Descriptive Notes
DESCRIPTIVE NOTES - Entry 1:
Compilation, 2019: OTHER REALMS * Exploratory and Esoteric Music
All the selections on this CD-R were recorded at my favorite studio (since 1989), hence the audio quality is fine and more consistent than with Commemoration Set, comprised of material from a wide time-span (50 years!) and from many varying circumstances, some of which were sub-professional in audio quality. That is not the only difference, of course. Here, the disc showcases the most uncommercial musical tendencies I've engaged in during the past 27 years. My prior studio recordings of extremist expression took place in 1980 and 1981. I am not including my 1969 debut record of unaccompanied, totally improvised music on vibraphone. Although Vibra-Dream Currents occupies a unique place in my recorded output, it is not a studio recording. This current production is a catholic mixture including the opening art song for soprano with jazz trio accompanyment. Song of Solange is not improvised music, it is a musical setting inspired by a passage in The Maids, a play by Jean Genet.
Track Two, titled Run Free, is totally improvised avant garde jazz, although I freely and periodically use a melodic motif from another art song which is presented on the following track. Group interplay is of the essence in this type of music, and I was fortunate to have musicians who showed no fear of total freedom.
Love's Bitter Rage is sung in a Spanish version by the mezzo-soprano Claudia Gonzalez. The long intro and outro encase the core song with a hymn-like reverence for its truth and powerful social message.
From Where Strays Never Call Home presents a return to all-out improv in the free jazz mold. I am joined here by Jeremy Hull on bass and Daniel Tcheco on drums for some engaging three-way interplay
Lewis Worrell begins with piano and arco bass. There is no stated pulse until the theme is re-stated with drums added. What is perhaps not evident with the duo opening, is that the tune is a 12-bar blues. This is my tribute to a bassist heavily associated with the jazz avant garde, whose significant achievements were from 1964 through 1967, after which he left the national jazz scene and has seldom been heard from since. Byron Gordon solos with Duane Durrett on drums..
Song of No Return, is the most conventional piece heard in this set, and it concludes my portion of the CD program. It has a strong Latin flavor and includes a piano solo with solid support by bassist Byron Gordon and percusssionist Joey Carter.
Frank DeVol (1911-1999) wrote and conducted music for motion pictures, television, and the popular music market of the mid-twentieth century. Three Cues by Frank DeVol is from his soundtrack to the 1956 Robert Aldrich war film "Attack!". Having long been intrigued by this music, and the film for which it was written, I approached the talented Nathan Phelps for his assistance in making a new recording to "bring back to life" (in Phelps' words) this unusual and haunting music for lower voices. The viola heard on Cue #2 is played by a very gifted young musician, Jacob Burk. He needed no reference note in tuning his viola, and although I had indicated I would want three takes, he played the piece perfectly the first time...then gave me two more perfect takes! It is rare for a musician's pitch to be "dead center" in accuracy, as Burk's intonation consistently registered on the equipment at Patrick McGuire's studio. This most fitting addition to my more adventursome recording endeavors completes this 2019 CD, issued to celebrate my 50th year as an indie artist /recordist..
All selections on this disc were recorded at Patrick McGuire Recording in Arlington, Texas.
I wish to thank the folowing people for their help in various projects that are represented in this compilation. They are: James Vernon, Charles Whitehead, Patrick McGuire, Kitty Case, Charles Duke, Bryan English, Dr. Misha Galaganov, Nathan Phelps and Joey Carter.
DESCRIPTIVE NOTES - Entry 2:
STEEL REFLECTIONS John & Jerry Case plus Pedal Steel Guitarists. Musicase CD-R Compilation, issued in 2018.
The program:
1. Serenade - featuring Tom Morrell; 2. Empathy - featuring Maurice Anderson; 3. Elevation - featuring Chuck Caldwell; 4. Perdido - featuring Tom Morrell; 5. In the East - featuring Tom Morrell; 6. Excursion - featuring Maurice Anderson; 7. In a Mellow Tone - featuring Maurice Anderson; 8. Steel Guitar Ride - featuring Chuck Caldwell; 9. Lawton Blues - featuring Chuck Caldwell; 10. In the Air - featuring Tom Morrell; 11. Full Moon - featuring Maurice Anderson; 12. Bags' Groove - featuring Maurice Anderson; 13. Divisio - featuring Chuck Caldwell; 14. Birderic - featuring Tom Morrell; 15. Hudson's Blues - featuring Maurice Anderson; 16. Stay Loose - featuring Maurice Anderson ; 17. Hag's Move - featuring Tom Morrell; 18. Passing Through - featuring Tom Morrell; 19. A New Moon - featuring Chuck Caldwell; 20. Excursion Out - featuring Maurice Anderson.
The featured steel guitarists are heard with:
JERRY CASE, 7-string guitar (bass 0n 9, 15 & 19); JOHNNY CASE, piano (bass on 1, 3, 5, 8, 10 & 13); JIM PERKINS, bass (2, 6, 11 & 20); CHARLES SCOTT, bass (4, 7, 12 & 17); DON SOWELL, drums (1, 4, 5, 7, 10, 12 & 17); JESS HUDSON, piano (15) & bass (16); BILL MINER, drums (11, 15 & 16); DON BRIERTON, drums (3, 9, 13 & 19); TED WASSER, drums (14 & 18); KERBY STEWART, bass (14 & 18); BILL WALKER, drums (2, 6 & 20). JOHN WESTFALL is the trombonist heard briefly on 14 & 18. On the out-chorus of Perdido, Maurice Anderson plays the first half of the bridge.
STEEL REFLECTIONS - Notes by Johnny Case
My entry into the music profession occurred at the best possible time and place, given my dual interests: learning modern jazz despite logistics that restricted my actual working experience to the country swing dance bands which nevertheless nourished my love for steel guitar. Had these opposites not inhabited my reality, I would have missed the newly emerging modernity related to the instrument that had fascinated me since childhood.
Although my instrument is piano, the modernists in my midst were frequently guitarists and pedal steel guitarists. Accessibility to complex harmonies not previously heard on steel guitar was made possible by the advent of pedals. A whole generation of uniquely gifted steel players born in the 1930's were in their prime when I first began to learn about their modern steel guitar music, circa 1962. That's when I first heard Gene Pooler with the Johnnie Lee Wills band. My older brother, guitarist Jerry Case, had encouraged me to go with him to hear this top western swing band in person, playing a rodeo dance in Hugo. Oklahoma. Pooler had a full, rich tone and a harmonic concept far more sophisticated than was intended for much of the music being played. The versatility of the band, however, was such that their repertoire included Stardust, Relaxin' and (reportedly) April in Paris. The inclusion of a fine tenor saxophonist and trumpeter enabled the band to play convincing renditions of this pop material, especially with tasteful embellishment from Gene Pooler on pedal steel. In fact, Pooler often added sumptuous harmonies to the more country-oriented material as well, utilizing an abundance of sophisticated passing chords in otherwise simple structures. In my hunger to hear more of this type steel playing, savvy musician friends directed me to specific recordings on which uncredited giants such as Curly Chalker and Buddy Emmons could be heard.
In 1963 Buddy Emmons recorded "Steel Guitar Jazz" for Mercury. I learned about it from an advertisement in the trade publication Billboard Magazine to which my mother subscribed. So eager was I to hear the new LP, I'm quite certain my special order through a local record store was among the first sales of this benchmark album. Curiously, my hometown of Paris, Texas seemed an unlikely place to hear the hottest C&W band in the nation perform live, yet Ernest Tubb and his Texas Troubadours were booked into the fairgrounds coliseum for a Wednesday night performance. My parents J.C. and Floy Case were longtime friends of Tubb, which gave us the exceptional honor of visiting with him on the band bus just prior to their show. My mom proudly told E.T. about my older brother Jerry Case playing guitar professionally, and that I was becoming a piano player. On my behalf (I was shy) she asked if Emmons was still with him. He said "no" but was quick to praise his new steel man, Bud Charleton. This primo band, which Tubb featured generously on his show, was incredibly inspiring with its front line consisting of the impressive Leon Rhodes on lead guitar and his new musical partner on pedal steel. Charleton proved to be an exciting and authoratative player. The up-tempo instrumentals designed to showcase their talents have often been labeled "Country Jazz".
When the Case family moved to Dallas in the summer of 1964, I found myself in the midst of cutting-edge steel guitar modernists. I had advance notice, having recently become aware of two particularly talented pedal steel men based in Dallas. I will give more detail elsewhere regarding the encounter of Jerry Case and Maurice Anderson in Las Vegas, and my own subsequent meeting of Maurice (at a live event where I heard him play an entire gig with Bob Wills and the Texas Playboys) that followed within two weeks in Paris, Texas. His playing was for me an education in the expert application of modern jazz concepts to country music's jazz counterpart: western swing. During this same time frame, I had also learned about another steel master, whom I first heard play some very swinging standard guitar on a live telecast backing Tex Williams. The inside word was: "You oughta hear him on steel". This individual was also a business associate of Maurice, and soon after my move to the Dallas area, Maurice introduced me to Tommy Morrell. He was frequently on the road with a legendary band, the Western Starlighters. Although I saw him quite often when he was in town, it would be a matter of years before I actually heard his fine capabilities on pedal steel.
In 1969, Jerry Case (on bass), Tom Morrell (on standard guitar) and I performed on Volume 2 of "The Moods of Maurice Anderson". Three more cuts with this same group appear on Volume 3 of the set that would eventually total five LPs. I felt honored to be part of these recordings. The experience helped advance my own ideas about independent representation via self-produced record albums. Before 1969 had ended, I began my own series of recordings, with a primary objective being to feature creative improvised music, totally free of commercial considerations. In the jazz sessions of the 1970's, my brother Jerry Case, a unique jazz stylist on 7-string guitar, is heard in a variety of settings. Without question, however, the most unusual feature in my series was the inclusion of pedal steel guitar on these free-wheeling jazz dates. Anderson and Morrell were described in Down Beat magazine as "premier exponents of the instrument". On these sessions Anderson and Morrell (together and separately) are documented in a manner unlike any of their other recordings. Each player often stretches out for multiple choruses, and we hear some remarkable extended improvisations, unedited and unaltered in any way. The Anderson tracks 15 and 16 are live performances from 1966 when Jerry Case was a member of Maurice's band The Triads, performing in Dallas, Texas at the Willow Club. I brought my semi-professional reel-to-reel recorder to their gig one nght and captured some 40 minutes of music. The surprising circumstance of this particular night is something I will describe in my intended article on Maurice Anderson, because its one-of-a-kind challenge and how Maurice dealt with it, exemplify this man's transcendent musical abilities.
By 1977, I had become determined to document the obscure and elusive Chuck Caldwell from Lawton, Oklahoma. Jerry Case had worked with him in late 1963 and early '64 in the band of the ill-fated "Little" Joe Carson. Chuck played non-pedal in those years but later switched to pedal steel. Ideally, I would have liked to capture his non-pedal work which is scarcely represented on recordings. Many comments from primo western swing musicians whom had worked with Chuck attest to his remarkable prowess and the unorthodox techniques he masterfully utilized to accomplish musical statements of a poetic naturalness. The great Tom Morrell reflected on the non-pedal work of Caldwell, more than once referring to him as a "wizard of non-pedal steel". Alas, my mission came too late for the realization of such a treasure as might have been. With numerous problems to plague this project, a session in Wichita Falls yielded an album, issued on my Priority label in 1980. Four cuts from that date appear in this compilation. In addition, the brief "Steel Guitar Ride" is a rowsing Caldwell solo excerpted from 1974 recordings furnished to me by Lawton musician and Caldwell friend, Carl Cooper.
This 20-track set is producd in homage to these individualistic steel guitarists, the likes of whom will never be heard again.
TOM MORRELL (1938 - 2007)
CHUCK CALDWELL (1934 - 2010)
MAURICE ANDERSON (1934 - 2013).
Entry No. 3
MEMENTO SUITE - Johnny Case compilation of recordings from the 20th & 21st centuries. Musicase CD-R Issued in 2022
ONE TOO FEW - Johnny Case, piano & composer; Chris White, acoustic bass; Don Sowell, drums. Recorded 1991
IN THE AIR - Jerry Case, 7-string guitar and composer; Tom Morrell, pedal steel guitar; Johnny Case, acoustic bass; Don Sowell, drums. Recorded 1974
DAYBREAK - Johnny Case, piano and composer; Jerry Case, acoustic bass; Don Sowell, drums. Recorded 1971
STRANGE DREAM - Jerry Case, 7-string guitar; Johnny Case, piano and composer; Charles Scott, bass; Wayland Smajstrla, drums. Recorded 1970
PASSING THROUGH - Jerry Case, 7-string guitar; Tom Morrell, pedal steel guitar; John Westfall, tenor/ bass trombones; Johnny Case, piano and composer; Kerby Stewart, acoustic bass; Ted Wasser, drums. Recorded 1975
THE OPEN SEA - Johnny Case, piano and composer; Chris White, acoustic bass; Don Sowell; drums. Recorded 1991
RANCH HOUSE RENDEZVOUS - Johnny Case, piano and composer; Jerry Case, 7-string guitar; Mark Abbott, acoustic bass; Billy English, drums. Recorded 2007
HEART OF THE GREAT SOUTHWEST - Bill Case, composer; Johnny Case, piano; Buddy Wallis, violin & electric mandolin; Tom Morrell, steel guitar; Billy Luttrell, rhythm guitar; Leon Rausch, electric bass; Greg Luttrell, drums. Recorded 1993
THREE CUES FOR MALE VOICES - Frank DeVol, composer; Nathan Phelps piano & tenor (vocal); Jacob Burk, viola; Keith Groh, baritone; Hugh Galyean, bass. Rec. 2019
Descriptive notes by Johnny Case
This CD is a compilation completed in 2022. It is the last of many amalgamations I assembled starting with “Jazz Journey” in 2001. Twenty one years of various juxtapositions drawn from my sound recording archives. “Memento Suite” - I chose the title carefully. Is it merely a patch-work or a well-conceived and artful presentation?
We all know the meaning of “one too many”, but what means one too few ? I so titled this jazz waltz because of the joking comment about a “missing beat” musicians have sometimes made based on 4/4 being the more common time signature. I also liked the unexpected word substitution and different meaning. Life’s passage of time and the changes it brings have enlightened me to yet another meaning: Still alive in my memory the Case family of four, we have now slowly dwindled to the last of two offspring. I am writing these notes in retrospection.
Between the first and last of my numerous compilations, I always sought to bring a fresh re-hearing of previously issued music by regrouping selections from various dates in an attempt to present a cohesive program with a different focus from that of the albums on which the material had originally appeared. I did not share my every effort with my brother (Jerry Case), although he invited me to do so. Obviously there was no need to share something of a musical genre which held no interest for him. “Memento Suite” does not fall into that category.
On a trip he made to Texas in September 2022, Jerry played a concert with me at Arts Fifth Avenue in Fort Worth. It was on that trip that I gave him a copy of this CD. Jerry Case is well represented in selections spanning 37 years, from 1970 to 2007. Two selections have us playing bass for each other. Four cuts feature Jerry on 7-string guitar, his main instrument for the many decades of his career. The sextet cut is a typical example of the side-long performances which were not uncommon for Case-produced jazz LPs of the 1970s.
The quartet piece “In the Air” is a co-op effort: I asked Jerry to create the melody line for a chord sequence I had devised. The title is a nod to Jerry’s love of flying, and it was an afternoon in August 1974, when we brothers were hanging out at the little country landing strip where he kept his Cessna, that I expressed my intention to have a recording session on which his guitar would be the featured lead instrument. I would play bass and Tom Morrell would play pedal steel guitar.
For the originals on this quartet date, we had one rehearsal with Don Sowell in Fort Worth and another rehearsal with Morrell in Little Elm, just outside of Dallas. At Morrell’s house, he had stuff piled all around in total disarray. He said: “This house is just a reflection of where my head is”. I commented on seeing a trombone protruding from the top of a mound. He replied: “Yeah I guess I oughta get it down and blow a few rats out of it”. The results of our September recording session, engineered by guitarist John Patterson, was the LP “Serenade”, titled after a bossa nova I had recently written and which is first introduced on the record by Jerry Case playing unaccompanied 7-string guitar.
After Jerry’s passing (May 29, 2024), I was in the office of his townhouse in Van Nuys, amidst so many things relating to music and his career. In the preceding year or so, Jerry had mentioned in phone conversations that he was trying to organize his belongings, including a large number of CDs. Later, I could see evidence of his efforts, and I know very well how this is a daunting task. One thing struck me, seeing his copy of “Memento Suite” near the top of a modest stack of CDs. This may have been a sign that it was among his most recently played albums and certainly would have been his last hearing of the jazz recordings we made together.
Our beloved uncle, fiddler/bandleader Bill Case (our father’s older brother) is represented with his song “Heart of the Great Southwest”. We Case kids grew up knowing all about Bill Case and his Melody Boys, with our father J.C. Case as a core participant on mandolin and harmony vocals. This song exemplifies the southwestern style of country music our parents lived and loved.
I have written elsewhere about Frank DeVol’s brief music for male voices (descriptive notes for “Other Realms” CD). It has haunted me since childhood, when a music-related happenstance exposed me and Jerry (at ages 8 and 12 respectfully) to the 1956 Robert Aldrich war film “Attack”. Jerry never shared my obsession with the film, its meanings and its music, yet he was keenly aware of my life-long captivation. Hence it was no great surprise to him when in 2019 I arranged to have “Three Cues for Male Voices” re-recorded for inclusion on my last flurry of compilations.
Johnny Case - May 10, 2025
Entry No. 4
JOHNNY CASE and his TEXAS SWINGTET featuring BILLY BRIGGS. Musicase CD Date of issue: 2016
1. Milk Cow Blues 2. Bluebonnet Lane 3. C Jam Blues 4. You Don’t Love Me But I’ll Always Care 5. Charmaine 6. Corrine, Corrina 7. My Adobe Hacienda 8. Avalon 9. Little Coquette 10. Hang Your Head in Shame. Recorded December 7, 2015
Personnel: BILLY BRIGGS, tenor saxophone; WALTER LYONS, guitar; JOHNNY CASE, piano; CHRIS CLARKE, acoustic bass; GREG HARDY, drums & vocals.
The Texas Swingtet featuring Billy Briggs - Notes by Johnny Case
Tenor saxophonist Billy Briggs is truly a western swing legend. He had already made his mark with Bob Wills and the Texas Playboys in the early 1950’s, long before I first heard him featured on the Big D Jamboree. As a youngster in the mid-1950’s, I was crazy about Billy’s hard-driving swing approach to the country music my parents loved. Based in Dallas, Billy Briggs kept busy playing in pop and jazz combos in addition to the country music groups and western dance bands. This current CD was recorded in December of 2015 and shows the 92 year-old tenor man still in command of the highly uplifting music for which he’s long been known and loved.
The first encounter I had with Billy Briggs was during my formative years as a professional musician. One memorable night in early 1966, I was surprised to see my idol walk into the Aragon Ballroom where I played in Joe Andrews’ band. Billy had been called in to sub for our regular sax man. All through the gig that night I was on a natural “high”, astonished that I was playing with Billy Briggs. Over the next several months he played with us quite a few times, always inspiring me with his big “Texas Tenor” sound and his infectious sense of swing.
Briggs recorded with Asleep at the Wheel in 1972 (“Texas Gold”) and is also featured on their 2015 Bob Wills tribute entitled “Still the King”. Other western artists with whom he has recorded include: Joe Andrews, Dave Alexander, Tom Morrell, Rich O’Brien, Wayne Glasson, Louise Rowe, and a recent recording with jazz pianist Dale McFarland.
My association with guitarist Walter Lyons also dates from 1966, when he and steel guitarist Jesse Harris comprised the guitar team in the Joe Andrews band. He shares with Billy Briggs the status of Bob Wills alumni, having worked and recorded with him in 1965. Walter Lyons has utmost respect for traditional western swing guitar. In his soloing, the listener will often hear quotes from the genre’s repertoire. Walter has lived this music! In addition to Bob Wills, Lyons has recorded several times with Playboys II, Louise Rowe and others. At various music festivals he’s been teamed with steel guitar legends Herb Remington and Maurice Anderson.
When Walter joined the Texas Swingtet in 2014, it had been 45 years since our last gig together. That was in 1969 with fiddler Art Guinn’s band, again at the Aragon Ballroom in Dallas, Texas. Playing with Walter Lyons in the 21st century has been a most welcome and productive reunion.
Bassist Chris Clarke is from California and was not exposed to western swing in his early years. Fortunately, Chris has a natural affinity with the native Texas music, emphasizing “feel” rather than technique. His jazz credentials include having performed with Sarah Vaughn and Mel Torme. This was before I met the young bass player who was attending North Texas State University. Chris and I played in a jazz trio six nights a week at J.R.’s Place in Fort Worth from June 1980 until March 1981. We also recorded some wild and woolly free improvisation for my avant garde jazz LP “Creative Explosions”. Chris Clarke later toured and recorded as bassist with New Orleans trumpet icon Al Hirt. He can also be heard on Dave Zoller’s CD of original jazz compositions (“Snug Harbor”).
The talented Greg Hardy on drums and vocals, became a member of Tom Morrell’s Time-Warp Tophands in the mid 1990’s, beginning with volume five of the recording series that would eventually total 14 volumes. He is an essential core member of the Swingtet. Greg is also a frequently featured vocalist with Jack Allday’s Swing Shift and at Free Man Cajun Cafe in Dallas, the same venue where the Texas Swingtet has made numerous appearances.
In regard to this writer’s participation, the piano sound is captured in its natural splendor by engineer Patrick McGuire. I confess that everything about this album pleases my ear. When playing Texas Swing, I utilize elements in my solos and accompaniment that come from some individual stylists on stringed instruments whose music has influenced me deeply. Their expressive ideas, and the sonorities of steel guitar, inform the jazz basis of my playing to simulate on piano the beauty that has remained with me since those early impressionable years when music became my life.
I wish to acknowledge other artists who have performed with the Texas Swingtet on various engagements: Steve Story, violin & guitar; Johnny Cox, pedal steel guitar; Jerry Case, guitar; Reggie Reuffer, violin; Carolyn Martin, rhythm guitar & vocals; Dave Martin, Alex Camp and Mark Abbott, bass. The newest addition to our group in 2016 is Joan Cox on pedal steel. Bassist Louise Rowe and vocalist Dayna Wills have performed as special guests with the Texas Swingtet at Free Man Cajun Cafe in Deep Ellum, the historic Dallas sight where music is live.
This album is dedicated to my brother Jerry Case, 7-string guitarist extraordinaire, whose music is treasured by his peers and those listeners familiar with his unique artistry.
Special Thanks to Jack Allday, Ann Briggs-Cutaia, Kitty Case and Barbara Martin.
Johnny Case - 2016
Added notes: Veteran fiddler Billy McBay also became a regular member of the Texas Swingtet and Ginny Mac visited the Free Man Cajun Cafe and sang “Texas Blues” with us.
Entry No. 5
LAST NITES Johnny Case (solo piano recorded live at Sardines Ristorante Italiano) Priority Records CD-R PRSD-416
Here’s That Rainy Day 2. Don’t Take Your Love From Me 3. These Foolish Things 4. On the Sunny Side of the Street 5. East of the Sun 6. Makin’ Whoopee 7. Spring Can Really Hang You Up the Most 8. Body and Soul 9. The Veils 10. Old Folks 11. Blue Adieu
Recorded September 19, 2001 - one week and one day after the September 11 attack on the World Trade Center that would change American lives from that point onward.
“LAST NITES” is an ode to my musical home, my place of employment for over 18 years. In September 1983 I began working at Sardines Ristorante Italiano located on Camp Bowie Boulevard in Fort Worth’s Cultural District. The building itself dated back to the early 20th century and had overlooked a World War I military installation, known as Camp Bowie. Within this historic setting I played solo jazz piano on weeknights and had a jazz trio on weekends. Pianists who had played this gig before me were Al Malacara, Ken Boome and Kelly Durbin.
The demise of this original Sardines came about due to an unhealthy alliance determined to seize this prime location. The power block consisted of a state university (UNT), a billionaire businessman (Ed Bass), the rodeo association and the local media. Despite the protest of over 20,000 people who signed a “SAVE SARDINES” petition, the demolition coalition arrogantly ignored the will of the people. State laws were manipulated (the eminent domain clause buried deep inside an unrelated bill) to give UNT the legal right to destroy this soulful and historic building that housed a landmark restaurant and jazz venue (at 21 years, the longest running one in the Dallas-Fort Worth area.
After the official closing date became known, I decided to record some of my solo nights as a memento of the romantic ambience for which the dark, candlelit restaurant is cherished. Indeed, countless first dates, marriage proposals, and anniversary celebrations have occurred at this beloved late night cultural icon.
The relocation of Sardines will triumphantly continue the tradition of fine cuisine and quality music. I wanted, however, to pay tribute to the original restaurant. This album preserves (at its most mellow) the piano jazz heard consistently over the years and will serve to remind us of the unjust destruction of a Fort Worth institution.
Thanks to everyone associated with Sardines (owners, employees, faithful patrons) whose dedication, hard work, and unwavering support have been an inspiration. Special thanks to my wonderful wife Kitty, whose love and friendship are essential to my happiness.
Johnny Case - November 2001
TO BE CONTINUED.....