My dad’s music

My dad would put together a band every so often to play for groups.  They played for free, although my dad would pay the musicians, because it was usually for a good cause.  Here he is introducing the members of this particular band that played in September of 1988.  The thing that made this group interesting was that it included the first director and founder of the Jazz Studies Program at North Texas, and the third director of the program.  I think they were playing for a North Texas group that day.  He brought me along to video because he knew it would be an all star band.  The drummer was the only full time musician of the group, however.

This was recorded on a vhs video tape recorded which was not too great in low light.  However, it was convienent and cheaper than hiring a professional to record it.  Years later I transferred it to dvd, then onto my computer where I could edit it and put it onto YouTube.  I’m glad it has survived.

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“Christmas for Moderns”–Maynard Ferguson

https://www.youtube.com/watch?v=IalB09-L34Y

This was recorded around 1958 by Maynard’s band.  Maynard never did a Christmas album, so this was his only Christmas tune.  I didn’t know about it until Mosaic came out with all of his Roulette recordings in 1994.  It’s a tune the band rarely did, and probably more rare after the early 60’s.

Maynard shows his great ability to play in all the registers of the trumpet, and the band even gets to sing on this one.  Can’t you imagine getting hired onto the band and you have to sing this tune on your first night?

When UNT acquired Maynard’s library, they actually performed this tune around 2010 at a Christmas concert in Ft. Worth.  It was great to hear it performed live!  We were there and the band sounded great, even the singing!

 

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New Gordon Goodwin Christmas CD

http://youtu.be/h5fRSgADafc

This tune is from a new Gordon Goodwin cd that came out in late 2015.  I have never really liked this song, but I like this version.  Gordon is one of my favorite writers, and I’m really glad he came out with this Christmas CD.

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“Thanksgiving”

http://youtu.be/BpvHzuyP5YA

I bought this cd in 1982 at a time when there were few CDs on the market.  I mainly just wanted to hear how good the cd format was, no matter what style of music it happened to be.  I didn’t know anything about George Winston, either, but took a chance on this $20 cd at the audio store.

I have liked it so much that I play it every year at Thanksgiving and Christmas.  It’s one of the first ones I play because of the name of the song.  It fits with the season.

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Hugh Fowler presentation by Paris Rutherford

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More Maynard Ferguson

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The Windows

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We had to figure out something to cover the seven foot high windows in the jazz museum, and curtains didn’t seem like the right approach.  We decided on pictures, or paintings of some of the major players in the jazz trumpet world up to 1989.  Finding a local artist we could afford and who was good was our dilemma, but where would we find him, or her?

I just happened to see a great portrait of Buddy Tate one day in Sherman in a frame shop while having some posters framed. Buddy Tate had been a great saxophone player from Sherman who had played in the Count Basie Orchestra.  I asked the owner of the frame shop who did the painting because I knew I had found our artist to do our jazz paintings for us.  The artist was a local woman who was well known and taught art lessons from her home named Pat Pierce.  She was in her 70s, short, but I didn’t know if she wanted to take on a project such as ours.  We would be needing 13 large paintings, just for starters.  Plus, we needed them fairly fast, not in two years.

When Pat arrived at the museum to meet with us the first time, she immediately noticed a portrait of my great grandfather hanging in the lobby of the museum.  To our surprise she recognized the artist’s work who had done the portrait of my great-grandfather.  She told us she had been a young art student of the woman who had done the portrait!  I thought that was impossible since my great grandfather died in 1919 and the portrait must have been done before that sometime.  However, Pat had been a young woman when she took the lessons, while the artist who had painted my grandfather’s portrait was an older woman by the time she taught Pat.

It was this lineage of artists that made us sure we had found the right artist. If my great grandfather liked this woman’s style and she had taught Pat, then she was good enough for me.  Pat and her husband, Jack, have felt like family to us since the day we met.  I don’t know how we were lucky enough to find her, but it all fell into place like magic.  She was the artist I had wanted to find, and her price was what I could afford while we were waiting to hear back from the IRS about my dad’s estate tax.  The first 13 paintings she did for us was just the start, however.  We still had two rooms downstairs which would require another 10, or 11 large paintings.

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My Biggest Worry

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My biggest concern with having a jazz museum was financial survival in a world where rock music rules.  Jazz and classical music are our intellectual styles of music and both are in danger financially today. I knew we wouldn’t be popular like a rock and roll museum would be, so we had to somehow have the financial backing to survive.  We were fine as long as my dad was alive, but when he would be gone the IRS would come after my sister and me for estate tax, and they might take all of our cash and then some, which is basically what they did. I knew when that day arrived, I might not be able to pay the bills for what would be an unpopular museum to survive.

My dad had been buying real estate in the Sherman area since 1943, never selling anything.  Buy and hold was the name of the game to avoid capital gains tax.  He had a reputation for never even listening to offers.  He was forced to make one sale, however.

One day in 2006, Harry James, Jr. called my dad for a lunch visit to talk business.  Harry was a real estate developer in the Dallas area whose company was developing some land near Sherman, and they were interested in 39 acres my dad owned.  My dad asked me to go to the lunch to hear their offer with him.  I was so nervous I knocked over my glass of water on the table.  I realized I was sitting across the table from the son of Harry James!  All I knew was music, but we weren’t there to talk music, so I just sat and listened.

Harry asked my dad how much he would sell his 39 acres for, as if he thought it was possible.  My dad was very nice, and instead of saying he would not sell, he told Harry he wanted what the land would be worth in the future–about 4 times what I thought it was worth. My dad knew Harry would not pay that, so he was basically saying no deal.

We didn’t hear anymore from Harry for over a year, but when we did, he agreed to pay the price!  Because my dad was a man of his word, he had to agree to sell.  To avoid paying capital gains tax my dad donated the land to his foundation and let the foundation sell it.  Since I was the president of the foundation by then, I represented us at the closing.  I found myself closing on a real estate deal with the son of Harry James in January of 2008.

Five months later my dad died, eight months later the real estate market crashed, and the IRS took most of our cash by 2012.  We survived during those years because of the cash we had acquired from Harry James Jr., in the only land sale my dad ever made.  I don’t know how it all fell into place so perfectly, but the Harry James name had something to do with our survival in our early days.  The family of one of the all time great names in jazz helped us with our jazz museum indirectly.  What are the odds of that happening?  We opened in 2010 and are being funded in part today by that land sale to Harry James, Jr. in 2008.

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Our Harry James Trumpet

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I had been reading books on jazz musicians since I had decided to retire from professional trumpet playing to start a jazz museum.  Since jazz history was not yet a college course when I was in school, I knew I needed to catch up on the jazz musicians before 1966, when I started getting serious about listening to jazz records.

I was reading a book on the life of Harry James (1916-1983) in 2006 when I heard that a trumpet once owned and played by Harry was going to be in an auction by Heritage Auction Galleries in Dallas.  It was really strange to me that this trumpet would appear while I was reading that book.  I had been thinking I needed one of his trumpets in our museum, but finding one for sale was, and is, rare. It showed up just when I was thinking I needed one!

My dad was still alive and was a big Harry James fan, so I convinced my dad to help me buy it, even though I had no idea how much it would sell for at the auction.  I drove to Dallas a few days before the auction to look at the trumpet because I would be bidding at home online.  It was the real deal.  I learned that Harry had the valves set back farther on his horn than a normal trumpet because his arms were so long.  You might notice that in the picture above.  Also, his name was inscribed on the bell.  I knew I had to have that horn for the museum which was still only in the formative stages.  How can you have a jazz museum without Harry James being represented?

There was one complication I saw in the auction.  They were also selling a Benny Goodman clarinet Benny had played in 1935!  Having both would be my dream, but I couldn’t talk my dad into letting me bid on it.  He gave me a budget that wouldn’t include both, and I knew he wanted the Harry James trumpet. Because of my limited funds, I started to see that we may be headed toward just a jazz trumpet museum.  That would be fine with me—I just wanted to have a jazz museum.

There were quite a few bids on the trumpet, but I prevailed, going against another bidder for what seemed like forever.  His trumpet and the Goodman clarinet sold for almost the same amount, so there was no way I could have gotten both. They each went for almost 30k.  Even so, I knew we now had two very collectible trumpets for the museum, a Dizzy Gillespie and a Harry James trumpet.  We were on our way to being more than just a record museum. I finished reading the Harry James book thinking about how interesting the timing was on all of this.  It wouldn’t be the last time the Harry James name would play a part in our museum.  Later that year we would be contacted by Harry James, Jr., and, instinctively, I knew it would not be about music.

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Mark Taylor’s Other Donations

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Along with the 2,200 albums Mark Taylor donated to our museum, there were two other major donations.  His dad had been personal friends with Stan Kenton over the years, and had acquired the band crate and Stan’s personal music folder.  These are great pieces of jazz history, and we are very happy to have them.

Our mission is not just jazz education, it’s jazz preservation.  These are two good examples of jazz artifacts that belong in a museum.  It’s things like this early on that got my attention that we could be something in addition to being a record album museum.  Why not have Stan Kenton’s albums and also something from the band?  In the Taylor collection we had all of the Kenton albums, both on Capital, and on the Creative World publications.  On one wall of the museum we put together as many of Stan’s albums as we had room for, plus his crate off to the side.  His music folder is nearby on a wall near the albums.

It is very impressive to me to see how many albums a Stan Kenton, or a Wood Herman, or others produced during their careers.  It basically shows the lives of these men who lived their lives on the road.  Many people, or libraries, have these albums but they are not likely on display as we have them. On the TV above the Kenton albums we can show Kenton YouTube videos, just to pull it all together.  We couldn’t have done this without the Mark Taylor donation.

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