The StrutterTraditional Jazz in the Philadelphia Tri-State Area

The Strutter is published by Tri-State Jazz Society, Inc. - P.O. Box 896 - Mt. Laurel, NJ 08054 1

JULY 2018VOLUME 29 NUMBER 1

OUR NEXT CONCERTAl Harrison Dixieland Band

Sunday, June 24, 20182:00 – 4:30 p.m.

Haddonfield United Methodist Church29 Warwick Road

Haddonfield, NJ 08033Directions at

http://www.tristatejazz.org/directions-haddonfield.html

Photo by Jim McGann

OUR JULY CONCERTTri-State Jazz All-Stars

Sunday, July 15, 20182:00 – 4:30 p.m.

Community Arts Center414 Plush Mill Road

Wallingford, PA 19086Directions at

http://www.tristatejazz.org/directions-cac.html

Photo by Jim McGann

This TSJS favorite, which last performed for theSociety in Wallingford two years ago, returns thistime to Haddonfield. "The Al Harrison DixielandBand is a polished ensemble with enoughfirepower, as Duke Ellington would say, to 'scorchthe moon!'" - Jim McGann, The Strutter, Tri-StateJazz Society. “A great, lively band that preservesthe tradition of classic jazz without embalming it.The creativity is at full throttle, and so is the senseof fun. You can’t listen to Al and his friends and notfeel better about life in general.” - Joe Barron,music reporter, Montgomery Newspapers.

Musicians and attendees rank Tri-State Jazz All-Star Jams among the best. The core quintetconsists entirely of TSJS veterans assembled anddirected by Dr. Bob Rawlins, who will call tunesfrom the traditional Dixieland through swing erasand invite musicians (some of whom seldom havethe opportunity to play together) to sit in with thecore ensemble as the concert progresses.

Core Band PersonnelDr. Bob Rawlins – Clarinet, Saxophones, LeaderDanny Tobias – Cornet, TrumpetBarry Wahrhaftig – GuitarJohn McClernan – TubaLarry Bortz – Drums

Al Harrison – leader, trumpetJoe Midiri – clarinetFred Scott – tromboneRay Malach – pianoBill Stumm – bassChick Sperell – drums

Concert Admissions$10 First-time attendees and Members

$20 General AdmissionHigh school/college students with ID andchildren with paying adult admitted free

http://www.tristatejazz.org/directions-haddonfieldhttp://www.tristatejazz.org/directions-haddonfield.htmlhttp://www.tristatejazz.org/directions-haddonfield.htmlhttp://www.tristatejazz.org/directions-haddonfield.htmlhttp://www.tristatejazz.org/directions-haddonfieldhttp://www.tristatejazz.org/directions-cac.htmlhttp://www.tristatejazz.org/directions-haddonfield.html

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LOOKING AHEAD TO OURAUGUST 2018 CONCERT

On August 19, 2018, our concert will featureCynthia Sayer and her Joyride Band atHaddonfield, NJ.

DANNY TOBIAS and FRIENDSREVIEW

By Jim McGann

Photo by Gary Spector

Dan Tobias, trumpet, E flat alto horn, vocals andleader; Paul Midiri, vibraphone, and drums; JoeHolt, piano; Joe Plowman, string bass; Jim Lawlor,drums and vocals

I had missed Mr. Tobias and company two yearsago when they made their inaugural concert forTSJS. Having been familiar with his work with theMidiri Brothers, Marty Grosz et al, I would expecta quality performance from under Mr. Tobias' ownleadership. And with personnel of the caliber ofPaul Midiri, Joe Holt and Jim Lawlor, a greaterquality of performance would be anticipated.

Photo by Jim McGann

My expectations were realized. Mr. Tobias and hisquintet provided music not so much in thetraditional jazz vein, but in a category of similarcomfort level to the jazz purist. If your jazz wasrooted in the early 1940s, leaning towards the likesof Nat Cole, Red Norvo and George Shearing, thena concert by Danny Tobias and Friends would befor you. If you were expecting King Oliver and/orJelly Roll Morton, you would be disappointed. Iwas not.

For the first time in recent memory, we had a bandthat introduced new, original compositions. Partof this was to promote the quintet's new CD,Complete Abandon. The title track, performedduring the second set, was a quick tempo rompbased on the chord changes of "Limehouse Blues,"with the leader making a creative meal out of it ontrumpet, a pirouetting right hand from pianist JoeHolt, and Jim Lawlor driving the rhythm by usinghis bare hands on the snare drum throughout the

Award-winning instrumentalist/vocalist/bandleader Cynthia Sayer is acclaimed bymusicians, critics, and fans alike as one of the top4-string jazz banjoists in the world today. She ispraised for her "drive and virtuosity" by the NewYork Times. Cynthia returns to Tri-State with herquintet, the Joyride Band. Prepare to be enchantedby her electrifying, swing-based performances andcaptivating stage presence.

For more, see Cynthia's website:http://www.cynthiasayer.com

Watch Cynthia and her Joyride Band (in China!) athttps://youtu.be/ipDUfKllOjU

Watch Cynthia's Sparks Fly Band here:https://youtu.be/xCYz2TSryvY (and you mayrecall that Tri-State hosted Cynthia and Sparks Flyin 2014)

http://www.cynthiasayer.comhttp://www.cynthiasayer.com

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ANNUAL TRI-STATE JAZZMEMBERSHIP MEETING

The annual meeting of the Tri-State Jazz Societywill be held during the intermission of the June 24concert in Haddonfield, NJ.

The following current Board members arenominated for a three year term:

Chris JonesDewaine OsmanSteven Peitzman

performance. The other original was an equallyaccelerated potboiler entitled "How's It Go?" Agentleman seated next to me thought it was theBebop anthem, "Donna Lee," and to unfamiliarears, there were some similarities to the CharlieParker composition, particularly in the long,lengthy lines of the composition.

Joe Holt

Photo by Jim McGann

Modern jazz reared its head again in the Joe Holttrio performance of "How High The Moon," towhich chord changes were used to form anotherParker composition, "Ornithology." Again, to theuninitiated, it would sound like just part of Holt'spiano solo. Ironically, the highlight of theperformance was Holt's brief Erroll Garnerflourishes during a trade of fours with Jim Lawlor.

Enough on modern jazz. The rest of the concertwhile rooted in modern elements, containedmaterial welcome to fans of older genres. "(IWould Do) Anything For You" featured some funkyriffing from Tobias' plunger muted trumpet, andsome signature Lionel Hampton riffs from Midiri,quoting "Comin' Through The Rye” at theconclusion of his solo. Rodgers and Hart's"Dancing on The Ceiling" was given the ShearingQuintet treatment, with everyone holding back -Tobias on cup mute, Midiri pensive, and Holtinterjecting cascading arpeggios. "I Want to BeHappy" was memorable for the long teasing introbetween Tobias and bassist Joe Plowman.

Tobias introduced the E flat alto horn at thisconcert. In contrast to his staccato approach on

Danny Tobias

Jim Lawlor

Photo by Jim McGann

trumpet, Tobias took a mellower approach with thisinstrument, reminding one of Dorsey's tromboneduring a ballad. He featured the instrument onJimmy Van Heusen's "Polka Dots and Moonbeams"with Joe Holt accompanying, providing right handgymnastics, and quoting the Duke's "I'm Beginningto See the Light." Keeping with the Ellingtonmoment here, the alto horn made an equally tellingappearance on Billy Strayhorn's "Lotus Blossom" ina trio setting consisting of Tobias, Midiri on vibesand Plowman's bass, exuding the exquisiteness ofStrayhorn's ballad.

Paul Midiri

Photo by Jim McGann

While the music of this concert was not of thetradition jazz caliber, it was a nice break fromBourbon Street and New Orleans. A sort of quiet,swinging explosiveness thanks to the efforts ofDanny Tobias and Friends.

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THE DUTCH LOUIS ARMSTRONGBy Rabbi Louis Kaplan

It happened one night at Heck's Cafe inAmsterdam, Holland, in the mid-1930s. "Come in"followed the knock on a dressing room door. Aman entered and said in a deep, rasping voice tothe person inside, "So you're the Dutch LouisArmstrong. Well, it's nice to meet you. I'm theAmerican one." They soon took their horns andblew, jamming and laughing as if they had knowneach other for years.

The Dutch Louis Armstrong was Louis Bannet,born in 1911 in a poor Jewish working-classneighborhood of Rotterdam, Holland. Given ashabby violin and frayed bow by a neighbor, by ageseven Louis had taught himself to play theinstrument. A violin teacher heard musicemanating from the Bannet apartment, sought itssource, and urged Louis to audition at the city'sJewish Conservatory of Music. He did and wasaccepted, the tuition being paid mostly by the lad'sUncle Abraham. In his second year at theConservatory Louis formed a small orchestra toplay at bar mitzvah celebrations, weddings, and onstreet corners. He also headed a jazz ensemble,The Kentucky Five.

A friend told young Louis that he'd have a hardtime finding work because "there are probablymore violin players in Holland than tulips." So,thanks to 30 guilders from that generous uncle,Bannet bought a trumpet, took lessons, andfrequently headed for a music shop to hearrecordings by Louis Armstrong and His Hot Five.

In 1929 he obtained his first trumpet job, withAnton Swan and The Swantockers. When tenorsaxophonist Coleman Hawkins arrived in Hollandin 1934, Louis sat in with "The Hawk" on Tiger Ragat the Lido nightclub in Amsterdam. Soonthereafter, Louis Bannet's Rhythm Five wasorganized; St. Louis Blues became its encorenumber. The band played in Holland and Belgium,Germany and Switzerland. His skill on the trumpetand remarkable vocal imitation of his hero, soonearned him the epithet "The Dutch LouisArmstrong."

Adolf Hitler's German army invaded Holland in1938. Anti-Jewish decrees were issued in 1940,one being that no Jew was allowed to enter a

restaurant, concert hall, or nightclub. As a result,Louis Bannet had no job.

When the Germans ordered the first group of Jewsto report for deportation, a Gentile friend obtainedfalse identity papers and countryside hiding placesfor Louis. But his Jewish identity was eventuallydiscovered by German secret police agents. Withother Jews he was herded into a train in lateJanuary 1943; its destination was Birkenauconcentration camp in Poland.

Three-to-six weeks was the average life expectancyat Auschwitz-Birkenau even for men who had beenselected not for the gas chambers but to work.Louis Bannet lived because, despite frozen handsand cracked lips, he auditioned satisfactorily for the42-member Birkenau Orchestra by playing theopening passage of the St. Louis Blues.Concentration camp officials believed march musicmade the haggard prisoners on their way to workperform better at their tasks. The orchestra alsoplayed at train unloadings, hangings, and otheroccasions. Bannet's Birkenau Quartet renderedmusic for jazz-loving guards and for higher-ups atparties. All musicians also had other jobs; Louis'sdetail emptied latrines of excrement and dumpedthe cart-loads in the mud.

As the war turned against the Germans, themusicians were shipped to Germany. In a laborcamp he was assigned to fix a door. Not being acarpenter, the results were poor and he wasviciously beaten. Luck was with Louis again, for hewas ordered to play songs on a violin for hisGerman captors.

The allies came closer. Thousands of prisonerswere clubbed to death or shot. In the bitter coldand stinging wind of late February 1945, Bannetsomehow survived the so-called death march to theBuchenwald concentration camp on which so manydied. The next month he was packed tight withfellow prisoners in an open cattle-car train for theyknew not where. When the train stopped at avillage near Prague, Czechoslovakia and the traindoors were opened, he heard someone say the warhad ended. Delirious and weak, Louis "crawledalong the ground, dragging his trumpet along withhim, when he spotted an old soldier whom herecognized from Birkenau. The soldier was quicklyremoving his uniform. Underneath he was wearingblue and white prison stripes, thinking he could

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conceal his identity and pass himself off as a Jew.Louis slowly got up and stumbled towards thesoldier, picked up a piece of wood from the groundand,with the last ounce of strength, smashed thesoldier's skull." Bennet himself collapsed and sixmonths later, in a Prague hospital, opened his eyesfrom a coma.

When Louis recovered he entered the displacedpersons camp in Bamberg, Germany. An Americanarmy major happened to come across Bannetplaying Jewish numbers and American songs on histrumpet at an impromptu concert for Dutch Jewishrefugees. He also heard Louis announcingselections in several languages, including perfectGerman. As a result Louis was given an Americanarmy uniform as a member of the Counter-Intelligence Corps and assigned to find Germanofficers and bring them in for questioning. Hefound Anton Ortel, who claimed he had only been asoldier, but Louis had papers showing the man hadserved as an officer and had "sent thousands of oldpeople and children, little babies, to the gaschambers." Bannet shot and killed the German.

Back in Holland he rehearsed a band, the newRhythm Five, and commenced an engagement inAmsterdam's famous Savoy Club. Louis married aJewish woman who had amazingly succeeded inhiding in various places during the war. Theymoved to Canada. He became a member of theRoyal Canadian Band, taught violin and trumpet inthe Maritime Conservatory of Music, and playedmusic in Korea for personnel in the Canadian andSouth Korean armies. Back in Canada he had hisown television show for five years, touredthroughout North America, worked with LaurenceWelk, Liberace, Edith Piaf, and other musicalnames. He led a dance orchestra, continuing toconclude each performance with St. Louis Blues. Inthe late 1990s Canadian television showed adocumentary on Louis Bannet's life.

This man of remarkable determination and spirit,talent and luck---The Dutch Louis Armstrong---died in the year 2000.

(Source: Ken Shuldman, Jazz Survivor: The Storyof Louis Bannet, Horn Player of Auschwitz[London and Portland, Ore.: Valentine Mitchell,2005].)

Quiz TimeBy Rabbi Lou Kaplan

1. In September 1922, F. Scott Fitzgerald's book,The Jazz Age, was published, thereby giving thename to the post-World War 1 exuberant years of"flaming youth": flappers (with bobbed hair, rolledstockings, and short skirts) who smoked cigarettesin public, strawhatted collegians, bootleg booze,tangled morals, wild parties, "hot" music, theCharleston dance, and more unconventional doingsthat flouted the emotional reserve of oldergenerations. But I agree with those who maintainthat The Jazz Age really began when a certain bandcommenced a Manhattan engagement in 1917.What was the name of that band?

2. Also in 1917 a major composer of ragtime tunes,such as "Maple Leaf Rag," died. Who was he?

3. In that same year of 1917 the United States NavyDepartment ordered the closing of New Orleans'sred-light district. That resulted in many jazzmusicians, especially pianists, losing their jobs.What was that district's name?

4. The first jazz band to make phonographrecordings did so on February 26, 1917. The band?

5. In the 1920s a number of classical composers,musicians, and conductors praised this new music,jazz. One such person, whose initials are L.S., wonfame as the conductor of the Philadelphia Orchestra.Name him.

6. A number played by Louis Armstrong's Hot Fivein 1928, during The Jazz Age, is considered bymany to be the greatest jazz recording of all time.Its three-word title begins with the letters W, E andB. Do you know it?

7. In October 1929 a catastrophe occurred that puthundreds, if not thousands, of musicians out ofwork across the country. It ended The Jazz Age.What happened?

Answers elsewhere in this issue.

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FUTURE CONCERTS

All Concerts from 2:00 p.m. to 4:30 p.m.

September 9, 2018 Jon Weber-Solo PianoBased in New York, Jon Weber has recorded andtoured all over the world. For his TSJS debut,expect an emphasis on stride and other early jazzstyles. Wallingford, PAOctober 14, 2018 Emily Asher’s Garden PartyThe quintet, led by trombonist Emily Asher, is oneof New York’s most exciting traditional jazzgroups. Funding has been made possible by theNew Jersey State Council on the Arts/Department ofState through the Camden County Cultural &Heritage Commission at Camden County College,the Designated Arts Agency of Camden County.Haddonfield, NJNovember 18, 2018 Original CornellSyncopators12-piece band, students of Cornell University,talented beyond their years. They were invitedtwice to the San Diego Jazz Festival.Wallingford, PAJanuary 6, 2019 Mike Davis and the NewWonders Welcome one of New York’s top tradjazz bands to their TSJS debut; 7-piece band withcornet/trumpet, reeds, trombone, piano,guitar/banjo, bass sax, and drums. Haddonfield,NJFebruary 10, 2019 Barbone Street Jazz BandClarinetist Steve Barbone leads one of the area’sbest and most experienced Dixieland bands. It hasbecome the busiest trad jazz group in the DelawareValley. Wallingford, PA

Wallingford: Concerts are held at the CommunityArts Center, 414 Plush Mill Rd; just west of exit 3 of I-495 (“The Blue Route”).Haddonfield: Concerts are held at the HaddonfieldUnited Methodist Church, 29 Warwick Rd., just south ofKings Highway; about a ten minute walk from thePATCO train station.

OTHER JAZZ CONCERTS

PENNSYLVANIA JAZZ SOCIETYwww.pajazzsociety.org

(610)-625-4640Dewey Banquet Hall, 502 Durham Street,Hellertown, PA.July 29 Marty Grosz and Danny Tobias and band

NEW JERSEY JAZZ SOCIETYwww.njjs.org

(800)-303-NJJS

CAPE MAY TRADITIONAL JAZZ SOCIETYVFW Post 386, 419 Congress St.,

Cape May, NJwww.capemaytraditionaljazzsociety.com

July 8 Al Harrison Dixieland BandAugust 12 Atlantic City Jazz BandSeptember 16 Ben Mauger’s Vintage Jazz Band

POTOMAC RIVER JAZZ CLUBCheck out the numerous traditional jazz eventssponsored by PRJC at www.prjc.org

1. Original Dixieland Jass (Jazz) Band

2. Scott Joplin

3. Storyville

4. Original Dixieland Jass (Jazz) Band

5. Leopold Stokowski

6. West End Blues

7. The almost decade-long Great Depression

QUIZ TIME ANSWERS

http://www.njjs.orghttp://www.njjs.orghttp://www.njjs.orghttp://www.njjs.orghttp://www.njjs.orghttp://www.njjs.orgwww.capemaytraditionaljazzsociety.comwww.capemaytraditionaljazzsociety.comwww.capemaytraditionaljazzsociety.comwww.capemaytraditionaljazzsociety.comwww.capemaytraditionaljazzsociety.comwww.capemaytraditionaljazzsociety.comwww.capemaytraditionaljazzsociety.comwww.capemaytraditionaljazzsociety.comwww.capemaytraditionaljazzsociety.comwww.capemaytraditionaljazzsociety.comwww.capemaytraditionaljazzsociety.comwww.capemaytraditionaljazzsociety.comwww.capemaytraditionaljazzsociety.comwww.capemaytraditionaljazzsociety.comwww.capemaytraditionaljazzsociety.comwww.capemaytraditionaljazzsociety.comwww.capemaytraditionaljazzsociety.comwww.capemaytraditionaljazzsociety.comwww.capemaytraditionaljazzsociety.com

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ABOUT TRI-STATE JAZZ SOCIETYBOARD OF DIRECTORS

Sanford Catz, President, 2019,president@tristatejazz.org , webmaster@tristatejazz.orgChris Jones, Vice President, Photo Editor, 2018,vp@tristatejazz.orgMike Mudry, Treasurer, 2019,treasurer@tristatejazz.org

Bill Hoffman, Music Committee Chairman, BandsContact, 2020, booking@tristatejazz.org

Dewaine Osman, Secretary, Strutter Editor, 2018Chic Bach, Sound Coordinator, 2019,sound@tristatejazz.orgSally Cannon, Refreshments Manager, 2020Bob Rawlins, Music Committee, 2020Steven Peitzman, Programs Editor, 2018Robert Robbins, Publicity & Assistant StrutterEditor, 2018

COMMITTEE CHAIRMENMark Raymond, Membership Chairmanmembership@tristatejazz.org

More Volunteers are listed on our website at:www.tristatejazz.org/officers.html

TSJS CONTACT INFORMATIONMailing Address: PO Box 896, Mount Laurel, NJ.08054E-mail: info@tristatejazz.org

Hotline Phone for updated concert information:(856) 720-0232

TSJS SUSTAINERSVery Special - $200 or more, $220 couples

● Chuck Haggerty & Sarah Burke● Sanford Catz● Mary Ann & Dr. Charles H. Emely● William N. Hoffman● Richard & Peggy Hughlett● Chris Jones and Amy Galer● Bob Mackie● Dewaine & Clare Osman● DeWitt Peterson● Dr. Myron E. & Phoebe R. Resnick● Sylvia Rosenberg● Alice V. Schmidt● Jay & Orinda Lou Schultz

TSJS PATRONSThe Big Time - $100 or more, $120 couples

● Joan Adams● Elaine Berkowitz● John & Susan Bingley● Walt Brenner● Stephen Faha● Bruce Gast● Carl Meister, Jr. & Linda Hickman● Wayne & Nancy Lewis● James & Lorraine Maitland● Mike Mudry● Selina Higgins & Bill Nixon● John Otterson● Steven Peitzman & Nancy Pontone● Katherine & Michael Perloff● Bob & Nancy Rawlins● Jolyne Dalzell & Richard Scarlett● Robert Carr & Barbara Steele● Constance & Donald Windus● Jerry & Josephine Yocum

TSJS SPONSORSHeadliners - $50 or more, $70 couples

● Chic Bach● Joan Bauer● Jack Boesch● Louis DePietro● Robert & Cynthia Freedman● Gerald Carter & Janet S. Graehling● J. Mervyn & Peg Harris● John H. Hoover● Jack Jennings● Robert Kerns, Jr.● Sheila Larson● Michael & Irene Lastra● Michael Lefkowitz● Peggy de Prophetis & Louis Kaplan● Patricia Madison● Terry Rave● Mark Raymond● Peter Reichlin● R. Adam Rogers III● Lynn Ryan● Bob & Kay Troxell● Anne Uniman● Fred Weber● Mary Lou Adams & Sandra Zullo

mailto:president@tristatejazz.org mailto:president@tristatejazz.org mailto:president@tristatejazz.org mailto:president@tristatejazz.org mailto:president@tristatejazz.org mailto:president@tristatejazz.org mailto:president@tristatejazz.org mailto:president@tristatejazz.org mailto:president@tristatejazz.org mailto:president@tristatejazz.org mailto:president@tristatejazz.org mailto:president@tristatejazz.org mailto:president@tristatejazz.org mailto:webmaster@tristatejazz.orgmailto:webmaster@tristatejazz.orgmailto:webmaster@tristatejazz.orgmailto:webmaster@tristatejazz.orgmailto:webmaster@tristatejazz.orgmailto:webmaster@tristatejazz.orgmailto:webmaster@tristatejazz.orgmailto:webmaster@tristatejazz.orgmailto:webmaster@tristatejazz.orgmailto:webmaster@tristatejazz.orgvp@tristatejazz.orgmailto:treasurer@tristatejazz.orgmailto:treasurer@tristatejazz.orgmailto:treasurer@tristatejazz.orgmailto:treasurer@tristatejazz.orgmailto:treasurer@tristatejazz.orgmailto:treasurer@tristatejazz.orgmailto:treasurer@tristatejazz.orgmailto:treasurer@tristatejazz.orgmailto:treasurer@tristatejazz.orgmailto:booking@tristatejazz.orgmailto:booking@tristatejazz.orgmailto:booking@tristatejazz.orgmailto:booking@tristatejazz.orgmailto:booking@tristatejazz.orgmailto:booking@tristatejazz.orgmailto:booking@tristatejazz.orgmailto:booking@tristatejazz.orgmailto:booking@tristatejazz.orgmailto:editor@tristatejazz.orgmailto:sound@tristatejazz.orgmailto:rabundo88@gmail.commailto:membership@tristatejazz.orgmailto:membership@tristatejazz.orgmailto:membership@tristatejazz.orgmailto:membership@tristatejazz.orgmailto:membership@tristatejazz.orgmailto:membership@tristatejazz.orgmailto:membership@tristatejazz.orgmailto:membership@tristatejazz.orgmailto:membership@tristatejazz.orgmailto:membership@tristatejazz.orgmailto:membership@tristatejazz.orgmailto:membership@tristatejazz.orgmailto:membership@tristatejazz.orgmailto:membership@tristatejazz.orgmailto:membership@tristatejazz.orghttp://www.tristatejazz.org/officers.htmlmailto:info@tristatejazz.orgmailto:info@tristatejazz.orgmailto:info@tristatejazz.orgmailto:info@tristatejazz.orgmailto:info@tristatejazz.org

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TRI-STATE JAZZ SOCIETY, INC.P.O. BOX 896MOUNT LAUREL, NJ 08054

Membership Form

Basic Dues: q Individual $20 q Couple $40Sponsor Dues: q Individual $50 q Couple $70Patron Dues: q Individual $100 q Couple $120Sustainer Dues: q Individual $200 or more q Couple $220 or moreAmount Enclosed $________________ Date_________________ Check No._________

Members are admitted to all regular concerts at half price. Memberships renewed prior to expiration start at the end of current membership; expired memberships start on receipt of payment. All memberships run for 12 months.Email and Newsletter Options: q TSJS concert announcements and membership notices(Check all boxes that apply.) q Strutter Newsletter by Email q Strutter by U.S. Mail (Patrons, Sponsors, Sustainers Only)

Mail with check payable to Tri-State Jazz Society, Inc., P .O. Box 896, Mount Laurel, NJ 08054

First and Last Name(s) _________________________________________________________Street_______________________________________________________________________

City_________________________________________________State______Zip___________

Phone (_____)_______________ E-mail ___________________________________________