rest of  
the world saw things differently, and she ended up being an honorary  
citizen of 10 countries with a satchel full of passports with which  
she toured the world singing and turning world opinions against the  
unjustifiable Johannesburgermeisters until in short order, the score  
heading towards the bottom of the ninth was just about the whole damn  
world against one.

"Pata Pata" was actually a hit in 1967, much to the chagrin of white  
rulers and yardstickers of South Africa who were getting increasingly  
isolated from the rest of the world by her music and her message.  
Never let anybody tell you that music doesn't make a difference! She  
turned out to be more trouble for the Apartheid party-animals than a  
barrel of Boer-constrictors and an equivalent amount of ex-English- 
extinguishers.  She succeeded in shaming them down.

A year later, when she started her four year marriage to Trinidaddy-O  
Black Power activist Stokely Carmichael, the media frenzy that took  
place in the land of the fleeced led to the cancellation of her U.S.  
tours and recording contracts.  She performed mostly in Africa,  
Europe and South America for years until Nelson Mandela personally  
invited her back to her native South Africa.  In 1986 she won the Dag  
Hammerskold Peace Prize from the U.N. and continued to pile up stacks  
of such honors for the rest of her life.


8.  Slim Gaillard and Slam Stewart + Whitey's Lindy Hoppers

http://www.youtube.com/watch?v=R0BHxhUnokU  Slim & Slam jam & dancers

http://www.youtube.com/watch?v=mTg5V2oA_hY    Just the dancing

Slim Gaillard and Slam Stewart just about hijacked American popular  
culture in 1938 with their first record.  Slim spoke fluent vout-o- 
rooney, a hip language he made up hisself, and the original lyrics  
were "Flat Foot Floozie with a Floy, Floy,"  - Harlem slanguage for a  
worn out hooker just crawlin' with the clap.


Soon the whole of whitebread America was innocently singing what they  
took to be a simple childlike nonsense song and Slim had staged one  
of the most precious pranks of all time.  Benny Goodman and the Mills  
Brothers did it, Wingy Manone & Waller did it, even educated fleabags  
like white bandleader Lew Stone did it, and in no time it saturated  
the airwaves.

Gaillard wrote hilariously hip shit, sang it in his own slang and  
could blow for da dough on the guitar and piano-often playing the  
ivories with his palms facing up!

Slam Stewart was one of the greatest and most original doghouse bass- 
ballers in all since before the invention of the big fellows' cello.  
Instead of plucking it with his fingers, he bowed the bass and sort  
of hummed the exact same line an octave up, creating an original  
style of his own. Later, a bass gator named Major Holley bowed and  
hummed on the exact same note as the bassline.

The long version has Slim and Slam and their combo wailin' down the  
wall before the Lindy's even start to begin to hop. It's the music  
that inspires the fancy dancin' that's goin' down here.  Can you  
imagine them trying to get off to some of what passes for jazz these  
days? You should always watch the whole clip.  I included the "just  
the dance" link so you can show the visuals to your squarer friends  
who don't like music and/or have short attention spans.  This is one  
of the greatest dance clips ever, but it wouldn't have happened  
without the music being there in front.

White's Lindy Hoppers included Frank Manning, who lived long enough  
to teach the kids in the 90s swing revival how it's done.  Don't try  
this at home unless you need to, and if you do, be damn sure to use  
the same music track 'cause using Kenny G. ain't gonna cut it.  The  
music makes up MORE than half the dance performance.  It supplies the  
muse, the lift, the drive and the groove that needs to be there in  
front for any dance to work at all.

Note that the dancers, unlike Fred Astaire and his peerless parade of  
arm-candy kittens, are wearing lowly service job uniforms and split  
the second they see the white folks done pegged 'em in the act of  
shirkin' workin'.  Should we allow our cultural masters and overlords  
to continue to lock up films like this for fear of offending someone  
who doesn't get the reality that these films are way old!  They are  
also historically and politically informative because they are frozen  
in time, in that moment in 1941 before things really got chaotic. It  
is what it is. Besides thwarting the hysterical historical  
revisionists, these old film clips have moments of serious brilliance  
that transcend all that pee see stuff and must be seen by every kitty  
in every kinda scene that's swingin' on the whole surface of the  
entire planet, Janet.


These costumes are effectively the same deal as seen in a lot of  
music and film that went down in that Old Weird America before the  
second in the series of who knows how many World Wars.  I think we  
were at about WW II.IX  (and counting) the last time I was paying  
attention, which was a long, long time ago in the far off land of Ooh  
Bop Sha Bam.


We should not turn away from the black faces or even the blackface  
that often accompanies some of the most righteous music and dance  
clips ever created anytime or anywhere.


9.  For extra credit and a large load of entirely too much fun , I  
have one more link up my sleeve for you - but first a word from our  
sponsor:

Recently while trying to herd a trio of cowboys backstage at the Kate  
Wolf Memorial Folk Festival, I discovered that a well-known cowboy  
singer(who will remain anonymous, but is world-class doghouse  
thumper, comedian's comedian, varmint dancer, side-kicker, surfer  
dude and spokes-model for Slenderella's Gymnasiums) had NEVER HEARD  
OF TOM LEHRER!  I was so taken aback by this revelation that I  
dropped both jaws!

Then I wondered if there might be some of you cyberspace-cases who  
are unaware that you are likewise culturally impaired and in danger  
of suffering from a dangerous TL Deficiency Disorder!

The world is neatly divided in to two camps, those whose faces reveal  
a blank stare at the mention of Tom's name and those who explode into  
"wings of song, as it were," and start singing some (or all) of Mr.  
Lehrer's incredibly non-obsequious oeuvre.

So, as a public service, I have included a link to not nearly enough  
of the greatest satirical songwriter of all time. I'd like to thank  
Swedish TV for having the sense to film this little show and for  
having even greater sense not to erase the tapes like they did so  
often in the U.S.

For those of you who have already completely memorized all of his  
songs, there are enough variations in the lyrics and the intros to  
float your boat and you get to SEE him perform some of his classics.

Tom Lehrer really IS, after all, the mathematician that others all  
quote.
A tip of the old felt Fedora to Laura Littlefield for sending a  
better link than I already had.

Tom Lehrer Channel

http://www.youtube.com/profile? 
user=6funswede&annotation_id=annotation_480227&feature=iv#play/ 
uploads/0/QKWI41G8h_A


HEY KIDS!  Stayed tuned for another basket of goodies as soon as I  
can find the short cut to my Grandma's house which may involve some  
kind of high-tech time machine like maybe an electric sundial.


So now it's nighty, night from your all night VeeJay (which was also  
the name of a rather wonderful Chicago record label)  while I'm now  
nudgin' may way towards the land of nod and Little Nemo,

A big Schoenful of Danke's to our team at the AMHF: John Perry  
Barlow, Katherine Armer, Joel Bernstein, Leigh M. Hill, Simmy  
Makhijani, Alison Kennedy & John Gilmore.

Glenn Allen Howard
Founder, Curator
American Musical Heritage Foundation

(831) 335-4356
PO Box 66224
Santa Cruz County CA 95067

(360) 691-2105
PO Box 163
Arlington, WA 98223

glennallenhoward at yahoo.com




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