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In This Issue Vol II issue 1 Vol. II, issue 1 1 Photo / Bob Compton Where is Beat Street? There is a place in New Orleans, a figurative address that is home to all that is real. New Orleans Beat Street is the home of jazz. It is also the residence of funk and the blues; R&B and rock ‘n’ roll live here, too. When zydeco and Cajun music come to town, Beat Street is their local address. Beat Street has intersections all over town: from Uptown to Treme, from the Ninth Ward to the French Quarter, from Bywater to the Irish Channel, weaving its way through Mid-City and all points Back o’ Town. Beat Street is the Main Street in our musical village. It is where we gather to dine and to groove to live music in settings both upscale and downhome. Beat Street is where we meet to celebrate life in New Orleans with second line parades, festivals and concerts in the park. Beat Street is lined with music clubs, restaurants, art galleries, recording studios, clothing shops, coffee emporiums and so much more. New Orleans Beat Street is a mythical street in New Orleans surrounded by water and flooded with music. 2 NEW ORLEANS BEAT STREET MAGAZINE Vol. II, issue 1 3 Photo / Michael P. Smith In This Issue... Beat Street returns with a dual focus this month on the inimitable James Booker and the thirtieth anniversary of the Maple Leaf Bar. Eminent Booker scholars David Ku- nian, Tom McDermott and Josh Paxton weigh in on why Booker was so heavy. Robyn Loda then talks to a pair of Booker’s running partners; Jon Cleary about his first job in New Orleans; and light on the Leaf’s infamous Krewe of OAK.Karl Bremer interviews bassist Reggie Scanlan. Jerry Brock shares his memories of the Piano Prince and also investigates the history of the Maple Leaf. Spike Perkins examines the role that the Leaf has played in the develop- ment of local bands. Bob Compton gets the scoop from the first bandleader to play the venerable club. Broderick Webb delves into the Leaf in film and video. David Kunian brings to life the club’s poet laureate. Keith “Bass Drum Shorty” Frazier elucidates about recording with the Rebirth at the uptown club. Letter from the Publisher Welcome back to Beat Street Magazine! We have experi- enced some growing pains over the past several months that were partially alleviated by the creation of our sister magazine, FYI. Beat Street is now back and better than ever. This magazine will continue to be your source for detailed stories and commentary while FYI will function as your source for music listings and information on dining, theater, film and the other arts. Special thanks go out to the advertisers who stuck with us through this period. I also feel that it is important to let our readers and advertisers know that we have secured a financial partner who is committed to guaranteeing that we will continue to provide the best music coverage in the city of New Orleans. Our entrance into marketplace a year ago was marked by a rare commentary on local music media by the Times- Picayune’s Money section. At that time, despite alienating some members of the community with our sharp editorial tone, we firmly believed that “a rising tide lifts all ships”. We are proud to be the leaders in a new wave of publish- ing that has hit our fair city. Finally, in the immortal words of Bob French: “If you like what you are seeing, tell everybody (especially potential advertisers); if you don’t (and we sincerely doubt that), don’t tell nobody!” 4 NEW ORLEANS BEAT STREET MAGAZINE Vol. II, issue 1 5 contents Memories of James Carroll Booker III page 5 Jerry Brock On Stage, At Home & Always on Fire – Jack Cruz Remembers Booker page 15 Robyn Loda 8403 Willow Street New Orleans, La. 70118 Reggie Scanlan On James Booker page 18 504.314.0710 Information for Karl Bremer [email protected] James Booker Discography page 21 David Kunian Publisher LOVING Booker’s Peak page 24 Stephen Novak LIVING Tom McDermot in Editor Inside Booker’s Head page 26 New Orleans Joshua Paxton Jay Mazza Subscribe to FYI - $18 a year As the Leaf Turns Turns: Art Director 12 issues + special Jazz Fest issue The Beginnings of a Legend page 31 Andy Schulz Send a note with your check to Jerry Brock Subscription Department 8403 Willow Street, From the Maple Leaf to City Hall: Copy Editor New Orleans, LA 70118. Attorney Lee Madère page 34 Robyn Loda Remembers James Booker Robyn Loda Photo Editor The Maple Leaf: Bob Compton A Musical Saga page 37 Spike Perkins Writers Krewe of OAK Warren America Reveling is Not a Spectator Sport page 40 Karl Bremer Robyn Loda Jerry Brock He Was a Mess: Keith Frazier The Short Life of New Orleans Poet page 42 David Kunian Everette Maddox Robyn Loda Excerpts from a documentary Jay Mazza David Kunian Josh Paxton Andrew Hall’s Society Jazz Band page 46 Spike Perkins Story by Jay Mazza Interview by Bob Compton MP3 Confi dential: page 48 The No-Money Down Record Business Pro Tools, Café Press, and the Cover Art by Democratization of Access Mike Williamson Warren America The Leaf: Beat Street Logo by Home to Eccentrics page 50 Mike Williamson Jon Cleary’s Early Beginnings Robyn Loda Rebirth Live at the Leaf page 52 Keith Frazier 6 NEW ORLEANS BEAT STREET MAGAZINE Vol. II, issue 1 7 Memories of James Carroll Booker III By Jerry Brock “If you ever come to my house, knock upon my door, somebody’s gonna tell you baby not to ever come back no more. ’Cause I know. I think I know. Baby how you’re classifi ed and that ain’t no lie. I’m so glad that I know now—baby how you’re classifi ed. That ain’t no lie.” – “Classifi ed” by James Booker On November 8, 1983, at 3 PM, James Carroll Booker III was pro- nounced dead in a tragic mishap of negligence at Charity Hospital—the same place where he had come into life on December 17, 1939. Twenty years later the world has now grown to appreciate him for the musical genius he was. His presence, especially for piano players, hangs over this city like a huge wet rag with piano strings attached tightly to the heavens. Classifi ed, Booker’s fi nal LP and swan song, pretty much summed up his attitude toward people and life during the late 1970s and early ’80s This is the period during which I got to know him. He was an observer with acute perception. People were constantly ap- proaching him with ideas, opinions, praise or just attempting to get close to his genius. Even in intoxicated or paranoid states he could read some- one’s body language, listen to his or her words and decide if they were worth the bother. His fl amboyant and extravagant tastes didn’t mix well with his modest fi nances. It’s an understatement to say James was a complicated person. He was hyper-creative, yet his life resembled a double-edged sword. When it swung one way he was at his peak of artistry, but when it swung the other, he self-destructed. He was fi ercely independent, yet insecure, seeking comfort from others. John Coltrane said, “An artist experiences the highest highs and the lowest lows.” New Orleans’ bassist Ricard Alexis speaking about New Orleans’ piano genius Tony Jackson once said, “He was happy-go-lucky. He was a black, homosexual, alcoholic genius in New Orleans. What else could he be but happy-go-lucky?” These words reek of Booker. Almost everyone who knew him has a story. My fi rst encounter came at Tyler’s Beer Garden in early 1977. My brother and I went for beer and ten-cent oysters. We weren’t prepared for the lanky pianist who showed up to play. In three sets he combined compositions of Chopin, Tchaikowsky, Beethoven and Mozart with well-known blues. It was a hot summer 8 NEWEW ORLEANSRLEANS BEATEAT STREETTREET MAGAZINEAGAZINE Vol. II, issue 1 Photo / Michael P. Smith9 night and he referenced Midsum- mer Night’s Dream. His rhythmic riff on “Junco Partner” introduced a set and he used it to combine songs like movements in a concerto. At the end he said in his dry and overwrought voice, “I’ll be playing at Nietsche’s Vienna Garden [on] Thursday night.” This was the former Lu & Charlie’s on N. Rampart Street. Thursday night about a half dozen of us were there. Booker asked for requests from the audience but people just sat waiting to hear what he would play next. I called out, “Straight, No Chaser,” the Monk tune. He paused and said, “No, I’d rather have ‘One Scotch, One Bourbon and One Beer’.” He then proceeded to just kill the Amos Milburne song. The following Saturday he was at Tipitina’s and asked for requests. I threw out “Please Send Me Some- one to Love”. He played it and finished the set. I got up to go to the restroom, but he made a beeline and cut me off. “Who the hell do you think you are—William Colby, Jr.?”—refer- ring to the then junior head of the CIA. I had no comeback. I could Photo / Michael P. Smith only reply, “Just a fan.” made on The Tonight Show. He felt your stereo,” he said.
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