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Wavelength Midlo Center for New Orleans Studies

6-1983

Wavelength (June 1983)

Connie Atkinson University of New Orleans

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THE NEW LEADERSHIP DEVELOPING MUSIC IN NEW ORLEANS New Orlea A Symposium on Business Music of and the Division Orleans Music Department University of New Sponsored by the . and wavelength Magazine Continuing Education Education Berthelot, UNO Continuing . Moderator John music business program in the non-credit Coordinator/Instructor PROGRAM SCHEDULE Music Club , Talent Orleans Sonny Schneidau In A New . Panelists include: of To Get A Job Orleans club scene Bar. personal manager How on the New manager, Maple Leaf p.m.-panel discussion and booking 2 John Parsons, owner by James Booker. for the Manager. Tipitina's, of the new recording prcx:lucer/consultant of the prcx:lucers Harbor. associate ABBA. foundation James Booker. one manager of the Snug · Time, active with • music of One Mo in the French . Jason Patterson. the first public showing street music Classified prcx:lucer for proceedings to allow Christian. general Faubourg Jazz Club, Theatre and legal Take Studio. Cyndi . in the Park. Toulouse co-owner of First White Oak Prcx:lucllons and concerts booking and White. president, Monistere, independent Society. Ed Quarter. Steve Orleans Symphony / Riverboat President. Orpheum Theatre/New Steamboat Company manager. for New Orleans Inc.: talent ccrordinator , include: Bill Johnston Of Managementin New Orleans. Panelists and ccrowner of Importance music management Vanelli, originator 1118 discussion on association with Gino Bruce Spizer, former 3:1S p.m.-panel Brothers, former for the Radiators. for the Neville manager manager for Kidd personal manager . Bill Cat, personal Young, personal and The Warehouse law firm. Eduardo Quintet, agent • Beaver Prcx:luctions with Stone Pigman to Kent Jordan of the Cold, attorney Arts Ensemble, consultant manager the Improvisation for Tony Dagradi. and AI Fielder and McFerrin, consultant Jordan Bluiett, and Bobby for Sam Rivers. Hamiet former owner of Deal include: Pat Berry, Cosima Get A Record and video. Panelists video prcx:luction How To on recordings doing independent Dover Records, p.m.-panel discussion Wavelength, presently Studio, owner of 4:30 publisher of owner of Cosima Southern Landing and former founder and of Great , Leisure for J&M studio, John Berthelot. president Kevin Mclin recording engineer Music, Slidell. prcx:lucer since 1970. • Matassa, , currently with Jefferson , independent record Ellis Marsalis, Cliff Publishing Company engineer at WDSU. White , St. Expedite Distributing artist, television Record Company MCA recording and member of Windjammer. . prcx:lucer of Elm Record Company jazz artist, president

DETAILS 2 until6 p.m. , June 12 from 140. Sunday Orleans, Room 286-7110, Date: , University of New Education, Liberal Arts Building , call UNO Continuing Place: . For free registration No admission charge Registration: Friday. , Monday through arts. management 8-4:30 in the performing interested in careers especially those persons individuals. Open to the public, and all other interested prcx:luction, and any record and video ~~'RECORD RON HITS 40! % ISSUE NO. 32 • JUNE 1983 ~ Join the birthday celebration ~ "I'm not sure, but I'm almost positive, that all music came f rom New Orleans." /// June 7th /;8 Ernie K-Doe, 1979 Features Musical Excursions ...... 12 Sam McClain ...... 13 Ralston Crawford ...... 16 Columns June ...... 4 Bunny Matthews ...... 21 Caribbean ...... 23 Art ...... 25 Zek~peak ...... 27 Reviews ...... 29 Listings ...... 32 Cl~ij7eds ...... 36 Last Page ...... 38 THE OLD ... THE NEW ... THE UNUSUAL THE BEST SELECTION IN TOWN ~///////////~~~~ /////////// -/ 1129 Decatur St. ~ 524-9444 / / 'Qp~r(e~e'rY daY f1~7 ' 1% We b~y~s~If-b-a'd~ / ///////////// )/~/////////// ~nug J@!bl!':zzcw 621 FRENCHMEN • 949·0696 JUNE MUSIC SCH~E~D~U~L~E'--~~~-­ Cover photo by rico. Cover models, New ----suNDAYS-9 PM THURSDAYS -9 PM Orleans musicians Tracy Williams and THE PFISTER DAVID WYNNE Mason Ruffner. Special thanks to Amtrak. SISTERS SHOW

...... ,, Nauman S. Scott. Edllor, Connie Atkinson. Arl Dlftdor, FRIDAYS -11 PM SATURDAYS-11 PM Stip Bolen. F.dltorlal Aoalstut, Maraaret WilUams. Aaodato Editor, 3rd-G.RMAINE BAZZLE 4th-KENT JORDAN Joa Nowlin. Adwrdllll& Selos: Bill Petre, Lucy Lyons, Cathy llaldridao. GENTLEMEN OF JAZZ c..IM.... Altlola: Carolyn Hall, Kathloon Perry. Dlslrlbadoa: Joe a QUINTET TOiaiOil, Hampton Weiss. Omoladoa: Patti Hibbitts, Cathy Mitchell. 11th-RAMSEY McLEAN !J c..IMIOfl: Steve Alleman, Eddy Allman, Charles Blancq, Yorke 10111-EDUa Cootlil>, Jobn Desplas, :Z.ke FUbhead, Jon Foose, Steve Graves, Tad SOUNDS OF BRAZIL &THE LIFERS Joaa, Vifainia Levie, Jay Marvin, Rlc Olivier, Brad Palmer, Jack PII:Ua, Kalamu ya Salaam, Shepard Samuels, Gene Scaramuzzo, Ham­ 17th- HOT STRINGS 18tlt-IILLIS MARSAUS IIIODd Scott, Almost Slim, Keith Twitchell, Nancy Weldon. QUARTET ~ W....,th is published monthly In New Orleans. Telephone (504) 1195-2342. Mail subscriptions, address chanaes to Wavdentth, Box 24tb-BLU LU BARKER 25th-CALIENTE 15667, New Orleans La. 70175. Subscription rate, SIO per year. Foreip, WITH DANNY I J g) per year. F1111 clasuubscriptions, 526 per year (domestic& Canada). M> airmail rate at S40 per year (overseas). The entire contents of BARKER'S JAZZ W~Mlmtth are copyria.hted CH983 Wavdentth. HOUNDS llodt issues are available by writ ina to Back Issues, P .0 . Box I S667, Bar Opea Dally -4 Pill New Orleans, La. 7017S. Because of a limited supply, back issues are available for S4 each. Please allow a few weeks for processina and Restaurant Opea Weekdays 6 11111·12 am delivery of orders. Weekends til 2 am- Sundays Opea 11 am New subscribers: Please allow up to six weeks for receipt of first issue due to our small, non-computerized subscription department.

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WAVELENGTH/ JUNE 1983 3 ~ JUNE , ~ STI~KS AND STONES Those of you with pachyder­ (moribund, to him, but why mous memories might recall that should he miss it?) institution, in the November 1982 issue of the Jazz Festival; he told us that Musician Magazine, Brian the response to his article was Cullman wrote a scathing "Let­ unprecendented in Musician's ter From New Orleans" (see WL history, between 700 and 800 25 for details) castigating all of letters, most of them local and us roundly on our city and our irate. One local woman even music and also explaining in said she couldn't take anything the process that we locals were so he wrote seriously because his dumb that anything worthwhile band was all dressed as nurses musically that happened here and he beat them onstage. Not was sheer cosmic accident. true, but as Brian said, "an idea Recently, we talked to Brian worth thinking about." Who when he was in town for that says local creativity is dead? -J.N.

SNOOKS COOKS "Ya gotta keep movin' to get would like to remedy. As she ex­ the best pictures," camera­ plains: "We're working on a dangling Darrell is telling his record deal for a French label friend Bob, "See, ya go from and he's writing some new stage to stage, always movin', material that'll definitely be always shooting' , plus that 'a more New Orleans-sounding. way ya get to see the whole Jazz Snooks is one of the most power­ Fest, ya don't miss nobody." ful and original instrumentalists But as they enter the sunny am­ ever to come out of New bience of the Festival Tent to Orleans, but because of a lack Snooks Eaglin belting out of professional management he "Lipstick traces, on a ci-ga­ hasn't really received the ex­ rette," at 1:40 p.m. on May 1, posure he deserves. He's an Darrell turns to Bob and says American genius .. . there's just no with a smile, "Sit down cuz we one like him." ain't goin' nowhere." Eaglin gets fantastic dirty The combination of Snooks guitar tone by using a funky red Eaglin's wailing soulful voice Truetone electric, the kind you and lowdown electric guitar get from Western Auto, run tone, and Allen Toussaint's dis­ through a Fender Twin Reverb tinguished piano accompaniment amp, amply over-driven. When was enough to inspire a perfor­ he used to sit in with the Rhap­ mance of magical proportions at sodizers everybody else would this year's Jazz Fest-a historic have to turn up because Snooks set impossible to walk out on. would always want to play wide This wasn't the first meeting open. His popping-finger picking of the two R&B masters, style and stinging tone can bring however; the pair had a band tears to the ears of a blues fan called "the Flamingos" many hungry for the real lowdown southern nights ago. Eaglin also sound. worked regularly with Professor As if his playing and singing Longhair, both live and in the weren't enough, Snooks is just studio. as nice a fella as you'd ever Eaglin's musical reputation want to meet. Complimenting BOSS GUITAR has been built on his solid folk/ him after a gig, he'll put both Ever wonder what the mayor back and strum a tune on his ... blues guitar style and airy voice. hands on your shoulders face to of a large metropolitan city like his big stringed thing from Sene­ Unfortunately, his true vocal face and say in a smiling front­ New Orleans does to relax after gal that looks like a mutant power or formidable grasp of toothless grin: "When they ask a hard day of wrestling with ap­ guitar. Dutch was given this the New Orleans R&B style is me t'play, bra, they better be propriations and amendments, beauty on his trip to Africa, not fully displayed on his ready to stomp, 'cause I'll get irate NOPSI customers, or but, sorry, he doesn't take records. This is a situation that up there and tear the sumbit- enemies and friends of the zoo?. requests. local producer Allison Kaslow chin' house down!" -rico Mayor Ernest Moria! likes to sit -rico 4 WAVELENGTH/JUNE 1983 TAN fANARY GETS RECORD DEAL Johnny Adams, considered by Henry as arranger. The album is many to be New Orleans' finest to be produced by Scott Billing­ R&B crooner, has inked a one ton, who produced "Gate­ album pact with Rounder mouth" Brown's recent Grammy Records of Cambridge, Massa­ album, Alright Again. chusetts. Adams, now 51, first Adams hopes to return to cut­ recorded for the Ric label, hav­ ting more R&B oriented material ing a hit with the memorable "I as opposed to his recent forays Won't Cry" in 1959. Since then into the country and western he has recorded for nearly a songbooks. In signing the deal, dozen local and national labels. which also calls for a single to His biggest hits, "Release Me" be released locally, Adams hopes and "Reconsider Me," were na­ that the exposure afforded by tional hits for the SSS label in Rounder, one of the country's the late Sixties. major independent labels, will Rounder hopes to record the open other entertainment album this month, employing markets throughout the country either guitarist Walter and Europe. Washington or keyboardist Sam -Almost Slim Waka Waka is "a dance vocals and rhythm guitar, often band." Their brand of dance hitting the painfully high end of music comes from the ska/ a three-part harmony with Rome reggae school and they play it and Fontenot. His lyrics and properly: hard and driving, with even his personality lean toward plenty of heart. the political, with tongue Similarities to The Police, The embedded firmly in cheek: Specials, and umpteen other "Lots of our stuff is satirical British ska groups are obvious like 'U.S.A./U.S.S.R.' but we upon first hearing Waka Waka, try not to be too serious. If they but what keeps this band from drop a neutron bomb, it doesn't being just another cover act is a matter anyway, we'r.; gone!" hardheaded musical indifference Nick Marinello is a recent ad­ to trends, influences, and even dition on synthesizer and percus­ the structural formalities of ska, sion. His synth is usually pro­ their chosen genre. grammed to give a fluid under­ " I never studied any bass current of tone color to the jum­ lines," says Irish Channeller ping melodies. Often it will set Vernon Rome, "I just play what the mood for a song. feels right." Ditto for drummer The most lyrical element in Daemon Shea, whose stripped­ Waka Waka's sound is Mac down kit provides the essential Fontenot's guitar playing. Mac beat: "We three [Shea, Rome uses the steely tone of a Strata­ and guitarist Mac Fontenot] are caster with delay and chorus ef­ completely self-taught musicians. fects to punctuate his lead runs We wanna get up there and have economically and beautifully. fun with it.. .our objective is to "You Know Everything" is a ELIAANDMEG make people dance." It is hard perfect vehicle for his style with That's the ever-gracious first set, Ms. Ella gave them her to stand still with the upbeat its unusual rhythm chord pattern lady of scat, Ella Fitzgerald, opinion on the New Orleans drive of "The Jam Song" or changing in mid-song from ma­ fielding questions from local music scene: "I think it's "The Looney Boys" or a jors to minors. media probe Margaret Orr, at a beautiful that we have some scathing cut on nepotism entitled Waka Waka's goal is to move recent poolside press conference cities that still feature Jazz ... "Bob's Your Uncle," three people ... physically. Says four stories above the Fairmont it's part of American heritage!" from a set of about thirty songs Fontenot: "We've never had a Hotel's Blue Room, her latest Her favorite soaps? "I go from the band has written and arrang­ gig where nobody danced. We' d concert venue. Ryan's Hope to General Hospi­ ed in the past six months. just jump offstage and make IJ After the video crews got their tal, up to The Young and The Sal Canitella hails from Liver­ 'em dance, if we had to ... from whites balanced and their levels Restless." -rico pool, England, and provides now on we attack!" '-rico WAVELENGTH/JUNE 1983 5 he'd ever had on the road. Memories like that are beyond value, that's the best part of the business." Quite a variety of other national acts have played the club, including Asleep At The Wheel, Elvin Bishop, X, Levon Helm, the Psychedelic Furs and the Motels. On other occasions, such luminaries a~ Steven Stills and Rickie Lee Jones have dropped by to sit i.1. Of course, a steady flow of top local acts have crossed the stage, and Jimmy is especially grateful to these bands. "The Sheiks, the Nevilles, the Radia­ tors, and in the past, the Meters, the Cold, and of course, Professor Longhair," Jimmy counts them off. "I really thank all of them, and all the other bands too that have played." As the official fifth anniver­ MY'S sary celebration comes up (June AFIFTIIM 2, featuring Li'l Queenie and the AI Pellegrini's Pool Hall, on funds," laughs Jimmy. nally, on a Saturday night now. Skin Twins, the Renegades, and Willow Street, had been a run­ on Saturday, April 8, 1978, Li'l The first major act to play the a late set by the Sheiks), Jimmy down wino's paradise for years. Queenie and the Percolators club was the late Muddy looks back over the first five So when Jimmy Anselmo opened the club. Since then, Waters, and Jimmy has a years with obvious satisfaction. bought it in 1976 and an­ Jimmy's has expanded and pro­ definite soft spot for him. "His As the club has become nounced he was turning it into a spered, and entrenched itself as contract specified a home­ established, it has become easier live music club, people who one of the major uptown music cooked meal, so we cooked up to manage-"Right now my knew him said he was crazy. places. It's taken seven years bisque and a seafood gumbo place is like a well-tuned engine, It took almost two years to and about a hundred thousand and served it for him," recalls it runs real smooth," he says. get the place ready-"Lots of dollars, but you can bet AI Jimmy. "About nine months " I just have to keep it up and work to be done, lots of dreams Pellegrini's winos would be sur­ after that I saw him again, and keep providing good music." and ideas, and a shortage of prised if they were to show up he told me it was the best meal - Keith Twitchell

1983 BRUCE CARLETON

4 ST. MARKS PLACE 172 SPRING ST. NYC / 10003 NYC / 10012 PHONE: 777-1727 PHONE: 226-0590

CATALOGS AVAILABLE UPON REQUEST

6 WAVELENGTH/ JUNE 1983 NEWS FROM SHREVEPORT THE ROAD GANG JUTS THE ROAD SHREVEPORT-The Fritz there). Hump's brings in a lot of After more than a decade of station in 1971 . Douglas sees the recently closed, scattering The Texas blues (the Cold Cuts, Dr. all-night radio broadcasts on change as a definite advance­ Haircuts all over town. (Is there Rockit, et at.). In past seasons WWL, Charlie Douglas and his ment as his show will be syn­ a better image for identifying Humphree's has introduced peo­ "Road Gang" are headed for dicated to other stations the better New Wavers? In ple like Li'l Queenie and Bas the brighter lights of Nashville. throughout the country. S'port, the Haircut is It.) Clas to Shreveport audiences. But fear not truckers, you'll still Douglas' exclusive tenure at But Shreve Square, the mostly The ever-changing (rock, be able to hear Charlie via WWL will conclude later this restored turn of the century country, disco and back again) WWL late at night as Douglas month and WWL will pick up riverfront entertainment district Circle In The Square is currently will produce a nightly show for his program once he gets to still has five other rock clubs. rocking. The Sheiks were in last the Music Country Network, a Nashville. Traditionally a station Bill and Annie Griffin run month, and locals Lucky, The new Satellite radio service. that depends on locally produc­ their 300-seat club, Steamboat Kidz and an updated Southpaw A country music institution, ed shows, buying a significant Annie's, with the same love and are regulars. Douglas' show, which was block of satellite programming is zeal any passionate rockers Shreve Square has a couple of geared toward the night-driving a new step for WWL. would, excepting one item: new clubs: The lOth Floor trucker, was first broadcast on -Almost Slim they've survived in the business features hard and older rock, the 50,000-watt clear channel almost three years and are very and Clancy's is mellow. healthy. They've enabled all Notable away from the Square sorts of bands to touch base is the Rusty Nail, home to here, from the Sheiks to the Houston's droll, more ballsy Cold and Apt.B, from Son Seals than ever (with their new drum­ to Heyoka. They frequently in­ mer) Trout Fishing In America, stall bands at both ends of the and black-owned-'n' -operated club, resulting in non-stop Rock. Booker's, which features Dorsey Humphree's is the longest­ Summerfield's R&B unit playing lived rock club hereabouts and to well-mixed audiences. is A-Train's home (last month - Robert E. Trudeau they recorded their live album

IT'S SO SAriSFYING The vastly underrated New describe it as funky rock 'n' roll Orleans group Satisfaction has and high energy rhythm and recently returned from Austin blues," says group spokesman where they completed their first and guitarist Red Priest. "It's SON OF SPACE BASS album. Recorded at Cedar Creek all material that we do on our Two years ago a new electric Now the Steinberger Company Studios, the disc will feature all gigs." bass guitar hit the market that is producing a six-string electric original tunes written by the Satisfaction will embark on looked like something the house that boasts many of the same group. The nine-song record will another extensive tour this sum­ band on U.S.S. Enterprise features as their revolutionary be issued on the group's own mer which will take them as far would bring to an intergalactic bass. The instrument must be label and should be available away as Canada and the North­ jam session on a distant planet. laced with double ball-end later this month or early in July. eastern United States. So get Creative bassists like Sting of strings (available from LaBella The group will originally press yours fast because there'll likely The Police adopted the Steinber­ or Superwound) that allow for 1,000 albums which they hope be none left when they get back ger because of its comfortable, instant changing and maintain to sell primarily on their live in the fall. lightweight, superb playability, fine pitch control via the dates. "I guess you'd best -Almost Slim and micrometer tuning set-up. micrometer tuners. -rico WAVELENGTH/JUNE 1983 7 customed to 24-hour partying, it can be a ------~ traumatic experience to be in an out-of-town club, having a good ole time when sudden­ "--~- - -- ly: Last Call! And they mean it: it's impossi­ ~--- ble to buy anything to drink after a certain time-the bars close and the all-night conve­ nience stores won't sell it. And there you are, you and Tail-Gunner Teddy, eyes pop­ ping out of your skulls, wanting to party, party, party and not a drop of drink can you find. Here's the solution: buy your beer or whatever early in the day and keep it iced down in your hotel room. Oh-and don't forget your tape-deck! London By Jon Newlin Those of our readers (and we know who you are) who moon about on vast, unearn­ ed incomes might consider this: London in June-it may not be April in Paris, but you can't have everything. This musical junket (which can also include the usual historic pit­ stops at Southwark, the British Museum Reading Room, a spot of Dover Sole at Wheeler's, a few zooms through Hampton Court's maze and Sir John Soane's monu­ ment to eccentricity and Kenwood House ical Excursions and the Tate and the National Portrait Gal­ lery and the Courtauld, the watching of the Trooping of the Colors, a dip in the Serpen­ From cold beers in Chicago to hot jau in London, from punk piua tine and what have you) is for a definite parlors in Key West to a bourn~ game in Thibodaux, here's some date: June 20, when there's a big New Orleans dance at the Hammersmith Palais suggested musical pilgrimages (yes, we mention Graceland) complete with Kid Thomas Valentine and his Valen­ with information pertinent and otherwise on musical festivals and tine's-Massacre cronies-Louis Nelson on trombone, Emmanuel Paul on tenor sax, transportation. Jon Marks on piano, Sammy Rimington on clarinet, Frank Fields on bass, Stanley Williams on drums and the amazing Em- manuel Sayles on banjo. _ Sponsored by Footnote Magazine, the tickets to this five-hour bash, which Midwest By Zeke Fishhead represents Kid Thomas' "sole U.K. appear­ ance" as the ad claims, are a mere eight and If your journeys take you through the Western and St. Thomas, is the local blues one-half quid. Probably best to arrive Satur­ Mid-West, here are some clubs that offer joint. Lonnie Brooks and Mighty Joe day or Sunday, as whose leather-burning is good drink and good music. Young play here regularly. If you don't ride at its best when suffering from jet lag? Minneapolis: Moby Dick's, at 620 Hen­ up on a big, gleaming motorcycle, at least nepin, lies in the heart of the city's wear a Harley-Davidson T-shirt. The Bud­ downtown district. The sign above the door weiser is recommended: that's how cold it is. offers a "Whale of a Drink" and that's put­ Chicago: Biddy Mulligan's, 7644 N. ting it mildly-the drinks served here kick Sheraton Rd., three blocks from Evanston New York like a mean mule. The local clientele are on the North Side, offers righteous drinks some of the most colorful characters you'll and great blues music. Big Twist and the By Jon Newlin ever encounter. Friday nights are legendary. Mellow Fellows are famous for heating up Local musical favorites Willie and the Bees the fatback at Biddy's. Marcia Ball per­ It's a balmy-muggy June evening in perform on occasion (they comprised a large forms here when she's in the area. Manhattan and you're wandering around part of the backup on Bonnie Raitt's first­ Chicago: Fitzgerald's is in Berwyn at 6615 Astor Place, having already done sufficient and some say best-album). Moby's has Roosevelt. This is a great club with a warm gawking at Frieda's Disco (our favorite TV become a favorite out-of-town spawning for feeling. There's plenty of seating and a good lounge in little old New York) and browsed our own whale-of-a-band, the Radiators. variety of liquor and beer (even Anchor around the sidewalk flea market outside of Minneapolis: The Cabooze is located at Steam, my fave suds!). This is where Dan the Cooper Union, and suddenly you hear 917 Cedar Avenue. A big ceilinged bar with Ackroyd filmed a local TV show, Sweet something familar ... something that's more an adjacent game room, the crowd here, like Home Chicago, which featured the Windy mirliton than Manhattan, and suddenly the bands, features a mixed bag of nuevas, City's finest blues performers. Clifton you're not just bumming around the Lower hippies, Latinos and hillbillies-you name Chenier has played two-week stands here. East Side, you're back in New Orleans. it. Local rave-ups, Cats Under The Stars,say These people like to get down. Sheila, shoot Granted this sounds fantasticated, but this they enjoy their most stellar nights here. me some Tequila! is what is conjured up by the thought of the St. Paul: Wilbeski's, at the corner of Important note: For New Orleanians, ac- first (and hopefully annual) New 8 WAVELENGTH/JUNE 1983 Orleans/New York Jazz Festival, a cultural Vidacovich and Mike Pellera) and and otherwise, as the dozen or so mounted exchange program between new jazz artists Woodenhead who will be joined by Michael racks attest. Ask Herb to tell you about the from both cities, both of them great and not Urbaniak, an avant-garde jazz violinist. The ten-point he bagged during the Depression. coincidentally, jazz centers. next evening's performance will by by LAl makes a dogleg to the right at Lock­ The two evenings-June 3 and June Jasmine featuring Brazilian percussionist port, but you can go straight and park it at 4-are part of a series called "New Jazz At Nana Vasconcelos (formerly with Pat the Blue Moon for some local folk art. The Public," since the New York Shake­ Metheny's group) and Earl Turbinton's Covering the far wall is a naively exquisite speare/Public Theatre is the choice venue, Quartet, to be joined by bassman Buster mural depicting a naked, snake-draped siren right off Astor Place and usually bedecked Williams (actually, Earl and Buster have greeting the shrimp boats upon their return with banners. The Festival is partly spon­ played together before, and even recorded from another lonely, arduous harvest of the sored with N.E.A. grants, and is copro­ an album, Pinnacle, together for Muse sea. A true Cajun dream if there ever was duced by the New York Shakespeare Festi­ Records about three years ago). Some of the one! This joint may get a little rough some­ val and Musicians For Music, the local jazz local artists will make other use of their time times, so beware fledgling street fighters. artists' collective, responsible for much local while at large in New York-Earl Turbin­ In Galliano is Emmanuel J. Toup's recording and performing activity. ton may use some of his recent N.E.A. Jazz world-famous Hubba Hubba Bar, Cafe and Each evening's performance begins at 9 Artist Fellowship clout to give some prison Souvenir Shop. Mr. Toups was taken ill p.m. (by admission at the door, or in ad­ concerts, and Tony Dagradi will probably recently and no longer operates the shop, vance from the Theatre's box office at 545 record his next album. but he remains a character-his calling card Lafayette Street) and the gigs combine the Virtually all of the local performers ap­ features his smiling face with the inscription cream of local talent with important New pearing in New York have recorded, ''Do not worry, things will get better''­ York musicians as a musical x-factor-none Jasmine and Woodenhead on the Inner Ci­ and serves as the unofficial Cajun am­ of these musicians has ever played together ty label, based in New York, which also has bassador to the world, a heavy job. He's before so the results should be exciting to a hand in the production of the concerts; also recorded an album that remains politely say the least. many of the others have recorded through obscure. Covering the walls are photos, On June 3, the program features perfor­ Musicians For Music, including Turbinton, plaques, well-aged black velvet paintings, mance by the New Orleans Jazz All-Stars Masakowski and Ramsey McLean, whose caps, gold-leafed oysters and model car kits. (Ramsey McLean, Tony Dagradi, Steve album on the label will be released during Well, from here to Grand Isle, there's a lot Masakowski, Jim Singleton, Johnny the warm months. of marsh, game and fish and not much else save the occasional silver-painted natural gas location of the Tabby catfood factory (hold your nose). Grand Isle offers some moder­ ately relaxing beaches, if you don't mind clearing off your own bottles, cans and fish Bayou Lafourche heads to find a spot. Bring some crab lines and chicken scraps in case the crabs are run­ ning and don't forget the suntan lotion. By Rico Turn that butterscotch '56 Impala around In the heart of South Central Louisiana, rors in the back. Across the street is the Red and navigate northward back up toTe-Lee's running from Donaldsonville to near Grand Goose for world-class card players. Neo­ in Raceland for the big Saturday night dance Isle, is a magnificently muddy tributary of phytes be forewarned: these guys throw if you consider yourself an "adult." A few the Mississippi called Bayou Lafourche. down cards at lightning speed and if you get years ago, there was a hot little sextet call­ The music scene along the bayou is some­ "bourre'd" you can lose a bundle in a ed "Cotton and the Boll Weevils" that used what anemic at best (modern favorites run hurry. If you're 18 to 25 and drive a shiny to rock the foil-covered walls of this joint, the gamut from over-modulators like Rush black Trans-Am or Z28 with headers and but now the house band is "Shine Folse and and AC/DC to peppy Lawrence Welk for skull-shattering sound system you may want the Country Ramblers," who play a the younger and older generations, respec­ to shake your booty to the numbing, heavy smoothed-out set just right for the rural fox tively) but an afternoon drive southward still metal throb of local rockers like Tyrant or trotter. On your way out don't forget to holds a wealth of unusual surprises for the Maxwell Stone at the Iron Horse, a favorite genuflect at the painting of Huey P. intrepid cultural investigator. watering hole for young blue collars and Bon voyage. Begin your journey at the First and Last bayou preppies alike. Bring earplugs. Chance in Donaldsonville, whose curb­ Back on LAl southward pull over at Nel­ service parking lot (blow twice) has made son's, site of the World Championship it the kingpin hangout for several genera­ Duck Calling Contest. Occasionally, they'll tions of local teens. Great cheeseburgers and throw a dance here (ever see a two-piece Key West cold beer compliment the slightly remodel­ dance band?) and if you need some shallots, ed Fifties decor. turnips, carrots or cold beer you're in the By Bunny Matthews Head South along the bayou on LAl and right place. Time takes on new meaning here remember that they'll put you in jail now at Nelson's with an electric clock that runs In Key West, there is an Italian restaurant for a D.W.I. Near Thibodaux is the O.J. backwards and a boat landing adjacent to called Bubbles on Duval Street, across from Mire General Store with a neat bar to the the bar. one of the world's smallest movie theatres. rear complete with an overhead model train When you hit Raceland hang a right at Bubbles is staffed by young Italian (Itali­ set, just the thing for these boring summer the first traffic light to experience T.B.'s an-Italian, and not American-Italian) punks afternoons. Seafood House. Dynamite "purist" craw­ and furnished with chairs, tables and stools Thibodaux is a cozy college town that fish (boiled only) and the most staggering of odd geometric shapes, painted in pastel sports two authentic Cajun bars next door collection of stuffed animals in the area. colors. Spaghetti and pizza are served to the to one another: Rox's and Rene's. Rox's Bobcats, armadilloes, muskrats, a mink, a accompaniment of hardcore music and had to be rebuilt in '75 due to fire and the mole, a shrew, a giant loggerhead turtle, and beware to the meek and mild: One sunburnt cinder block decor is dull, to say the least, even a penguin! There's also a real nice All-American couple, complaining about but the manager, Doodie Bernard, surely shuffleboard game for the more cosmopol­ the stereo's velocity (the Clash's "Combat isn't. Doodie will treat you like a neighbor itan in your party. Rock" was being played) were given the even if you're from Cleveland, and he's full The other exciting thing about Raceland malocchio ("evil eye") by the waitress and of great stories. Look for his "Entrez, Mes is Te-Lee's "Adult Dance" every Saturday told that that establishment was closed for Amis" sign above the door. Rene's has a night, but continue southward and save the the evening. a 125-year-old mahogany bar with working steppin' for later in the night. Just south of Down the street in one direction is Slop­ neon atop, and a nice collection of old mir- town is The Hut, a favorite of hunters, deer PY Joe's, where Ernest Hemingway once WAVELENGTH/ JUNE 1983 9 drank (his Key West home, now a museum, The music scene roughly resembles the DAVID CRAWFORD is nearby) and in the other are such attrac­ fare offered on Bourbon Street, less the Dix­ Has released his long-awaited first single tions as an army/ navy store retailing olive ieland jazz. The smart traveler will pack his drab tee-shirts «mblazoned with "Search own cassettes unless, of course, cover ver­ 'Cement City' b/w 'Hard Times' and Destroy'' in blood-trickled letters and sions of obscure Arlo Guthrie songs evoke the take-out chili parlor of the amiable fond memories. The Sands, where Euro­ featuring lead guitarist extraordinare Mr. Jennings, who remembers when pean and other brave women sunbathe top­ David Foreman Miami-160 miles away on Highway 1- less while quartets of Greenwich Villagers was "really classy." bemoan the A.l.D.S. epidemic as they DAVID CRAWFORD "CEMENT CITY" "IWIOTIMES" Nearer is Cuba, precisely 90 miles away breakfast on western omelettes, featured from two or three Key West motels all Gregg Allman last New Year's Eve. Bobby claiming to be "The Southernmost Motel in Marchan, in the right bikini, would make the Continental United States" and a sole a fortune here. pharmacy claiming the title of "Southern­ There are public beaches-none the equal most Drugstore in the Continental United of Destin-and a rather exclusive area near States." Fallen coconuts and carob pods, the Marriott (a handsome Marriott, as op­ the detritus of the tropics, lie in the gutters. posed to the blight on Canal Street) that Move every Uptown New Orleans Vic­ caters to brawny men with crewcuts and un­ torian house to a skinny Caribbean island, leashed Dobermans. Unable to determine give them all roofs of tin and populate the the spot's actual name, we usually referred dominion with 30,000 gay men, a dozen les­ to it as Nazi Beach. on sale at bian couples, a tribe of Pre-Raphaelite un­ Charter boats will transport scuba-divers wed teenage hippie mothers, Calvin Klein to the realm of barracudas and jewfish, and Harvest Records-Lake Charles and Junkanoo gangs, not unlike the Indian El Patio Motel, 90 miles and three blocks Leisure Landing-Baton Rouge gangs of the Sixth, Ninth and Thirteenth away from Cuba, has plastic pelicans in the & New Orleans Wards. With the addition of cosmic cyclist swimming pool. The loveliest of Key West Love 22 (who, while in New Orleans, was motels, the Hibiscus, strings Christmas tree ordered to burn his infamous 22-dollar bills lights in its palm trees and labels every plant DAVID CRAWFORD by the Treasury Department) cruising the in its garden for the benefit of wayward streets and cacti as tall as the Lee Circle botanists. Several of the Hibiscus' AND PHASE 1WO monument towering over the homesteads specimens, unseen elsewhere in the Sunshine New Orleans Debut and you've got Key West. State, recall the lost era of the pterodactyl. Tupelo's Tavern July 9th

Memphis By Bunny Matthews As the Memphis Press-Scimitar announc­ opened to the public last June and im­ ed on March 26, 1957: mediately became the prime tourist attrac­ "Elvis Presley, the boy with the golden tion in Memphis. Graceland is open seven voice, and his parents, Mr. and Mrs. Ver­ days a week (closed Thanksgiving, non Presley, were to be the new owners of Christmas and New Year's Day) and visitors one of Memphis' most graciously beautiful are afforded the rare opportunity to see homes today. It marked the long upward the King's Living Room; the Music Room FOR BOOKING INFORMATION climb of a young man who sang his way in­ (with its gold-leafed piano); the TV Room CALL (504) 897-3986 to the hearts of a nation's young people." (RCA supplied Elvis with three identical The home, called Graceland and built in sets); the Pool Room (billiards, that is); the 111111111111111111111111111111 1939 by Dr. Thomas D. Moore, was first Jungle Room (furnished in an "African

10 WAVELENGTH/JUNE 1983 style"); the Carport (among the cars are his mion), and along with 100 festooned­ mother's 1955 pink Fleetwood and the pink bedecked-bedizened vehicles, the Wild Jeep Elvis drove in Fun In Acapulco); the Magnolias and drill units, marching bands THE Trophy Room (gold records, a framed let­ and dancing Choctaw Indians. PACKARD THEATER ter from FBI Director J. Edgar Hoover, There are two concerts, each at the Enter­ DISCO AND NIGHTCLUB tainment Center Amphitheatre, and a mere Elvis scrapbooks sent by fans from around Presents the world); and the Meditation Garden, $10 at the gate-June 3 from 5 p.m., with where contemplative pilgrims can view the Cadillac Shortie and his Revue, Denise graves of Elvis' mother, Gladys Love (Breakin' Up Somebody's Home) La Salle, Presley; Elvis' father, Vernon Elvis Presley; Little (And The Mona Lisa Was A Man) Elvis' grandmother, Minnie Mae Presley; Milton, Dr. John, and Tyrone (Turn Back and the King himself, Elvis Aaron Presley. The Hands Of Time). Davis; June 4 at 5 In the TV room are Elvis' record albums. p.m., again, with Austin Gary and his Shack According to Kenneth Brixey, Graceland's Full Of Blues Band, Bobby Rush, Gregg operations manager: "Elvis didn't have a Allman and the Allman Brothers Band, gigantic record collection-maybe 125 Bobby "Blue" Bland and B.B. King. records. I've gone through Elvis' record col­ The way to go to Jackson, obviously, is lection many times and I would say that on the train; Amtrak, with daily service, is there are probably 701Jfo country records and $63 per round trip and you need not book 150Jo each of blues and gospel. That was all ahead or chew your cuticles away at the last he would listen to. He didn't listen to any minute fearing over-booking. MIGHTY SAM McCLAIN of his own records and he didn't have any with of them out. I guess he was tired of them. The Brownsville Blues Band " He liked a lot of the gospel quartets. He Featuring had some Eddy Arnold records, some Hank KERRY BROWN Snow records, Roy Acuff records-mostly FRIDAYS - at 11 til early country musicians. About the only SATURDAYS - at 8 til contemporaries of his that I remember are his Charlie Rich records and he had B.B. Festivals DISCO King records. Elvis loved B. B. King, loved WEDNESDAY & THURSDAY- 8 til him personally. They were good friends." Kerrville Folk Festival Part of the inscription on Elvis' June 3-5, Kerrville, Texas. Information Club Room available to rent headstone, as composed by his father, reads: at (512) 896-3800. $7 per day; Ramblin' for parties, dances and social functions. "He revolutionized the field of music and Jack Elliott, Rosalie Sorrels, Michael Mur­ 1309 S. Rampart received its highest awards. He became a liv­ phey, Charles John Quarto, Marcia Ball. 523·7585 523-2164 ing legend in his own time, earning the U.S. Country Music Festival Adequate Secured Parking Available respect and love of millions. God saw that June 4, San Bernardino, California. In­ he needed some rest and called him home formation at PO Box 300, Phoenix, AZ to be with him. We miss you son... " 85001, or 800-222-0533. Tickets about $20; Willie Nelson, Emmylou Harris, Waylon Jennings, Alabama, Ricky Skaggs, etc. Poplar Creek Music Festival PACER/ . June 4- Sept.lO, Hoffman Estates, Il­ /electroniCS linois. Information at 312-426-1200. Vary­ Jackson,Miss. ing ticket prices; in June: Beach Boys, Mol­ ly Hatchet, Shirley Bassey, Hall & Oates, Waylon Jennings, Barry Manilow, By Jon Newlin Chicago, etc. FACTORY AUTHORIZED Scott Joplin Ragtime Festival What manner of event, outside of an June 9-11, Sedalia, Missouri. Informa­ SERVICE CENTER opium dream perhaps, brings together tion from PO Box 1625, Sedalia MO James Baldwin, Dr. John, Denise LaSalle, 65301, or 816-826-2271. $5 to $7 per con­ the Reverend Jesse Jackson, Gregg Allman, cert; Ian Whitcomb, Max Morath, Waldo's Ben Hooks and B.B. King? The 1983 Ragtime Orchestra, David · Thomas Medgar Evers/ Mississippi Homecoming in Roberts, etc. Jackson, June 3 through 5, that's what. Bill Monroe's Bluegrass Festival Honoring the slain (some might even say June 10-19, Bean Blossom, Indiana. Synthesizers Amplifiers "martyred") civil rights activist Medgar Information from 3819 Dickerson Rd., Evers, the event combines commemoration Nashville TN 37203, or 615-866-3333. and celebration with speeches and addresses, Playboy Jazz Festival a gospel service (Sunday at 8) with the Rev. June 18 and 19, Los Angeles, Califor­ I@:W.S,M . SG® Jackson in the pulpit and several groups, as nia. Information from 8460 Sunset Blvd. , Amplifiers Amps. yet unspecified, an interesting symposium Los Angeles CA 90069. Tickets $7 to $30 on the topic "Black Americans and the Rea­ per day; Count Basie, Spyro Gyra, VSOP gan Administration: An Update" (June 4 (with 2 Marsalises), the Crusaders, Benny at 10 p.m.) with various figures from Carter, Hubert Laws, the Modern Jazz government and business on the panel, a Quartet, etc. Sound Modifiers Accordions festival of poetic and dramatic readings Summerfest '83 (June 3 at 11 a.m.) in which James Baldwin June 30-July 10, Milwaukee, Wiscon­ is probably the most renowned participant, sin. Information from 200 N. Harbor along with poet Margaret Walker Alexander Drive, Milwaukee, WI 53202, or 2302 MARENGO NEW ORLEANS and poet/ lecturer Robert Earl Jones, father 414-273-2680. Tickets $4 and $5 per day; of James Earl, and a grand parade (June 5 Kool and the Gang, Rick Springfield, Don­ 504·899-8922 at 5 p.m.) with B. B. King and Gregg Allman na Summer, Hall & Oates, Eric Clapton, as Co-Marshals (eat your hearts out, Endy- Linda Ronstadt, etc.

WAVELENGTH/ JUNE 1983 11 • • • •

YES1 ente' my sobsc,iptioo to WAVE LENGTH, New o,reen. M"''' Meg.,loe, et the speo

0 $10 one'"' ($20 1o,eigo) 0 $18 two ye"' ($28 to,eigo) 0 $25 lh'ee yee" ($35 to,e~o) 0 'eoewel 0 peymeot eootosed oh"ge to ' 0 Moste'Ce'd 0 VISA . name .i address city CiTI'TITllllllllJ stare zrp exp1ra11on dare Phone s~gnarure allow 4-6 weeks for your 1st copy to arrrve the cotton field or washing dishes, I was singing the blues-as long as my mother wasn't around!" During grade school Sam befriended fellow singer Robert Green, later to become Little Sonny Green, who went on to sing with Little Melvin (guitarist Melvin Under­ wood), then the premier R&B group in Monroe. After dropping out of school after the eighth grade, Sam picked cotton around Monroe until Green introduced Sam to Melvin who offered him a job valeting. "Totin' instruments," he laughs. Eventually Sam talked his way into sing­ ing backup vocals when Melvin's band worked some dates with Larry Birdsong, a singer who had a string of minor R&B hits during the late Fifties. Melvin was quick to note Sam's booming voice and took advan­ tage of it when Green quit the group. "We worked all around Mississippi and Louisi­ ana," says Sam. "We were doing all that old blues stuff-'Woke Up This Morning,' 'Doggin' Around.' We were staying alive; some days you made it, some days you didn't. But it was fun; that was the way things were in those days." Sam adopted the moniker "Good Rock­ in' Sam" while working with Little Melvin's group. Together they played many of the night spots around Monroe like Willie T's, often hitting the road for other dates in black juke joints in Mississippi and Louisi­ ana. Sam recalls Little Melvin cutting only one record, "The Wobble,'' a "Green Oni­ ons"-type instrumental, that garnered a little airplay in Monroe around 1960. Good Rockin' Sam stayed on with Little Melvin's unit until 1963, until the group came to Pensacola. "I came for two days and ended up staying ten years," shrugs Sam. "I met a group when I got there that was very interested in me singing with 'em called the Dothan Sextet. They were popular all around Georgia, Florida and Mississip­ pi, playing in behind Otis Redding. Melvin Sam McClain was gettin' ready to go to Wisconsin and I didn't wanna go, so the band offered me a After nearly a decade of musical inactivity, a strange quirk of fate job singing with them, plus I met a lady I kinda liked. Melvin went to Wisconsin and has brought one of America's toughest R&B singers to New Orleans I stayed." where he's rejuvenating his career. Sam and the Dothan Sextet continued to gig throughout the Gulf-South and worked uring the late Sixties, Mighty Sam ped out of music altogether, despite his vast steadily on the military bases around Pensa­ recorded an obscure cluster of well­ potential. After nearly a decade of musical cola. After three years, with things not crafted, compact country-soul inactivity, a strange quirk of fate has working out with the Sextet, Sam heard D America's toughest R&B about a group in Mobile called the Rounders tunes at the legendary Muscle Shoals Ala­ brought one of bama Studio-emotion-laced tunes that told singers to New Orleans where he's rejuven­ so, as Sam tells it, he "went over and got stories of unrequited love, concupiscent rela­ ating his once promising career. 'em." tionships and two-timing women. Mighty Sam McClain (let's forget the Mighty for It was while playing with the Rounders Sam sang with a frenetic intensity that bridg­ now) was born on April 15, 1943, in the that the colorful "Mighty" tag was adopted. ed the gap between raw city blues shouters North Louisiana town of Monroe. One of According to Sam, a club owner confused like Bobby "Blue" Bland and Roy "Good twelve children, Sam was partially raised by his name and put "Mighty Sam" in an Rockin' " Brown, and the sweeter, more his grandmother in nearby Winnsboro, advertisement instead of "Good Rockin. " sophisticated uptempo soul singers like Louisiana. Both towns were basically quite "The band was joking about it and they kin­ Wilson Pickett and Otis Redding (who both rural communities, but still echoed the da liked it, so we just let it roll." employed the Muscle Shoals Studio at one sounds of downhome music. His mother Mighty Sam and the Rounders soon time). A sadly underrated singer, Mighty started a small gospel singing group, giving became one of the area's most popular Sam managed a few mild hits (his biggest Sam his first taste of singing at the age of groups and became a regular attraction at being his chilling version of Don Gibson's 5. Inevitably, Sam's interest in blues sur­ the 506 Club, then Pensacola's jumpingest "Sweet Dreams") out of his eleven single faced while in grade school. "My momma spot. releases. But after becoming disenchanted was totally against it; I used to get run out While at the 506 Club in the summer of with the record business and his status as a the house for singing the blues," he recalls. 1966, Papa Don Schroeder, a Pensacola "minor league" artist, Mighty Sam drop- "But every chance I got, whether it was in promoter-producer who also had an R&B WAVELENGTH/JUNE 1983 13 show on WSBR, approached Sam in the famed Apollo Theatre, the mecca for black the late Seventies he was forced to pick up club one night about making a record. Sam entertainment for over two decades. day work, painting, washing dishes and even was all for it until the owner of the 506 Club Amy followed "Sweet Dreams" with a working for a portable toilet company, told him if he left he'd be fired because the steamrolling version of "Fannie Mae," while gigging occasionally at clubs like Kan­ 506 would be stuck without a singer for the which everyone would have expected to trell's and the Roadway Inn. "There really weekend. "I didn't know how to handle it," throw him over the hump. But according to isn't a lot of music in Nashville that's not says Sam. "Don sat out there in his jeep all Sam, "it didn't do too much. It got a few country and western. I was trying to go night 'cause the girl I was living with told picks but not too much else happened." more for the white market with my singing him I was gone. I wasn't; I just couldn't de­ Strangely, Mighty Sam couldn't get because during the Seventies, a lot of black cide. I didn't want to turn that job loose. another record to catch the public's atten­ people thought the blues was something But come daylight I went outside and said, tion, even though people like James Carr, terrible bad. That's when I realized that it 'Come on, Don, let's go.' So we went on Etta James, Candi Staton, Clarence Carter, was the white people keeping the blues up to Muscle Shoals." Percy Sledge, Jimmy Hughes and Wilson alive." Papa Don intended Sam to cut a song he Pickett all regularly cranked hits out of After eight years, things soured in was high on, "Georgia Pine," but engineer Muscle Shoals. Without a doubt, all eight Nashville. Sam's marriage broke up and in Dan Penn introduced them to a country of Mighty Sam's singles must be considered his own words he "had no more doors left song called "Sweet Dreams." Apart from classic examples of late Sixties R&B. to knock on." He decided to go home to being one of the best records to come out Specifically his versions of "When She Monroe in the fall of 1982, "to try and get of the famous studio, it typified the Muscle Touches Me," "Talk To Me," "Badmou­ it together.'' Shoals sound that dominated the national thin' "and "1 Who Have Nothing" stand Thing in Monroe didn't work out either soul charts of the late Sixties: black "back­ up to many of the other R&B luminaries of and on October 14, 1982. He found himself a-town" vocals backed by the distinct coun- the era. completely broke and in New Orleans. "It was rough at first," he says. "I had to sleep out of doors the first couple of nights I was Conceived here.'' Remembering the 544 Club, Sam even­ in in in tually talked his way into singing a few Pensacola, Florence, Nashville, numbers at the 544 with Mason Ruffner and Florida Ala. Tenn. the Blues Rockers. Kerry Brown, who was working as the Blues Rockers' interim drummer, was immediately impressed by Sam's singing, and the two "started talk­ ing," according to Sam. "I got a job washing dishes but Kerry called after three days and said he had some guys who wanted to start a band so let's get it together. He told me to forget about working a day gig and just worry about music. 'As long as I eat, you eat. Let's make this thing happen.' So that's what we've been doing.'' It started slowly, but Sam and Browns­ ville managed to play a number of New Orleans' smaller night spots regularly in try rhythm"section of clipped guitar, struc­ "I really think promotion was bad on clubs as varied as Luigi's and the Colt 45 tured gospel piano and that instantly me," explains Sam. "I think 'Sweet on Basin Street. The six-piece group recognizable spare bass and drums. Dreams' made it by itself. I didn't get no primarily plays popular blues and soul "After the session, somebody pulled out really good promotion." Part of the pro­ material and has encountered enthusiastic a Cashbox and showed me 'Sweet Dreams' blem was that Papa Don was experiencing response everywhere they play. had just been released by Tommy McClain massive commercial success with two other Through Brown, Sam was introduced to [note both singers have the same last name acts, James and Bobby Purify and Oscar Carlo Ditta, who signed Sam to a produc­ and both are from Louisiana!]. I thought Toney, Jr., both of whom Sam introduced tion contract which calls for an album hell, nobody's gonna want this." to Schroeder. Sam's hard-edged blues ap­ within the next year. One tune has been cut, Nevertheless, Papa Don and Sam took proach just wasn't as marketable as James an A.J. Loria tune called "Pray,'' and Dit­ the tape up to Nashville and went to P.R. and Bobby's "I'm Your Puppet" or ta is presently in New York trying to interest man Buzz Cason, who told them that Toney's "For Your Precious Love," and he Arista in it and reissuing their Amy masters Amy/Bell's Larry Utah was just getting in­ was ignored. of Sam's Muscle Shoals material. to town. The duo played the demo for Utah Despite the lack of commercial success, Although Sam admits his strength is sing­ who immediately went for it. Sam could find no fault in the "Rick Hall ing blues, his new material leans more "Larry took it back to New York and it sound" that typifies his releases. "Those toward the contemporary mainstream. "But was out in two weeks," says Sam, still with were all live sessions," explains Sam, it's good material," he contends, "I'm real a trace of surprise. ''A week later he called "although sometimes they overdubbed pleased with it. Hopefully, one of the big and said, 'You're gonna have to get some background vocals. When I cut those companies will offer us a deal and do it clothes because the record's starting to hit records I was the blackest thing in the right. I've just got to keep on trying, I've in some areas and you're gonna have to go room," he laughs. "Jimmy Johnson, Roger got no other alternative." on the road.' It happened real quick." Hawkins, Barry Beckett-it was those Although he's still paying dues, Sam is The impact of Sam's version was soften­ pickers and that studio that made that still elated by the acceptance he's received ed by Tommy McCain who had a giant pop sound.'' around New Orleans. "It's real gratifying hit with "Sweet Dreams" in 1966. "It went The year 1975 saw Sam move on to Nash­ that people haven't forgotten me. I was real 39 in R&B [referring to the national soul ville, to "be closer to the business. That's surprised.'' charts]. It got a lot of play in New York, when I really got serious about my writing. Overdue for a break, Sam and Browns­ Chattanooga, Florida, Dallas.'' I wasn't doing no gigging. My wife said, ville have a regular Sunday evening gig at However, Sam was able to hit the road 'Don't worry about nothing,' and she went the Packard Theatre and play other isolated working dates in various cities with house out and worked for two years while I tried nightspots in town. His voice is still as bands in clubs and theatres. He also had the to pursue the business.'' "mighty" as his records indicated fifteen distinction of being top billed at Harlem's Sam had no luck placing material, so by years ago. Check him out. •

14 WAVELENGTH/JUNE 1983 hentic AI Ferrier If AI Ferrier wasn't in the delivery room when rockabilly was being born, he was damn sure pacing the halls.

n a heavy North Louisiana drawl, Al did, little concert deals. A Iotta stuff pass­ weeks, Aland co-writer Walter Van Hook , Ferrier defines rockabilly music as "a ed me by that I coulda really caught on to, had an album's worth of material ready for country voice with a fast beat to it, but I was a little bull-headed then, you production with his old friend in Lake 's what it is." With the help of Eddie Shu­ know; I thought I was gonna do it all by my­ Charles, Eddie Shuler. ler, Ferrier recorded " No No Baby" for self." Remember that few fledgling singers Recording has always been something of Shuler's Goldband label in 1954. While not had managers at this time (Colonel Tom had a family affair for Ferrier; his early singles as polished instrumentally or technically as just latched on to Elvis and sealed that deal) feature chunky, rhythmic work from its rival, " That's Alright Mama," record­ and being short on business smarts caused brother Warren Ferrier, and straight-ahead ed by Elvis Presley on the Sun label, the the downfall of many talented performers. electric guitar from the late Byron Ferrier. record has a Cajun-influenced rawness and As rockabilly gave way to rock 'n' roll The new session tapes display that same undeniable authenticity that secure it as a and other modem pop sounds in !}le Sixties, familial unity withAl's nephew Wesley Fer­ classic in rockabilly history. Ferrier and his wife Pat opened a fish mar­ rier on guitar, seventeen-year old Wesley Jr. The next couple of years saw Ferrier ket outside of Natchitoches, and his reper­ on drums, and Warren on the trademark developing his style further with more up­ toire shifted from rockabilly to country. Oc­ fiddle. The most surprising element of the beat Goldband singles like "It's Too Late casional country releases on Goldband. new recordings, however, is the confidence Now" and "My Baby Done Gone Away." gained him local and regional airplay, but and strength in Al's vocals. In a throaty "Honey Baby" and "Let's Go Boppin' Al's obscurity only seemed to increase with whine reminiscent of Carl Perkins, Ferrier Tonight" both contain rock style stop-time the passing years. He eventually sold the fish sings about "rock-boppin' pretty baby's and beats and an urgency in the vocals that give market and now lives in a small roadside honey mama's" with a genuine redneck the songs an irresistible rural rocking punch. home in the beautiful pine woods north of twang. You won't fmd a hint of andro­ If Al Ferrier wasn't in the delivery room Natchitoches. Adjacent to the house is a lit­ gynous British inflection in this voice; no sir, when rockabilly was being born, he was tle bait stand with crickets, shiners, worms, this is what the man means about a " coun­ damn sure pacing the halls. an assortment of dry goods, even "Gold­ try voice." Then how come we don't see any sequin­ band" brand transmission fluid! If the so-called "rockabilly rebellion" studded "AI Ferrier Impersonators" work­ Around January 1983, Ferrier received a continues to gain strength stateside as it has ing the southern circuit from Atlantic City call from the legendary "Ding Dong" of in Europe in the past decade, Ferrier could to Las Vegas? Or perhaps Al greased-up and Charly Records, a British label that has leas­ have a very successful album already in the immortalized by Avedon for the cover of ed most of Al's early sessions for re-issue. can. But no matter what the Charly LPs do Rolling Stone like his musical progeny the "Ding Dong" was in the market for some in sales, you'll probably still be able to fmd Stray Cats? "I went into night clubs, which new rockabilly sides for European distri­ Al Ferrier selling crickets from his bait stand was the biggest mistake of my life," Al ex­ bution. "I made him a price," Al says con­ near Black Lake, keeping it simple, just like plains. "I shoulda went to fairs like Elvis tentedly, " and he jumped on it." In three in '54. • WAVELENGTH/JUNE 1983 15 alston Crawford's pictures of New Orleans musicians, churches and their members, street parades and advertising signs, night clubs and tomb­ R stones give us what was once a secret (like Brassai's Parisian pictures of brothels, apaches and prostitutes), glamorous, ebullient and only retroactively elegiac portrait of a New Orleans most of us never saw. A Precisionist painter (along with other members of the movement, Stuart Davis and Milton Avery, interested in a reduction toward essential details, a paring down, the use of the eye as a fragmented zoom lens) Crawford steers away from the abstract in most of his photos, certainly in his most memorable ones (arty shots of angled signs, bedecked graves, funereal feet carrying a casket are isolated examples in more than one sense of the word), and the more straightforward his images the more satisfying. Is ton Crawford began chronicling the New Orleans jazz world about 35 years ago, and already much of the Classic atmosphere of early jazz was gone: "New Orleans jazz-the origins of which, of course, are now as remote as Chellean man simply because the environment in New Orleans sixty and more years ago will never again exist," wrote Whitney Balliett in 1958, a decade after Crawford began his enthusiastic pictorial embrace of local music. Coming down from New York on a mission suffused with almost romantic, Crawford's Holy Grail-like ardor, Crawford caught a good bit. I still can't believe for a second Curt Jerde's remark in the catalogue accompanying the exhibition of Crawford's pictures at the Historic New Orleans Collection (through July 22) that "Crawford saw concisely the form and substance of the New Orleans musical folk culture, as it has survived for more than two centuries"- an order so tall as to be fatuous. New For all any of us know at this distance, Crawford may have been interested in the music secondarily and in good pictures first (one doubts that he was interested in blacks and their culture as ethnological exotica like Leni Riefenstahl's pictures of dandyish, elegant African tribesmen, or as monuments to unconquerable human dignity like some of the FSA photographers). More like William Gottlieb (a Washington Post writer who took most of his own memorable photos because as a jazz writer, he couldn't get photographers to go with him to the dives Orleans he covered-"it would have meant working on their own time, late at night,"Gottlieb says) or the Danish nobleman Baron Timme Rosencrantz or Lee Friedlander, Crawford brought a fresh, but trained, outsider's eye to jazz. One doubts he knew in advance wtiat pictures he wanted to take-but what pictures he ultimately took! There is Tony Almerico in an improvised burnoose, obviously singing "The Sheik Of Araby," and looking almost alarmingly like the middle-aged Connee Boswell; Papa Celestin's Tuxedo band performing on one of the big boats, with a group of maenadish matrons (possibly sloshed and hollering) gyrating in a caged-off area behind them; Wooden Joe Nicholas, reputed to have practiced on King Oliver's cornet during breaks, a face that is all

patient, avuncular dignity1 in an interior of sedate garishness that almost defies description-antimacassar--draped armoire, religious prints (The Good Shepherd), vacant-eyed china dolls heaped about; the saxophonists at the Tiajuana Club (is that Robert Parker on the left?) suggesting in their shaded, ultracool anonymity and jiving gymnastic postures the direction in which New Orleans music would go soon after these pictures were taken. Some of the photos-Buddy Escare getting his process job worked over by an ancient, deferential barber in a spacious/ probably stifling barber shop, for instance-suggest the spectre of Uncle Tomism, by their period and their subject matter. This is just a mental function of the segregationist policies of the period reinforced in mass media and mass thought (I recall no pictures of black and white musicians together), but both the blacks and whites in Crawford's pictures radiate charm and generosity of spirit and energy; one is reminded of Billie Holiday's remark about Louis Armstrong when he was accused of stereotype-perpetuating in the early 1950's: "Sure, Pops toms, but he toms with class!" Crawford's photos (left en masse to the Hogan Jazz Archives at Tulane, some 3,000 of them; they are being publicly shown for the first time in such numbers) are so good that the only attitude that matters is aesthetic. Even a cliche subject is redeemed by knowing freshness: the fashionably spectacled, suited and hatted Forties career girl grimacing at the mountainous piles of refuse on her route to work though the French Quarter on Ash Wednesday. Courtesy, the William Ransom Hogan But Crawford knows, as we do too, what she probably looked like and was ac­ Jazz Archive of Tulane University ting like only the day before. • 16 WAVELENGTH/JUNE 1983 , ~\oo-·---

Saxophone Players, the Tiajuana Club WAVELENGTH/JUNE 1983 17 Tony Almerico Orchestra

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Papa Celestin's Original Tuxedo Orchestra

18 WAVELENGTH/ JUNE 1983 SFRIPLS l:'t"'"'~ r K. lO • ~ :..rSRAR~ u • I( . '( F 1\;f.W ORLEANS

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Wooden Joe Nicholas, at home

Louis "Buddy" Escard in barber shop.

WAVELENGTH/JUNE 1983 19 diJNE1983 MUSIC AT 9:30P.M. MON.-WED.

Monday Tueedav Wedaeedav Thuredav Friday sa.. rday 31 1 2 3 4 CLIFTON CHENIER THE JAMES TBA AND HIS RADIATORS BOOKER RED HOT LOUISIANA BAND

5 6 7 8 THE 9 10 11 JOHN ALBERT BlASTERS MOONEY'S CLOSED SPENCER with COLLINS THE CLOSED special guest BLUES lANA special guest BOHREN THE MIGHIYSAM RADIATORS BAND McCLA.IN & ROCKABYES liveonWWOZ BROWNSVIllE 12 13 14 15 16 live on WWOZ 17 18 DELBERT MIGH1Y McCLINTON THE ROOMFUL BLUE BLUE special guest SAM CLOSED MOREIIS OF LITTLE CHARLIE McCLAIN RID DIM RID DIM and the BLUES and BAND BAND FAGER BEAVER BROWNSVIllE 19 20 21 22 23 24 25 ST. CROIX PHILHARMONIC LENNY WOODEN- THE THE THE STEEL CLOSED ZENITH HEAD BACKSEATS NEVILLE RADIATORS ORCHESlRA and BROTHERS live on WIUL THE WORKS

26 THE 27 28 29 30 MATHILDA JONES REVUE THE DIR1Y featuring J.D. ROBERT WIWAMS CLOSED and the GlADI- DOZEN fonner lead vocalist with JAMMERS ATORS BRASS BAND 11-tE UVING DEAD reggae from REVUE South Africa liveonWWOZ liveonWWOZ

501 Napoleon Ave, corner-Tchoupitoulas- Phone 899-9114 WALKING THRU NEW ORLEANS

The Haitian Difference

AHaitian visitor talks with Bunny Matthews in his journal. " Mostly from the masses, about Haiti, art, Voodoo, music, and the they were timid about coming into the im­ French Quarter. pressive, cream-colored building, once a private home, in the center of the city and set back from the street by a charming garden. The first to venture, and he by pro­ lix Beaulieu is a handsome, middle­ xy, was Philome Obin. aged Haitian, who, after retiring from "A former bookkeeper in his native Cap­ Athe managerial sector of Air France Haiti en, Obin was one of the very few four years ago, embarked upon a new ca­ popular painters in Haiti who had been reer as a dealer of Haitian art. Beaulieu painting for years before the start of the specializes in " naive and primitive" (and movement. Late in 1944, he sent us, by rela­ "magical," one is hastened to add) paintings tive, a small, naive painting, The Arrival of and his exhibitions have taken him to Paris, President Roosevelt to Lift the American Brussels, Santa Fe, Galveston and Lubbock. Occupation ofHaiti. It was my first exper­ Beaulieu's visit to New Orleans was but a ience of a Haitian popular painting, and I stopover on the way to yet another exhibi­ was not too sure how to take it. I com­ tion in Los Angeles. promised by sending the artist a Jetter with As the afternoon rain pelted the loquat a five-dollar bill and a package of art materi­ and eat's claw jungle outside, Beaulieu als to a value of another five. Today Obin smoked a single cigarette and observed that is considered by most foreign critics to be the surrounding French Quarter seemed one of the greatest natural realists of con­ very much like sections of Haiti. The French temporary painting." (A portrait of Obin, Quarter, he noted, had survived the plague Phi/orne Obin et son fils Antoine, painted of modern architecture with which much of by his youngest son, is part of the perma­ Haiti is apparently infested. nent collection of the New Orleans Museum "There is a tremendous amount of of Art.) original artists in Haiti,'' Beaulieu said, tak­ Obin, according to Beaulieu, is beyond ing the last puff on his cigarette. "I think the average citizen's range: "If you order it's a fact of illiteracy-maybe 80 percent of a painting from Obin, first of all, you will the population doesn't know how to read have to wait at least a year before you get or write. And they have to express it. His paintings are around $5,000 to themselves in one way or another. If it is not $6,000. music, it is painting or woodcarving or they "Obin has his own atelier. If you go to sculpt. That's the kind of message they want Cap-Haitien, at the entrance to town, you'll to leave to the others." see the sign of Philome Obin. You can visit In 1943, DeWitt Peters, an American him. He's a very charming man, 90 years conscientious objector, arrived in Haiti as old. an English teacher. A year later, the former "Haitian painters have to represent what student of Fernand Leger founded the Cen­ they see in nature, in their own environment. tred' Art in Port-au-Prince, dedicated to the They don't want to miss anything and they development of the arts in Haiti, a place are very particular about details." decribed by Peters as "a tiny country of The small details-a snake symbolizing endless, cloud-wreathed mountains and Damballah, god of life, or the favorite num­ long, indented coastline whose newborn art ber-3-of Papa Zaca, god of agriculture is one of the most vital in the world today." -often proclaim an allegiance to the Voo­ One of Beaulieu's favorite painters and doo religion: "At a certain time, they mix­ one of Peters' greatest discoveries is Philome ed both religions-the Roman Catholic reli­ Obin, born in 1892. "The unearthing of the gion, which was imposed by the French, and popular or natural painters was slow work, Voodoo religion, which was the religion the requiring tact and affection," Peters wrote black man brought over from Africa. What WAVELENGTH/JUNE 1983 21 happened is that some of the slaves escaped from the plantations and they found refuge TRAVEL IN MUSICAL STYLE in the mountains. Haiti is very mountain­ ous. That's where they started their guerilla warfare with the French and that's where they mixed the two religions. There was a TCS-31 0 ~~~~ synthesis. So don't be surprised if you walk You asked for it. You've got it. With truly portable stereo recording and into a Voodoo church and you see an im­ playback capabilities, the lightweight, portable TCS-310 is creating a age of St. James or the Virgin Mary. new standard in portable cassette entertainment. Thanks to "Voodoo churches are called houmjors featherweight, micro-size stereo headphones you get sensational stereo playback. And a built-in speaker also provides crystal-clear and the Voodoo priest is a houngan. They mono listening. hold ceremonies certain times of the year, $149-95 like the Second of November, which is the Day of the Dead. Around Christmas, they celebrate the ceremonies of initiation, where they give the necklace to the one who is initi­ SONY: CFS 7 ated into the religion. Tl-£ Q\E A"l}()\l_Y - "There is a place in Haiti called Saut High fashion comes to portable high fidelity with D'Eau-it's a waterfall. There is a story say­ Sony's sleek. compact, CFS-7. Designed for ing that there was a Black Virgin coming out convenience, smart looks and easy portability, this stereo cassette beauty is ready to fly with jet-set of it and a lot of people go there on the Six­ ease ... built to please discriminating ears. From its teenth of July. On Good Friday and up un­ metal tape capability to its Automatic Music Sensor. til Easter in a city called Leogane, all the $249.95 Voodoo priests get togethsr in front of the cemetery, dancing. It goes really wild." Of the Voodoo presence in New Orleans, Beaulieu commented: "I'm not surprised CFS-500 ~~~~ because I've met people here in New Orleans This Sony CFS-500 puts a handle on unusually high quality sound who told me that their grandmother or in a portable, featuring a pair of two-way speakers. What's more, grandfather was from Haiti. There was a the built-in, three-band equalizer tailors sound to fit the acoustics of any room. You can entertain friends at home, throw certain time during American history when a beach party or dance in the streets. there were some Haitians fighting for Arne­ $199.95 rica-the Battle of Savannah, for example." The Haitian music scene, said Beaulieu (an amateur musician on the side), is as rich as the world of Haitian art, although hard­ ly as well-known: "We have popular music, ~~~CFS-45 what they play in nightclubs-! would call AM/FM stereo cassette-corder features a pair of 4" stereo it nouvelle vague. They are all big bands­ speakers for rich sound quality. Automatic Music Sensor for auto maybe 15, 16 musicians playing there. They playback at specific tape cuts. Rec-mute switch and AC/DC operation, with a built in AC cord. have a special beat called the meringue - Ia meringue Haitien. It's a modern way S99-95 of expressing it because the meringue was slower than what we hear now. What we hear now is a faster beat. "They play electric guitars, electric organs. Some of the bands have trumpets RF-799 Panasonic and saxes. I would mention a band like Les FM/SW/ MW/ LW 4-Band Portable Radio with Micro­ Freres des Jacques, which is very good. Computer PLL Synthesized Tuning There's another one called Bossa Combo, $249.95 which has toured all over. Eddie Barclay has been promoting Haitian music in Paris. He was the first one to bring those big bands over. There's another one called D.P. Ex­ press, which is very popular, too. D.P. means 'difficile de Petionvil/e;' the group originated from Petionville. Taboo Combo Panasonic RX-1960 is also very popular and very, very good." FM/ AM/ FM Stereo Radio Cassette Recorder with Why have we Americans heard so little Lightweight Headphones, Separate Speakers and Haitian music? Jamaican reggae, to cite the Metal Tape. Built-in stereo amp, 2-steptone Cue/ cultural products of one of Haiti's neigh­ review. Pause. Auto-Stop. Left/right volumes. bors in the Caribbean, is unavoidable these $149.95 days. Jamaica, explained Beaulieu, is different: "Jamaica is different for many reasons. One reason is that the British left Jamaica not too long ago actually. Haiti was indepen­ TULA~E STE"EO Iii Fl CO. dent since 1804. When the French pulled out of Haiti, they left the island with nothing, 1909 TULANE AVE. 524-2343 without what we call the cadres- engineers, Convenient Storeside Parking doctors and all. The island was all by itself Open Daily 9-5 - Closed Sunday and we had to survive. So we have been VISA - MASTER CARD - MR SOL through very difficult times through all Hai­ tian history." - Bunny Matthews

22 WAVELENGTH/ JUNE 1983 CARIBBEAN Confrontation With Marley Good news for reggae fans: the new Bob Marley album contains many new songs that rank with the best ever recorded.

he second anniversary of the death of Bob Marley has brought with it Ta spate of releases of Marley tributes. New Release Among the best of the lot is Island Records' release of a new Marley album, entitled "UVE AT HUMPFREFS" Confrontation. Consisting of material Available June 8th previously unavailable outside of Jamaica, at LEISURE LANDING this album will be an unexpected treat for those who love Marley's music. With the ex­ fur further information ception of a disco-ish tune called "I Know," contact recorded back in 1976 during the recording SOOTO RECORDS of the Rastaman Vibration album, all the Bloodlines, will want to check this one out. 205 E. Kings Highway songs were recorded between 1978 and 1980, Their new book is bigger, in color and Shreveport, La. 71104 the period during which Marley recorded the features chapters written by some of the ( 318) 865-5682 material on his Survival and Uprising most knowledgable people in reggae jour­ albums. Three of the songs, "Black Man nalism, including Timothy White, Randall -Appearing­ Redemption," "I Know," and "Trench­ Grass, Chris Gayle and Garth White. June 24-Trinity's town," were singles in Jamaica, but the ver­ On the local reggae front, New Orlea­ Baton Rouge sions on Confrontation are different from nians will have enough live music in June IIIUIIIIIIIIIIIIIIIIIIIIIIIIIIIIIInllllllllllllllllllll the singles. Don't think that this is a collec­ to keep us all happy. Rita Marley will make tion of songs that Marley didn't think were her second appearance here, again on the good enough for release; nor are they un­ Riverboat President, on June 19. But finished songs that were completed and mix­ perhaps more exciting will ·be another of the ed by someone other than Marley. The en­ great reggae bands on June 29, the Gladi­ tire c.ollection is good, but many songs are ators. One of the roots Jamaican vocal excellent, ranking on a par with the best groups of the 1970s, the Gladiators never songs ever recorded by Marley. "Rastaman quite achieved international fame, but they Live Up" is nothing less great than the bare continue today in their roots style, express­ essentials of reggae ... a skanking keyboard, ing their Rastafarian beliefs through the bass riddim, clean, simple drumming and music. Their 1983 release on Nighthawk reverbed, echoed vocals. A few horns and records, entitled Symbol of Reality, is bouncing organ are added for "Buffalo remarkable in that, except for a vast im­ Soldier," "Jump Nyabinghi," and the provement in the quality of the recording, beautiful "Give Thanks." The simplicity of it sounds almost identical to the Gladiators' the musical arrangements on most cuts first album, Presenting the Gladiators, more power to the vocals and makes this released over ten years ago on Coxsone collection soum! better the more you hear it. Dodd's Studio One label. I'm willing to bet Those who took my advice and wrote for their performance here is going to be a free subscription to the Reggae Beat news­ another opportunity for New Orleanians to letter (now expanded to magazine size, and see roots reggae at its uncompromising best. re-named Reggae Beat and African Beat) Don't miss this one. received a special tribute issue this month Also appearing in New Orleans this called Bob Marley Remembered. The issue month, and written up before in these pages, contains some great photos, interviews and will be the Blue Riddim Band, those white articles on Marley and his music. Get on reggae boys from Kansas City, and the St. their mailing list by writing Bongo Produc­ Croix Philharmonic Steel Orchestra. The tions Box 29820, Los Angeles CA 90029. BRB is not a copy band, they're the real Also for your reggae reading pleasure are thing, original and hard. And the St. Croix two brand new books, Catch A Fire, a bio­ band plays soca, calypso and reggae with graphy of Bob Marley written by Rolling their steel drums, and it sounds so sweet. Stone writer Timothy White and Reggae In­ As one listens to most of today's reggae, ternational by Stephen Davis and Peter it might be hard to believe that the music Simon. Timothy White has been writing in­ ever had social relevance. However, some teresting articles on Marley for years, and recent releases shine brightly above the in­ anyone who has seen Davis and Simon's ane love lyrics and commercial beat of the first attempt at chronicling the development rest. Fusing dub music with social commen­ of reggae music and artists called Reggae tari~s are Jamaican poets Michael Smith, WAVELENGTH/JUNE 1983 23 Mutabaruka, and Sister Breeze. "Dub poetry" is not new to Jamaica, but until recently, the only artist who had been recor­ ded was Linton Kwesi Johnson, who lives in Brixton. For those who have heard LKJ, don't expect these newly recorded poets to sound the same. Each has a distinctive delivery and a different band dubbing behind them. Michael Smith's Mi Cyaan Believe It comes complete with a lyrics sheet, which is essential except for those who can under­ stand reggae films like Rockers and The Harder They Come without reading the sub­ titles. Smith's patois is thick, and he makes no attempt to soften it. Yet, while an arti­ cle could be written just about the power of his poetry, the strength of this record lies in the fact that it's not necessary to under­ stand the lyrics. His delivery is captivating. It's so musical and dynamic that often the music drops out completely and Smith's voice carries the rhythm as strongly as any bass guitar. And he feels many rhythms, from the grounation of "Roots" to the rock 'n' roll of "Long Time." Smith has total control of the dub in much the same way as DJ's U-Roy and Big Youth used to have back in the days when DJing was at its peak artistically. This record is recommended as a fine, fine dub record and as a record that represents a classic milestone for reggae. Superior to most recent reggae records, but not nearly as powerful as Mi Cyaan Believe It, is the reggae disco 12" "Drug Kulcha" by Mutabaruka b/ w "Slip" by Sister Breeze. Where Michael Smith's record almost defines a new art form because of the delivery of the lyrics, Mutabaruka and Sister Breeze deliver the lyrics in typical rap music and DJ fashion. Fortunately, the lyrics are strong, and the High Times Band does a good job behind them, making this record worth hearing. "Slip" is especially catchy, with its hook, "Slip, you Fool, you never go to an African School." Shanachie Records is now distributing the 1981 hit album by Papa Michigan and Gen­ eral Smiley called Downpression. Of all the records being mass produced from Chan­ nel One Studios, this one is in a class by itself. The Roots Radics Band has rarely sounded so good, with some able assistance from producer Henry Junjo Lawes. The dub mix by Scientist is so sparse and clean that the music sounds good even on the poorest quality car tape deck. Michigan and Smiley, innovators in the art of team DJ­ ing (rhythmic rapping/ singing) are two of the best on record. Most reggae fans have heard the hit single from this album, called "Diseases." The sentiments of "Diseases" (women are hit with "the most dangerous diseases" because they don't abide by the Rastafarian concept of womanhood) left me cold and failed to interest me in the album. But upon hearing the entire album, one realizes that Downpression is one of the few real roots-Rasta albums to be given national distribution by a major label in years. No typical paeans to Jab here, though. The lyrics are the voices of two Rastas trying to keep their faith in 1982. Check this one out. 8 -Gene Scaramuzzo

24 WAVELENGTH/JUNE 1983 ART PEAVEY at WERLEIN'S

Physical Culture Images of Kathy B Photonexion

Contemporary Arts Center 0 2 cr

eople would rather look at each other ing informal Saturday morning life sessions than at anything else. Some people in his St. Peter Street studio. Models aren't XR-6008 242011-2, Our most popular P.A. even make a living at it, as two shows cheap, so a few like-minded friends joined nowP at the Contemporary Arts Center point in. The sessions with one model, Baudoin, WE HAVE 7 GREAT STORES up. Images of Kathy B is the show that yielded work that was fresh and diverse. FULL of PEAVEY AMPS, P.A.'s, resulted from 50 disparate Louisiana artists Hey, wouldn't it be great to do this on a big GUITARS AND BASSES. aU using the same model. Mr. Doan's collec­ scale? We could even make a show of it. tion of eighty photographs, Photoflexion, This meshed with Miss Baudoin's ambition, LOW PRICES; looks at body builders. The photos chroni­ and together with Haro and David Swoyer, EASY TERMS! cle the history 605 Canal St. . 524-7511 of the sport from 19th Cen­ the three put the idea to the C.A.C. Indivi­ I.Jkeslde ...... 831-2621 tury sideshow men to the current state-of­ dual modeling sessions started the follow­ Oakwood ...... 362·3131 The Plaza In the-art on Muscle Beach. ing year and today the results are on the I.Jke Forest . . 246·6830 Though oriental rugs and abstract art are walls at 900 Camp. Biloxi, Edgewater 388·4070 Baton Rouge ... 926·6800 the only two visual forms to exclude bodies The show is big and could stand weeding, Jackson, MS ... 353·3517 on principal, it's been slim pickings for the but what makes it special is that all the figure in American art, especially painters, pieces were done specifically for this exhibi­ ever since Social Realism went out of style. tion. This is usually disastrous, resulting in Photographers have continued to get away offhand second-rate work by most with images of the beautiful and not-so­ everyone. Part of the difference here has to beautiful people and that, along with be credited to Miss Baudoin's moxie and cinematic glut, has had to suffice for the last relentless enthusiasm. With artists using forty years. With noteworthy exceptions everything from clay to photocopies, with (local George Dureau is one, Hockney a similarly broad range in styles, the sub­ another), life drawing has been relegated to ject is the single unifying element. early art school. Serious painting was In addition to some strong individual positively allergic to figures and those who works, Images of Kathy B offers an index managed some sort of immunity were of local artist' opinions of what working renegades. Photorealism was the first with, for, or against the figure can be. The sighting of people on canvas in quite a while, responses are as various as the artists, from SBOWIOIT excused on the ground that it was third pin-up to icon to compositional device. JUNE LISTINGS generation imagery, done from Limited to a single starting point, the show WEDNESDAY 1 photographs. THE ROGUES incidentally emphasizes that the art is not THURSDAY 2 However, the clock is still running and at in the materials or the subject, but in what THE REBELS the moment, the best way to be modern is happens in between. FR IDAY3 to be selectively traditional. Through the Conceived almost as an experiment, the BRITAIN LIMITED EDITION work of New Image, Neo-Expressionist and more ambitious pieces generally come out SATURDAY 4 Bad Painter, the figure has renewed ahead. Seven classic BIG BANG photos by George THURSDAY9 credibility. Artists and art likers alike are im­ Dureau employ his usual combination of ECLIPSE age hungry. naked earthy personality with a restrained FRIDAY 10 Kathy B (as in Baudoin), professional ar­ tonal richness. The dignity of his naked peo­ THE ROGUES tist model, songstress for bands of a modern ple bear thinking about. A veteran, he mar­ SATURDAY 11 persuasion (she currently sings with the Bal­ ried the unique human subject for his for­ THE LIMIT listics), had other thoughts in mind SATURDAY 18 when she mal concerns probably more than anyone NOTHING PERSONAL came up with the basic idea for the Images else. With entirely different means, Steve PLUS THE VITAL FUNCTIONS show. Mostly, she wanted a chance to see Blank accomplished much the same result. SUNDAY 19 what she could do as a model. "Everybody His painting, controlled, catchy, bright with THE ROGUES else gets to show their work. There seems pinks and orange, zooming with art langu­ FRIDAY 24 to be a special energy in the pieces THE LIMIT I have age-skyscrapers, dotted lines, Kathy Bin CALL CONCERT HOTLINE modeled for which I believe comes from my cocktail dress, still managed to get down the FOR ADDITIONAL LISTINGS personal attitude and enthusiasm. I want girl herself in a surprisingly memorable im­ 455-2123 24 HOURS people to see what my part is." A couple age. The personal handling of the face did it. 3712 HESSMER of years ago, opportunity presented itself. Painter Richard Pendleton is a successful In 1981, painter Rene Haro began hav- example of the opposite approach. Aban- WAVELENGTH/JUNE 1983 25 doning his personality, his nude is a feature­ triangles on C.A.C. calendars. The May/ less pink shape, valuable for building a June flyer featured one of Dureau's photos MOq'HER'S painting. This large airy piece is the gutsiest of Miss B facing the camera and wearing item in the show, arguing space and letting boxing gloves. The pubic region was dis­ q'~VERN his rough edges show. He works his pain­ creetly covered before mailing. One C.A.C. •••••••••••••••••••••••••••••••• ting hard. The painting owes more than a employee, a custodian, consoled Kathy say­ • • passing nod to Matisse-the ferns, the nude, ing, "I don't think it was right, covering you • the interiors-but the effect is personal . up that way. These here are modern times." • MONDAY NIGHT • Haro and Jesse Poimbeouf come some­ Good taste is queasy about vanity, culture $2.50 Pit(hcrs • where between the "portraiture" of Blank is queasy about pornography. It's murky • and the architectonics of Pendleton. Both going. LADIES NIGHT .• retain a personality in their stylized figures, If most of us flinch regarding narcissism, Tuesday & Thursday while subjugating them to long-standing voyeurism and posturing, the subjects of the WEDNESDAY NIGHT preoccupation. Haro's piece is certainly the Photoflexion show do not share our qualms. Double Shot Bar Liquor strongest of his Mad Dogs series. The fran­ As body builders they see the issue different­ $1.00 tic, uncontrolled energy which is the Mad ly, governing their entire lives to produce Dogs is more fluidly condensed here. Poim­ one public moment of physical excellence, • MONDAY-FRIDAY boeuf has produced a large, oddly cool pain­ beauty to prescribed standards. These Happy Hour: 4:30-6:30 ting of a girl and her pony. The chic, almost photos are wonderful and the accidental Hi-Balls $1.00 designer greys collide with the tension of the pairing of this show with Images of Kathy Draft Beer 50¢ imagery. Despite the turbulence of the cen­ B is a brilliant coincidence. tral female figure, most of the painter's in­ Bodybuilding came to the general con­ SUNDAY terest seems to lie with the line drawings that sciousness with Arnold Schwarzenegger and $2.50 Pitchers edge the painting like explanatory notes: a the film Pumping Iron, and has grown • $1.00 Hi-Balls knife, balls and ear-like shapes, a curious dramatically in this country since that time. • All day elegance without calm. Termed a sport, it is one that has recently • There's a fair stand of photographers, gone co-ed, the vein-popping image of con­ • most of whom work the glamour aspect. tender Rita Brown is one of the most start­ • • Two exceptions are Madelaine Shellaby and ling in the show. Competitive body builders • Toby Armstrong. Shellaby's red smeared work out as much as six hours a day to build •••••••••••••••• Cibachrome prints are almost gory while the perfect body. The ultimate moment for c,>rncr of Armstrong uses the model, blue water and the contender is the public pose, a static in­ Carrullton & Maple. red cloth to create crisp mysteries. In both stance of perfection. The standards for that ··A step off cases, the model/artist interaction was just perfect image include bilateral symmetry, the trolley· · the kind of thing Kathy B had in mind when vascularity or large veins, tone and muscle she started the project. Familiar with Arm­ definition. That their idea of perfect beau­ strong's work, she provided the crucial ty has evolved to something closer to most prop, red fabric, when she .showed up for people's notion of deformity should sound a session at a neighbor's pool. Shellaby ac­ familar to art followers. tually painted on Baudoin as well as the Photography has been used to document II fmished prints. "I was really hoping," Miss muscle men ever since the technique was B said, "that somebody would do developed. Like classical Greek sculpture, SCIEEI PBIRJIG something like that, you know that kind of the images not only celebrate a fleeting mo­ physical interaction betwen me, the artist, ment of perfection, but also serve as a and the image. I think it's cool." record of the current standard as well as a TELL THE Most of the realistic figure paintings ap­ vehicle for voyeurism. Photoflexion follows pear academic and stale. Even Ozols, from the evolution of the bodybuilder's aesthetic WORLD ON whom one expects better, produced a pre­ from its turn of the century figleaf portrait dictable nude draped in trailing sheet that of Sandow through the genteel Twenties to A SHIRT was assured but lame. Too many of the the neo-gods of the Forties and Fifties health small, representational works were also mags right to today's souped-up, bulky and ordinary. clefted super bodies. Accordingly, the 733.5106 But size is not quality. Kenneth Har­ photos themselves shift in feeling from naive rison's small collage-like piece paired hyper documentation to the consciously artful. realist images of Kathy B-as squealing and Many of the shots are original prints of pic­ naked, as hatted and disguised-in sequence tures done for health magazines, their like shots from an instant photobooth. In negatives destroyed in vice squad raids. Fif­ comparison, Douglas Bourgeois' look-like ties beefcake photography like Renslow's collage seemed almost sentimental. Of the has an almost camp feeling now with its New Wave genre, Skip Bolen's large graphic heroic poses, chains and silk. Body buil­ CUSTOM of natural Kathy cradling a TV between her ding's recent surge in popularity along with BUI.DIII thighs was a pleasure. the distinctive visual formula of the pho­ REFINIS._G When people look at images of people, tos-static, isolated with studio lighting­ they do not turn a cool, dispassionate eye as well as the proximity of Muscle Beach to I upon them. With figurative art, particular­ the homes of L.A. photographers all fac­ REPAIRS ly representational figurative art about the tored in making it an appealing subject for naked, humans do not just look, they relate. "art" photographers like Jane O'Neal, e 9am-5pm People viewing realistic images invest them Mapplethorpe, Dietz. Their work has pro­ with a kind of reality in the same way that vided an ironic twist to the traditional. Ask­ 831·8324 viewers do who relate personally to ed to immortalize human sculpture, they characters in the soaps. That's what makes also give up scraps and shots of human 3920 Mine Hwy. Suite 8 figurative work such a potential power­ dignity and compulsion, both aspects of the Metairie. La. house. It's also what prompted the church human preoccupation with self-image. Go to put figleaves on statues, or, in this case, see it. -Virginia Levie 26 WAVELENGTH/JUNE 1983 ZEKESPEAK

On Trains And Rainbows From the Pretenders through Talking Heads, Rickie Lee Jones, B. B. King, back to Van Morrison, Zeke takes us on a musical journey through a varied terrain.

ne of the first singles I've bought Martin Scorsese's The King of Comedy in a couple of years is the Preten­ (Warner Brothers 23765-1). Robbie Robert­ ders' "Back on the Chain Gang" son, formerly of the Band, coordinated the (Sire0 29840-7), a most tuneful, bittersweet music for the film, soliciting a song each song. As the song grows on you, you begin from eight recording artists, contributed one to notice the lyrics. And, may I say, more track himself and used a late Fifties recor­ profound words haven't been embedded in ding of "Come Rain Or Come Shine" by the confmes of a pop single in many a moon. Ray Charles. At first glance, it looks like an "The powers that beforce us to live like we uneasy compilation of styles-B.B. King, do/Bring me to my knees when I see what Talking Heads, Rickie Lee Jones, Ric they've done to you," Chrissie Hynde sings Ocasek, Van Morrison-but the album in the bridge, concluding with "But I'll die works wonderfully, coming across not as a as I stand here today/ Knowing that deep in crazy quilt but as an interesting journey my heart/They'llfall to ruin some day/ For through varied terrain. making us part. "It doesn't matter that this B.B. King performs " 'Tain't Nobody's vow the singer swears, as she confronts her Bizness" with more gusto than anything he's "wretched life," may or may not come to recorded in years. Over a blues-rock beat pass. What does matter is the intensity that's laid down by Talking Heads' rhythm sec­ communicated to the listener. Chrissie tion, David Byrnes does his new-age shaman Hynde's understated delivery reverberates thing, mixing voodoo and atomic imagery. like cannonblasts in a canyon. The tune of "The Finer Things," David The flip, "My City Was Gone," is a Sanborn's contribution, was penned by thumping, finger-snapping affair. Hynde Donald Fagen, late of Steely Dan, and returns to her hometown in Ohio, and all reflects Fagen's suburban knack at a catchy her favorite places, the places of her mem­ tuneful. And Ric Ocasek's "Steal The ories, have vanished, replaced by shopping Night" outshines anything he or the Cars ·. ~~; .~~· ;-_. malls and parking lots. "And muzak filled have done for quite some time. ·- ~or:-.:"•./~"~...: ~-'.;.:;~._.~~? -.~ the air from Seneca to Cuyahoga Falls. " Perhaps in recognition of the lyrical quali­ --:... '1,'\:J..: ... Good perfor111ances by Tony Butler on bass ty of the soundtrack's music, Robertson has ~:, .~... ;~~- ;} and Billy Bremner on guitar. Notable is the gotten Warner Brothers to print the lyrics z':\ .,~, ~~~-~~ ~ ';.· :. ·-::~'( ~ irony when Hynde sings the punchline of of the songs on the inner sleeve (a very enig­ each verse like a weary cheerleader: "A-0, matic photo of Robertson leaning against the way to go, Ohio." Scorsese, whose eyes and mouth are black­ "Back On The Chain Gang" is also ed out, is on the other side of the sleeve.) found as the first cut on the soundtrack of It's interesting to note that the songs that WAVELENGTH/JUNE 1983 27 kick off each side-"Back On The Chain Gang" and Robertson's "Between Trains," draw allusions to trains, while the songs that conclude each side, Rickie Lee Jones' ren­ dition of Tom Waits' "Rainbow Sleeve" and Van Morrison's "Wonderful Remark," I both contain imagery relating to rainbows. "Wonderful Remark" strikes me as one • of Morrison's most unusual songs. The copyright date at the bottom of the lyrics is 1969, so he's been sitting on this one a long time. This may be the most existential song Van has ever written. The verses are long. The singer, representing a collective, is crying an indictment to a leader who has filled the collective with false hope. The fll'st 504-895-2342 verse ends with these four lines: "Clinging 11~ to some other rainbow/ While we're stan­ Now subscriptions are available by ding, waiting in the cold/Telling us the same old story/Knowing time is growing old.,, calling our number. If you've got a Then comes the chorus, shifting the perspec­ VISA or MASTERCARD, you can tive, the singer now singing of himself: order Wavelength quick and easy! " That was a wonderful remark// had my Regular rates are $10/ year ($8 off eyes closed in the dark/ / sighed a million the newsstand price). Our fabulous sighs// told a million lies-to myself-to myself.,, The shift of perspective turns poli­ T-shirts and fascinating back tical exposure into self-confession. Couple issues are also available! that with the earthy slow stride of the tune and the results are chilling. An unusual feature of Morrison's last Call and say album, Beautiful Vision, was the concluding track, ''Scandinavia,'' a six-minute-plus in­ "Charge it!" strumental on which Morrison played piano. His new album, Inarticulate Speech of the Heart (Warner Brothers 23802-1) in­ cludes no less than four instrumentals. Brian Eno once made a statement to the effect that Morrison was one of the few singers who impressed him because he used his voice as an instrument. On the instrumentals in this ~! ~~~~Co~.~~~~Z . ~~~e~Jo~~~~~~ album, Morrison, whether playing piano or = 0 No. 5 ... Ernie K·Doe. New Orleans Songwriters. Shelley Pope. Walter Lastie ;: 0 No. 7 ... Neville Brothers. Walter Washington. Dave Bartholomew, Ron Cuccia, sax, uses his instrument as a voice. = Roy Brown, New Leviathan Morrison • ~ = 0 No. 11 ... Radiators. Uptights. Rafleys, Rockabyes, Lois Dejean and the Youth states his intention in the song ~"'' ;: Inspirational Choir, Alvin Batiste, Nathan Abshire, King Floyd that leads off the album, "Higher Than The (,. ___ ~ 0 No. 12 ... George Finola, Danny Barker. Frankie Ford. Lenny Zenith. Irving Mclean, "" _,..... _ Dr. John's " Morgus" = World," "I'm higher than the world/ And 0 No. 13... Rockin' Oopsie, Bobby Marchan. Dr. John, songs about the South. I'm living in my dreams! I'll make it better how and what musicians eat, Red Tyler, how to care for old records 0 No. 14 ... Mr. Google Eyes. Henry Butler. Chief Pete of the Black Eagles, than it seems/ Today.,, This search for transcendence is blended with a search for 0 No. 16.. . AIthe Johnson AFO story. Bourre, New, Orleans Marching Band Bands Guide at Carnival , the state of rock in his Irish roots ("Irish Heartbeat") and the iii New Orleans. Jokonnu festivals. Blue Vipers. Wynton Marsalis 0 No. 17 ... New Orleans Guitarists, Percy Stovall, Doug Bourgeois, Rap records, recounting of his early discovery of A-Train, "OneMo' Time" 0 No. 18... Baton Rouge bluesmen. Earl King, Bob Tannen. Luther Kent, Rockabilly, American soul and blues ("The Street On­ Roulette, Lazy Lester ly Knew Your Name"). And then there's his 0 No. 20 ... Texas bands. Bo Diddley, the Aubry Twins. Mason Ruffner, Mathilda Jones, search for a "home" beyond physical and ] Red Beans and Rice Revue 0 No. 21 ... Li'l Queenie, Wardell Ouezerque, Goldband Records. New Orleans mental bounds: "When you hear, hear the string bands. second lining 0 No. 22 ... Lee Dorsey, Cousin Joe, Earl Palmer, the Tipitina's story, Sexdog, call/ You won't have to think at a/1"-"Cry the Valiants. Zebra For Home." It would seem that all of Mor­ 0 No. 23 ... Zachary Richard, Floyd Soileau. Boogie Bill Webb. Festivals Acadiens. Storyville Stompers, Music at the World's Fair rison's searching ends in the call, the sound. 0 No. 24 ... George Schmidt. Slim's Y Ki Ki, Ellis Marsalis, the Models, Allegra The exquisite sonic luster of the album 0 No. 25 ... NOCCA, Germaine Bazzle, Kush. Valerian Smith. WTUL, Swamp Pop 0 No. 26 ... Chuck Carbo and the Spiders. Christmas records. Harold Potier, Zebra bears testimony that the sound is primary 0 No. 27 ... 1983 Louisiana Band Guide, Big Bang, the reissue issue. John Fred, to Morrison. His caravan of musicians and Carla Baker 0 No. 28 ... When Satchmo Was King Zulu, Backbeats. Professor Longhair. Junkanoo, singers have never coalesced into such a Normals Reunion, Jimmy Heath huge, full sound before, serving to bring to 0 No. 30 ... The Louisiana Hayride. Windjammer. Mike Pellera. Margie Joseph, The Copas Brothers. Jazz Fest Preview flower the intentions of his lyrics. Or, bet­ ~E~~ 0 No. 31 ... Olympia Brass Band Centennial. Robert Parker. Lonnie Brooks. ter than his lyrics, let's say his heart, his Jack Dupree. Jazz Fest Picks dreams. The concluding instrumental, ~ ...... "September Night" is an impressionistic I have marl

Musslewhite albums. But heavens. a miracle has to the gospel tradition, she uses a lot of raw taken place here! Amid all the bullshit re-recor­ tones that convey, with great conviction, her dings of "those oldies but goodies," here comes religious ideals. She is, after all, a preacher's a group out of England that has cut some genu­ daughter despite her worldliness; she is, in spite inely exciting New Orleans rhythm 'n' blues. of the MOR touches on this album, a witness Though the sound quality of these recordings for the Lord-and as legions of her fans will belongs to the Eighties, the music belongs to the tell you, a living angel. days of yore, but with the aid of tight arrange­ Standout cuts on this album include a rous­ ments and plenty of enthusiasm. The result is ing stop-time version of "There Is A Way," a good rocking music that is truly timeless. very tender reading of "Silent Night," and a Material-wise, Professor Longhair gets the bone chilling bluesy chant called "Pray." A Kris spotlight with "What Have I Done To You?," Kristofferson tune, "Why Me?", is also includ­ "Mardi Gras In New Orleans" (complete with ed as well as two originals by Powell. It would a wailing accordion break!), "She Walks Right have been great if the Right Reverend Ray had In," and the Longhairish "Byrd's Bop" and written something too. "Swanee River Jump" (with steel drums, no Affectionately, Sara is the second release by less!). Smiley's "Go On Fool," Fats' "Are You the new New Orleans-based record label, Going My Way," Huey's "Blow Wind Blow" Powerhouse. If this album is any indication of and Chris Kenner's sadly overworked "Sick and the product they'll be turning out, the label is ~ w a: Tired" complete the New Orleans tribute. Oddly destined not only to be a first-class operation, ,.C> the title track is the only non-Crescent City dit­ but an innovative one as well. z ty, coming from Eddie Boyd's fiery repertoire -James Borders ~ of hits. Each tune is a pounding platter, with plenty At The Maple Leaf Bar of pounding piano, soaring horns and out-of­ On tbe Riverboat President JA.MES BOOKER AND THE RHYTHM control vocals from breathless Diz. Helping out FATS DOMINO AND BLUES REVUE on the horn chores are long-time New Orleans April 15, 1983 March 11, 1983 sessionmen Lee Allen and Walter Kimbal, which fetches my seal of approval. Give this one a spin For those of you who passed up Fats For the second time in as many months, and move your furniture back against the wall. Domino's only 1983 New Orleans performance, James Booker and the Rhythm and Blues Don't stick your head back in the Imperials after all I can say is "eat your heart out; don't miss Revue brought three sets of the best R&B you've read this-try some fresh air for a next year.''Postponed a week due to the flood­ available to the Maple Leaf Bar. Booker put change. Too bad New Orleans doesn't have a ing, the show featured Oliver Morgan and Jessie on a show typical of his recent performances, band like this. -Almost Slim Hill warming up the riverboat with their own moving easily from moody, wildly improvisa­ and other New Orleans hits, aptly backed by tional numbers to rollicking R&B favorites. On Fats' rock-solid band. the latter the band provided instrumentation Sara Jordan Powell At around 10, the curtains parted and there so loose that it not only rocked but threatened AFFECTIONATELY, SARA was Fats, resplendent in an immaculate cream­ to shake, rattle and roll apart. Powerhouse Records PH-1002 colored suit and looking far younger than his The shake and rattle of the evening was the 54 years (the man doesn't have a wrinkle on his work of bassist George French and drummer Sara Jordan Powell is an accomplished and face!). Even before playing a note, his shy "SmQkey" Johnson. Johnson, who drums for fairly well-known gospel singer. She has been boyish smile and rolling eyes had won over Fats Domino's stage band, beat straight R&B, the featured artist on seven previous albums everyone on the President. His presence and mambo, and Indian rhythms over a loping kick released on the Savoy label. Her 1978 recording, charm are so captivating, Fats' aura nearly out­ drum, pulled on a cigarette between chops, "When Jesus Comes," even went gold. As a shines the man's music. Even so his vast reper­ and never missed a lick. On an upbeat rendi­ performer, Powell has played churches and con­ toire was well picked over by the time Fats tion of "Kansas City," Johnson hammered cert halls across the country, as well as in finished his encore well after midnight. "I'm the rims and sides of the drums and anything Canada, Europe and Asia. But the release of Walkin' ," "Blueberry Hill," "Goin' Home" else within his reach. her present album, Affectionately, Sara marks (simply stunning), "Let The Four Winds Holding the band together was Alvin " Red" the beginning of a new phase in her career that Blow"-really, what's the point of going on? · Tyler on tenor sax. Tyler, who has played with could garner for this Houston-based vocalist He practically played them all. At all times his the greatest studio and stage bands in New greater popular acclaim. voice was clear and unmistakable, his vocal Orleans for three decades, demonstrated the Affectionately, Sara is a minor musical mannerisms identical to his countless recor­ same creativity and energy he has displayed on milestone: it is the first gospel album to be pro­ dings. Of course, there were loads of grins and records by Fats Domino, Little Richard, Pro­ duced by Ray Charles, that venerable genius of exaggerated facial expressions and a large white fessor Longhair, and Huey "Piano" Smith, to jazz, R&B and funkified C&W. Charles is not handkerchief to punctuate his performance at name a few. Ted Riley rounded out the horn only credited as producer, he was, according to just the right time. section, playing punchy trumpet lines over the Ms. Powell, the only person in the engineering Even if you've seen the man a hundred times, more melodic Tyler. booth during the recording of this project. His he's still exciting every time. Sadly, Fats won't Enough great musicians occupied the stage influence on this record is delightfully evident. be on at the Jazz Fest this time around, because and audience to conjure up visions of the old The production is always in the pocket, as the he doesn't want to wear out his New Orleans Dew Drop Inn. In fact, both performances of saying goes. The nine tracks in this package are welcome! -Almost Slim the Revue have been highlighted by guest ap­ persistently swinging, groovy and rocking. This pearances. In February, Gerri Hall and Billy is fine contemporary gospel in search of mass Roosevelt (of Huey Smith's Clowns) joined the appeal. If any producer could tastefully pull this At the Snug Harbor revue for a set of Clowns style Carnival music. off, Ray Charles certainly can-and does. The MARS, featuring Dave Liebman On March 5, Chuck Carbo, lead singer with overall sound is moderately pop-ish and nicely with Animation by John Graubarth the Spiders, took the stage to perform a set of bottomed, with the mix allowing the sometimes­ April 29, 1983 New Orleans favorites, as well as his own hits. lush orchestration to be unobtrusive to the For a rockin' good time, for a "Lesson In singer's sound. On side one, Ray uses the Slide animation? A light show? C'mon, Bluesology," check this month's listings for Southeastern International Choir to introduce didn't those things go the way of the Happen­ the next appearance of James Booker and the and frame Sara's singing. Their harmonies are ing? I mean, like who needs their mind blown Rhythm and Blues Revue. -Macon Fry rich and their tones are rounded. The ar­ by random events any more? rangements are flattering enough to let the choir Yes, there was indeed a lot of aesthetic gar­ Diz & the Doorman drop warm accents in just the right places. bage that claimed people's attention as recent­ BLUECOAT MAN Powell's lead work on the album is most en­ ly as ten years ago under the rubric of experi­ Ace 54 (England) joyable. An evangelical singing star from mentalism-or the 1-may-not-know-what-I'm­ childhood to her adult years, she was coaxed in­ do ing-but -at -least-I -deserve-a-c hance-to-be­ Excuse me for reviewing this one. Time was to recording by the Rev. James Cleveland nearly heard syndrome- but John Graubarth's show in when I would have written this one off as ten years ago. Her voice sounds like Diana coordination with the excellent performance by another clumsy "white copy" effort and filed Ross's when it turns soft and breathy or when Mars, featuring David Liebman (with Steven it in the closet with the John Mayall and Charlie she hits a high, hard, full-throated run. But true Masakowski on guitar, Mike Pellera on piano WAVELENGTH/JUNE 1983 29 and synthesizer, Jim Singleton on bass, John that matter Anthony Davis or James Newton. Yidacovich on drums and Mark Sanders on per­ Having worked with innovative musicians in a cussion) April 29, was not that. Graubarth has challenging variety of contexts, Wadud here serious lighting tech and stage design credentials, contributes not only the unusual tone of per­ having worked for Dr. John, the original Meters formance cello, but also effective compositional and the Neville Brothers, and having toured na­ flow and technique. tionally with Sun, a space-funk group, but his Anthony Davis' invigorating neo-classicism degree of artistic competence was an unknown and new music liberation is breathtakingly for most folks going in to the concert. We soon beautiful and cogently communicative. Having found out that he knew what he was doing; that recorded with both Newton and Wadud his artistry was entirely commensurate with that previously, this date brings together Davis and of the musicians. composition-improvisation in brilliant perfor­ Graubarth specializes in plucking out elo­ mance. The unfettered intermingling of the quent images from the massive barrage of piano, flute and cello produces startlingly ex­ visuals that assault us every hour of our wak­ pressive results. More interesting and notewor­ ing life. Moreover, he has a fine eye for the thy, though, is the seamless quality of this art JUNE aesthetic punch found in certain technological music: neither "classical" nor "jazz" but a images, especially from the fields of medicine, sophisticated matrix in which the "new music" engineering, photomicroscopy, and astronomy, pluralism can flourish. -William D. White MUSIC and he knows how to juxtapose them among themselves and with selected pictorials to evoke feelings of suspense, surprise, awe and, above At The Blue Room all, continuous fascination. CLEO LAINE & JOHNNY DANKWORTH Graubarth's slide show was to be the icing on March 3, 1983 Mars's cake, but privately the musicians had gone into it without much enthusiasm. I heard It's all definitely eccentric to say the very complaints that there hadn't been sufficient least: Johnny Dankworth appears in a red shirt, rehearsal, that the music "said it all" without pink-and-gray tie, gray suit and patent leathers need of visuals, that the musicians really hadn't that do much to restore one's faith in jazzmen been consulted about it. Ironically, though, this as sartorial leaders; he would also make a fine tension worked in favor of the overall aesthetic after-dinner speaker (and does). Cleo Laine has impact of the bi-media performance. Follow­ teacup eyes and a cat-like face with perfectly ing an outstanding set without the visuals, the amazing cheekbones (Navahos don't have nicer BLUEGRASS musicians were told to keep things simple and ones) and russety dreadlocks gone all to hell and EWRY SUNDAY NIQHT AT 7 PM long-toned during the slide show, to let it have wears a sort of combination samurai •••••••••••••••••••••• center stage. They did start out this way, re­ robe/ camisole . HAPPY HOUR- 4·7 DAJLY maining very much in the background. But then The lengthy set includes rubber-mouthed 8140 WILLOW AT DVBLirt they got bored, and a small revolt was at hand. mugging, Harold Arlen, rococo flourishes and One by one the musicians forayed out of their cadenzas, avian swoops and Satchmoesque roles as drones. As they began more and more rumblings, Carmen McRae's brand of auditory to play off each other's energy, the music started time-lapse with the endings of songs, "Gimme to take off, reaching the level of dynamism of A Pigfoot" (first and last time I ever expect to the previous set. By this time the audience had hear that number in the Blue Room), blue notes been drawn into the slides. The visuals were in­ and a few mauve and periwinkle ones, Mozart's creasing in intensity, and the music confirmed Turkish March done as a half scat/half patter it and heightened the effect. There was no hint song, a good version of "Crazy Rhythm," Mr. of competition between the two media, as some Dankworth doing some fey soprano sax at one of the musicians had feared. It was pure, tren­ point and some good clarinet at others, Miss chant synergy-and the audience was gripped. Laine holding the mike up to the clarinet like •••••••••••••••••••••••••••••••••• Masakowski and Graubarth are planning an a newlywed bride holding the bathroom mirror even more elaborate show together (also in col­ for her adored mate to shave by-a charming laboration with visual theorist and art therapist gesture of Good-night-Gracie solidarity, that ARfiST Jeanne Phillips from Ohio) including lasers and great favorite of mine "Srnilin' Through," eye­ REPRESENTATIVES multi-media planar effects, at Longue Vue rolling, wonderful reed sussurations from Mr. Gardens, June 25 and 26. If you missed their Dankworth during "Georgia On My Mind" (a debut you won't want to miss this next one. If Hoagy Carmichael medley, but where the hell PERSONAL you caught their first show, I don't have to sell was "Hong Kong Blues"?), much reasonable this one to you. - Joel Simpson theatricality with Yma Sumac top-notes and a MANAGEMENT voice so large it needs to be scaled down to the room, and "Love Me Or Leave Me." CONSULTANTS for: Anthony Davis/ James Newton/ Abdul Wadud Anyone who wants anything more from a I'VE KNOWN RIVERS supper-club act-or from anything, really­ songwriters and Gramavision GR 8201 would have to be crazy. -Jon NewUn music publishing I've Known Rivers (from the poem by Langston Hughes) is one of the most affecting Eric Clapton pop rock concert tours and moving new music albums I know. Anthony MONEY AND CIGARETTES Davis (piano), James Newton (flute) and Ab­ Warner Brothers 23772-1 overseas & domestic dul Wadud (cello) compose one of the most in­ teresting, exciting and engrossing trios working Eric Clapton has become one of the essentials, ••••••••••••••••••••••••••••••••••• in music today. Although there's nothing flat the way the Beatles, Dylan and the Stones have about their lyricism, or abstract about their ex­ been. Money and Cigarettes, his latest release, for details phone plorations, these top-flight musicians engage in is an outstanding collection of uptempo rock 'n' discourse at the highest levels of call-and­ roll and slow blues. "Everybody Oughta Make SOS-831-5996 response. A Change," by Sleepy John Estes, starts things James Newton has confessed to a love of Jirni off on a roll with a brisk pace and curt, almost or write Hendrix's music, and in the microtonal ranges brusque lyrics. The high speed boogie of "The of extreme registers, Newton finds an earthy Shape You're In" allows Clapton to reassert his 230S NORTH BULLEN ST. analog to what Hendrix did with distorted elec­ creativity, working with perfectly simpatico tricity and Dolphy did with tortured soul­ sidemen. METAIRIE, lA. 70001 USA breaths. Abdul Wadud, on cello, is familiar to There are those who maintain Clapton's best listeners of Arthur Blythe, Leroy Jenkins, or for days are behind him, energy and spirit melted 30 WAVELENGTH/ JUNE 1983 down. Well, maybe so, but there' s a different drumming is a funky, other-worldly, stone version heard 'round these parts. His retreat delight. How can anyone who dresses so urbane from the big business rock scene allowed him and looks so menacing, as Sakamoto does on to fully explore rhythm guitar and lyrical song­ the jacket, play so goddam funky? Pass the writing. And, over a series of subdued, soft elec­ sushi. -Zeke Fishhead I:LUB tric when not actually acoustic albums that FORMERLY BRONCO'S smacked of folk-rock and the singer-songwriter mode, Clapton developed a persona and a dis­ Robert Palmer cography that would credit anyone. A TALE OF TWO CITIES More than that, though, more than even play­ Institute for Studies in American Music GARY MORRIS ing rock within a blues framework, Clapton has Monographs: Number 12 made rock a blues framework, with a distinc­ tively rural edge. "Ain't Going Down" is des­ This is a 38-page monograph published by the LLOYD DAVID tined to become a classic Clapton groove, with for Studies in American Music. It's in its compelling signature guitar and great lyrics. Institute fact the printed transcription of a lecture the FOSTER The hit single, "I've Got A Rock 'N' Roll venerable Mr. Palmer delivered to the Institute WEDNESDAY, JUNE 1 Heart," blends a breezy, mellow Caribbean rhythm with country and western instrumen­ in 1978. While Palmer doesn't shed any new light on tation to find universal acceptance. A lover, not the subject at hand, he neatly summarizes the MOE BANDY a fighter, Clapton's "Pretty Girl" and "Man development of New Orleans' and Memphis' OPENING MISSISSIPPI SOUTH In Love" and R.G. Ford's mildly salacious contribution to the world of rock 'n' roll music. WEDNESDAY, JUNE 22 " Crosscut Saw" reassert the mystery of the Even though the length of the volume is highwayman. "Slow Down Linda" and "Crazy understandably short (I plowed through it in 45 Country Ho'p" (a Johnny Otis tune) close out minutes), it does contain some interesting the album on a good-timey feel. DIFFERENT photos of Lee Allen, Huey Smith, Elvis, Smiley A very strong record, Money and Cigarettes Lewis and the rest of the gang. is very simply essential rock 'n' roll. Can't give this one a whole-hearted recom­ STROKES -William D. White THURS., JUNE 2 THRU SAT. , mendation: if you're really interested in all that JUNE4 jive, get Broven's book. -Almost Slim James Blood Ulmer HIGH ENERGY COUNTRY BLACK ROCK Columbia 38285 At Luigi's VALENTINO James " Blood" Ulmer may well be the next SAM McCLAJN (MIGHTY SAM) MON., JUNE 6 THRU SAT., JUNE 11 guitar link in the chain of oppression and escape & BROWNSVILLE that runs back through Jimi Hendrix, Chuck April 6, 1983 Berry, Charlie Christian and Robert Johnson. MISSISSIPPI If Ulmer does nothing else, he will have dem­ It's hard to believe that one of America' s onstrated anew the infinite malleability of the premier soul singers of the late Sixties- a legiti­ SOUTH blues. With mostly just his guitar to do the talk­ mate vocal equal to Bland, Sledge, Redding or MON., JUNE 13 THRU SAT., ing, from the lonesome midnight trail of the rhy­ Pickett-would be working such a contrary gig JUNE 18 with a thm 'n' blues journeyman circuit, James as Luigi's. Yet here was Sam McClain, MON., JUNE 20 THRU FRI., " Blood" Ulmer conjures plenty of dread and few more wrinkles and maybe a f ew pounds fancy to justify his name. heavier, s weating and straining with the same JUNE 24 A fantastic new wave of influences caught up intensity he mustered as a headliner at the with "Blood" on his dark highway: Delta blues, Apollo Theatre jn 1966. free jazz, country/ funk, organ-sax gin mill trios, McClain, who cut a series of spine-chilling LOUISIANA space fusion and bebop all rub shoulders in the singles during the peak of the Muscle Shoals git-down that is Ulmer's forte. Speed, accuracy soul era using the colorful alias Mighty Sam, RED HOTS and deadly aim characteristically interweave has recently settled in New Orleans and hopes SAT., JUNE 25 & MON., JUNE 27 with his passion and top-notch ensemble play to regain some of his past glories. Among his THRU SAT., JULY 2 (including horns and electric bass) to open out modest hits were "Sweet Dreams," "Mr. and the compositions in angular, jagged beauty. Mrs. Untrue" and "When She Touches Me," NOTE: ALL DATES SUBJECT TO -William D. White highlighting a seven-year career that included CHANGE WITHOUT NOTICE stops at Amy, Atlantic and Malaco. Sylvian/ Sakamoto Brownsville, the band that backs McClain (he HAPPY HOUR BAMBOO MUSIC-BAMBOO HOUSES dropped the Mighty Sam monkier eight years MONDAY THRU FRIDAY Virgin VS-510-12 back), in many ways resembles a brassy Sixties NOONT07 PM frat soul band in looks and sound. They open­ Some months ago in a Zekespeak dealing with ed the evening with a series of rough but spirited FREE DANCE current Japanese music, I was curious whether instrumentals, including " Soul finger," which there was any connection between the British set the s tage for the featured attraction. Hav­ LESSONS group Japan and their Japanese contem­ ing never seen McClain in person before, I was MONDAY 7 PM-9 PM poraries. Lo and behold, what do I find but this more than pleasantly surprised that his voice is EP collaboration between David Sylvian (late still "Mighty" as he wasted little time in get­ DANCE CONTEST of Japan) and Riuichi Sakamoto (late of Yellow ting down to business with a devestating one­ WEDNESDAY 8 PM Magic Orchestra, currently of B-2 Unit). two punch of "Soon As The Weather Breaks" The music this duo creates defies description. and "634-5789." Before the smoke could clear, LADIES NIGHT It has more quirks and jerks than the music of McClain unleashed a blues medley that includ­ WEDNESDAY9 PM TO MIDNIGHT their now defunct groups. It's almost like an in­ ed " Woke Up This Morning" and "Ain't telligent form of Disco, although that really Nothing You Can Do." LOCATED IN GRETNA doesn't do it justice. (I'd love to see what would McClain stuck to inspired versions of others' ON THE CORNER OF happen on the dance floor if someone slipped "hit" material (I guess you could call " Turn On WHITNEY AVE & ROMAIN ST. s Disco some Your Love Light" a hit), leaving his own this on the turntable at the Famou EXPRESSWAY FROM "when we get the band a little bit ACROSS THE Saturday around midnight.) material for THE OAKWOOD SHOPPING CENTER One side's entitled " Bamboo Houses," the together." Together or not, McClain's power­ other side "Bamboo Music," and it's simultane­ ful gargly v ocal approach won over the s:nall ously very funky and very Oriental. There' s a but enthusiastic audience of mostly UNO synth figure on "Bamboo Houses" that sounds students. Though McClain is no longer billing bly like the xylophone-like gangsa us­ himself as " Mighty," he's a s tellar performer 368-1000 remarka ed in Gamela n music. Sylvian's affectatious who deserves at least a listen. See him if you can. croon is as reedy and cool as ever. Sakamoto's - Almost Slim WAVELENGTH/JUNE 1983 31 The Gladiators, Tipitina's, 10:30 CONCERTS p.m. Roots reggae, not the Senior Gladiators ... Wednesday,1 Sunday, 26 Paul Barrere and Friends, Andy Ellis Marsalis, Longue Vue West, Rod Morgensteln and T . Gardens, 6 p.m. Ticket information at Levitz, Jimmy's, 10 p.m. 488-5488. Sunday, 2 Monday, 27 Jimmy Anselmo's 5th Annlver· Jonl Mitchell, T.B.A. Information sary In business, com· thus far (for those who can see and memorated by The Sheiks, Li'l hear this woman with a straight face Queenie and the Skin Twins and the after Andrea Martin's "For Dogs On· Renegades, from 10 p.m. ly" parody on SC-TV) at 895·0601. Friday, 3 Wednesday, 29 The Original Impressions, Or· Darryl Hall and John Oates, pheum Theatre, 8 p.m.; tickets from Baton Rouge Centroplex. Tickets Ticketmaster and at the box office locally from Warehouse Records and beforehand, and of course Jerry (I Tapes. Manoa manoa manoa mano remember when mama said ... ) Butler a mano ... and Curtis Mayfield w111 be among the participants. June 3 through 5 Dream Syndicate; Stick People, Medgar Evers Mississippi Tupelo's, 10 p.m. Homecoming, All sorts of events Clifton Chenier Tipitina's, 10 p.m. from the literary and political to the or thereabouts. musical, the latter at the Jackson Entertainment Center, 3508 W. North· Tuesday, 7 side Drive, Jackson MS. Among the The B·52's, Probably the only group performers: Dr. John, Gregg Allman that can give the Steamer President and siblings, Denise LaSalle, B.B. boat·a-tosis; cans of AII·Set and rat-tail King, Tyrone Davis, etc. Information combs available at boarding time. at 601-355·4420. Tickets from N.O. Steamboat Com· pany or from Ticketmaster. June 5 Hank Williams Memorial Wednesday, 8 Celebration, 10th annual, featuring Blasters, Tipitina's, 10:30. national country acts; held in Mount Olive, Alabama: information at Saturday, 11 205-527-3 119. The Neville Brothers, Steamer President, 10 p.m. Tickets at Ticket· June 11 and 1 2 master or at N.O. Steamboat Jambalaya Festival, Gonzales, LA. Company. 504·644-5594 for information. Melrose Arts and Crafts Sunday, 12 Festival, Melrose Plantation, Natchi­ Circle Jerks, Tupelo's 10 p.m. I toches, LA., 9 a.m. to 5 p.m. each day. didn't think they had these things publicly since my East Jefferson June 1 7 and 18 days-you never know what nostalgia Bon Ton de Cajuns Fair, St. Ann's will bring back. Church in Bourg, LA. on State Delbert McClinton, Tipitina's, 10:30 Highway 55; 11 a.m. to midnight each ,).m. day. Pearl River Catfish Festival, Wednesday, 15 Pearl River, LA. Information at A Roomful of Blues, Tipitina's, 504-863-7260. 10:30 p.m. The loudest little band from South Lefourche Cajun Festival, the smallest state, reelin' and rockin'. Galliano, LA. Information at 504-632-7321. Friday, 17 Blue Rlddlm Band, Tipitina's, 10:30 June 24 to 26 p.m. Bayou Lacombe Crab Festival, Lacombe, LA. Information at Saturday, 18 504·882-7218. Alta Marley, Steamer President, 10 Peach Festival, Ruston Civic p.m. Tickets from Ticketmaster or Center, Ruston, LA., 8 a.m. to 5 p.m. from the N.O. Steamboat Company. each day T.O. Sheppard, Richie's, ticket in· formation at 466·3333. June 25 and 26 New Orleans Food Festival, Sunday, 19 Rivergate, all day each day: informa­ St. Croix Philharmonic Steel Or· tion at 588-5661. chestra, Tipitina's, 10:30 p.m. Tuesday, 21 FILMS A Flock of Seagulls, Steamer President, 10 p.m. Tickets at Ticket­ Loyola's Film Buffs Institute, master or from the N.O. Steamboat 895-3196. Tues.14: Lord Jim Company. (Richard Brooksization of Conrad, with Peter O'Toole as the unlucky seeker Thursday, 23 after ultimates, James Mason, Jack V.S.O.P.II, Theatre for the Perform· Hawkins, Eli Wallach, Akim Tamiroff}; ing Arts. Participants are Herbie Han· Wed.15: Le Dolce VIta (Fellini's high­ cock, Ron Carter, Tony Williams, Wyn­ Fifties apocalypse-cum-rake's­ ton and Branford Marsalis. Tickets progress: with Mastroianni, Anouk from Ticketmaster. Aimee, Ekberg; probably the great Fellini film, at this distance); Tues.21 : Saturday, 25 Diary of a Chambermaid (Jean National Orand Choir Renoir's highly stylized, frothy­ Arnold Schwarzenegger, from Photoflexion, at t he C.A.C. through Fellowship, Superdome. A gospel macabre 1946 film of Mirbeau's novel, June 12. competition, with thousands in mint with a curious cast: Paulette Goddard, and scarlet robes; 3 p.m. Hurd Hatfield, Burgess Meredith,

WAVELENGTH/JUNE 1983 Judith Anderson. Francis Lederer, Pitt Cinema, 6201 Elysian Fields Irene Ryan, Florence Bates); Wed.22: Ave .. 288·1611. Repertory films. but L'Annee Dernlere a Marlenbad no confirmed schedule at press time. (Robbe·Grillet, the palace at Nym­ Prytanla, 5339 Prytania, 895-4513. phenburg, Delphine Seyrig in Chanel Through Thurs.9: Moonlighting, with and feathers, no plot or characters. Jeremy Irons leading some dispos· endless tracking shots; quite chic and sessed Polish workers in London dur· controversial in its day); Thurs.23: The ing the troubles; directed b)l Jerzy Sko­ Bitter Tea Of General Yen (Orien­ limowksi. Fri.1 0 through Thurs.16: tal adventure/exotica/problem drama. The Seven Samurai, the 4-hour­ directed by Frank Capra of all people; plus version of Kurosawa's 1954 m1ssionary Barbara Stanwyck falls for adventure in which some villagers Chinese warlord played by the ageless hire, for a few handfuls of rice, itiner· Nils Asther; an exquisite curio; 1933); ant samurais to defend their village Tues.28: The Adventures of from bandits; Toshiro Mifune is splen­ Robinson Crusoe (Bunuel's lovely did. Fri.17 through Thurs.30: The version with Dan O'Herlihy); Thurs.30: Gift, a farce in which the premise is The Lady From Shanghai (Orson that a retiring clerk is given a luscious Welles' 1948 film noir about a pure· young thing as a farewell present from hearted sailor and a group of his cronies to fall in love with him monstrously corrupt people; great set "unawares" and thus give him a pieces. and an authentic zest for the spurious new lease on life; directed by rotten, but not the sum of its Michael Lang-any film in which Clau­ parts).Films at 7 and 9, in various dia Cardinale is treated as over-the-hill rooms in Sobel Hall; $1 .50 single and no longer desirable is lacking in admission. believability from its doomed outset.

Academy Gallery, 5256 Magazine. Historic New Orleans Collection, 899·8111 . Through June 9, the New 533 Royal Street, 523·4662. Through Orleans Academy of Fine Art's Stu· July 22. Music In The Streets, dent Juried Exhibition. Sat.11 through photographs of New Orleans jazzmen Thurs.30, new works by Fred Haines and various churches. parades. and Marshall Wood. funerals and related subjects by Preci· Arthur Roger Gallery, 3005 Maga­ sionist painter Ralston Crawford (see zine, 895·5287. Through June 9, photo spread this issue). curious figurative works by Doyle Ger­ Longue Vue Gardena, 7 Bamboo tjejansen.June 11 through 30, Carol Road, 488·5488. An exhibition of a half Hurst. century's works by New Orleans cab· Contemporary Arts Center, 900 inetmaker Rupert Kohlmaier Sr. Camp, 523·1216. Through June 12, New Orleans Museum Of Art, Ci· Images of Kathy B .. an exercise in ar· ty Park. 488·2631 . Sat.11 through listie self-aggrandizement with like· Sun .. Aug .14: Constructivism and the nesses of Ms.B by a number of artists Geometric Tradition: Selections from and photographers. among them John the McCrory Corporation Collection, Miller, Francie Rich, Skip Bolen, Jesse and The Geometric Impulse: Works Poimboeuf. Adrian Deckbar, Carol from the Lillian H. Florsheim Collec­ Hold "'- ..,!We '-9 of "'- stockin11 pull "'- slockong o""' Leake, Douglas Bourgeois, Kathy tion, including works by Suprematists .,..,... n "'- thulllb ond lint fin. your in•tep. Smooth heel in Gergo, Peg Murrison. etc.; "Photoflex· like Malevitch and El Lissitzky, and ar· lief of both honds Then eose ploce. Then ljently pull the s!O

WAVELENGTH/JUNE 1983 Toulouse Theatre, 615 Toulouse, bon, 523-7412. Happy Time Jazz 522·7852. Tuesdays, Oh, Play That Band, 9 to 1 a .m., Sundays through Thing! a jazz revue with the Society Thursdays. Jazz Band; Wednesdays through Sun· Jamaican South Reggae Club, days: One Mo' Time. Tickets at the 330 St. Charles, 561-8701 . Call for in­ theatre. formation; located in the Old Spaghetti Tulane Center Stage, Tulane Factory. Arena Theatre, 865-5361 . Four plays Jimmy's, 8200 Willow, 866-9549. in repertory throughout the summer: Wed.1: Paul Barere of Little Feat and Alan Ayckbourne' s Relatively various accompanists, some of them Speaking, opening June 3; Ten­ from Dixie Dregs but none of them nessee Williams' The Night of the from the dregs of society. Thurs.2. an Iguana, about ancient poets, de­ anniversary, for which see the con· frocked ministers, nymphets, tourists. certs listings. Fri.3: The Sheiks. Sat.4: and Maxine and her beach boys, the The Radiators. Mon.6: Rusty Kershaw latter of whom give that titular lizard and the Kershaw Family Band. Wed.8: a devil of a t ime, opening June 15. The Renegades (we got it all wrong Emlyn Williams' Night Must Fall, last month, boys, sorry). Thurs.9: In· about a charming homicidal maniac decent Exposure. Fri.1 0: Big Bang. who carries an old lady's head about Sat. 11 : The Sheiks. Tues.14: Waka in a hatbox, opening June 29; the Waka. Wed.15: The Renegades. fourth play is a production of Plnoc­ Thurs.16: Mr. Earl (Trick Bag) King and chlo, opening June 10. By subscrip­ Mr. Clark (Schwegmann's Bag) tion or by individual ticket. Vreeland and their Lost In Space Revue. Fri. 17: The Backbeats. Sat.18: The Neville Brothers. Tues.21 : The LIVE MUSIC Gerald Tillman Band. Wed.22: The Renegades. Thurs.24: Jack Mack and Basin Street South, 501 Bourbon, the Heart Attacks. Fri.25: Rockin' Dop­ 525·6167. Home base for AI Hirt, who sie. Wed.29 : The Renegades. is there more often than not. with Thurs.30: Indecent Exposure. band, horn and beard. Larry's VIlla, 4612 Quincy St., Blue Room, In the Fairmont Hotel, Metairie, 455-1223. Tuesdays through 529-7111 . Dinner, dancing, smoked Sundays: Johnny Pennino and Breeze. ­ glass, candleabras on the table, reser The Levee Lounge, 738 Toulouse, vations and cover charges that match. 523-9492. Fridays and Saturdays: The Wed.1 through Tues.14, The Four Levee Jazz Band. Sundays: Dawn B. Freshman, who still remember the day Maple Leaf Bar, 8316 Oak, they tore the goal-posts down, etc. 866·9359. Comfortable, mildly intellec­ Wed.15 through Tues.28: Flora Purim tual, eclectic range of performers and and Airto and all sort of Bachianas a covey of regulars. Sundays: John Brasilianos. Wed.29 through Tues., Ju­ Rankin. Mondays: James Booker. ly 5: Allen Toussaint, toning down­ Tuesdays: Li'l Queenie assisted in­ no doubt-those wild sounds of New strumentally by Bruce MacDonald and Orleans. John Magnie. Wednesdays: Mason Bobby's Place, 520 East St. Ber­ Ruiner and his Blues Rockers. nard Highway, Chalmette. 271-0 137. Thursdays: Bourre. Fri.3: Li'l Queenie Unchanging: Fridays, Bobby Cure (of and all the Backtalk you can stand. the Cure Cleaners dynasty) and the Sat.4: James Booker and his revue. Summertime Blues; Gong Show. Sat­ Fri.1 0, the Radiators. Sat.11 : urdays, Allen's Tribute to Elvis. Beausolei l. Fri., Sat.17, 18: The Tony Bounty, 1926 West End Park, Brown Reggae Band. Fri.24: Rockin' 282-9144. The darkest and (seeming­ Dopsie. Sat.25: Caribe. ly) most sedate of West End clubs. Munster's Dance Hall and Bar, Wednesdays, Fridays, Saturdays: 627 Lyons, 899-9109. Wednesdays, Harvey Jesus and Frye. The Louisiana Repertory Jazz Ensem­ Burt's Ramada, 1732 Canal, ble and a great many nimble-footed 525-5525. This is one of those deals septuagenarians. where you eat there and all the help Nevada Club, 1409 Romaine, Gret­ is dressed up as Yosemite Sam or na, 368-1000. Wed.1 : Garry Morris Catherine of Aragon or a Wookie­ and Lloy David Foster. Thurs.2 to except that we're told that here they Sat.4: Different Strokes. Mon.6 to all entertain, and it isn't like a ShowBiz Sat.1 1: Valentino. Mon.13 to Sat.18, Pizza Place, for instance. Call for Mississippi South, who also appear details. Mon.20 th rough Fri.24 , joined on Cafe Sblsa, 1011 Decatur, Weds.22 by Moe Bandy. Sat.25 and 561-8354. Pianistic accompaniment to Mon.27 through the end of the month, such things as fried dill pickles, clams the Louisiana Red Hots. rry and Amaretto cheesecake. Ha Old Absinthe Bar, 400 Bourbon, Mayronne Jr., Tuesdays, Wednesdays 524-7761. The Bryan Lee Blues Band. and Fridays, from 8, and on Sundays Wednesdays through Sundays from from 1 until 3. Stephen Long on Sun­ 9:30 and rollin' till dawn. day evenings. Barbara Shorts sings Parkvlew Tavern, 910 N. Carroll­ more often than not as well. ton, 482-2680. Formerly Gunther's, CaJun Country, 327 Bourbon. The and a rough joint, but the new owners Copas Brothers, Mondays through are classing up the act. Fri.3: Bourre. Wednesdays. F ri.1 0: Mason Ruffner and the Blues Carrollton Station, 8140 Willow, Rockers. Fri.17: The Pranksters. 865-9190. Fri.3 and Sat.4: Mason Ruff· Fri.24: The Gim-jam-jumpin') Jive. ner and his Blues Rockers. Fri. 10: the hapless (see our Last Page for details) Penny Post, 5110 Danneel. The last J.D. and the Jammers. Sat.11 : Ron bastion of acoustic/Childe-ballads/ Price. Fri.17: those singing sweeties bluegrass/folk in t.his noisy city. Open the Pfister Sisters. Fri.24: J.D. and the mike on Sundays. Wed.1 : Taylor at Jammers (in J.D.'s Revenge, or 10.Thurs.2: The Country Three at 8; what?). Sat.25: Mason Ruiner and the Bobbie & Bill Malone at 9; Pat Flory Blues Rockers and Flopsy, Mopsy and at 10. Mon.6: Pat Flory at 10. Wed.8: Cottontail. C.C. Mitchell at 9: Taylor at 10. 544 Club, 544 Bourbon, 523-8611 . Thurs.9: Bobbie & Bill Malone at 9; Pat Wednesdays through Saturdays, Gary Flory at 10. Sun.12: Bart & Donna Roomful of Blues, Tip/tina's, Wednesday June 15. Brown and Feelings. Turner at at 9. Mon.13: Bev Bishop at Houlihan's Old Place, 315 Sour- 9. Tues.14: C.C . Mitchell at 9. Wed.15:

WAVELENGTH/JUNE 1983 Taylor at 10. Thurs.16: Pat Flory at 10. Gladiators. Thurs.30: The Dirty Dozen &Jn.19: Nap Martin at 9. Mon.20: Pat Brass Band. Flory at 10. Wed.22: Taylor at 10. Tupelo's, 8301 Oak, 866-3658. Most­ TllJrs.23: Pat Flory at 10. Sun.26: Bart ly New Music. Thurs.2: Die Kreutzen &Donna Turner at 9. Wed.29: Taylor (sounds like a sonata we heard once at tO. Thurs.30: Pat Flory at 10. that Tolstoi wrote a smutty novelette Pllcle's, Kenilworth Mall, 246-6770. about) from Wisconsin ... and The Of­ Chanteuse Henrietta, Thursdays fenders, from Austin. Fri.3: Dream lllrough Saturdays. Syndicate, and Stick People. Sat.4: Pontchartraln Hotel, Bayou Bar, Legal Weapon. Wed.8: Safety Last, 2031 St. Charles, 524-0851. Thursdays also from August Derleth's home to Saturdays, Joel Simpson. state. and Stanley and the Undesi­ finHrvatlon Hall, 726 St. Peter, rables. Fri.1 0: Panther Burns and Wild 523·8939. Along with Galatoire's and Kingdom and it sounds like Mutual of K-Paul's, one of the three places in Omaha has plenty to answer for. town that consistently draws a long Sat.11: Clark Vreeland's Room Ser­ and deserved line outside; the only vice. Sun.12: The Circle Jerks. amenities are the musical ones. Sun­ Wed.15: Jah Love. Thur.16: The days: Harold Dejan and the Olympia Works. Fri.17: Waka Waka. Sat.18: Brass Band. Mondays and Thursdays: Lenny Zenith with his best-looking Kid Thomas Valentine. Tuesdays and band yet. Tues.21: Erector Set. Fridays: Kid Sheik Colar. Wednesdays Thurs.23: The Works. Fri.24: The Radi­ and Saturdays: The Humphrey Bro­ ators. Sat.25: A-Train. Thur.30: The thers. Tuts Washington is also playing Works. there these days, but perhaps best to Tyler's, 5234 Magazine, 891-4989. call to find out which night. Modern jazz, good raw oysters. Sun­ ltlverboat President, Canal Street days and Wednesdays: Mike Pellera Docks, 524-SAI L. See Concerts and his Trio. Mondays: Ellis Marsalis. listings. Tuesdays: chanteuse Leslie Smith. 1oM Tattoo, 4401 Tchoupitoulas, Thursdays: Germaine Baule_ Fridays 895-9681. Tuesdays: Ernie (Mr. and Saturdays: The James Rivers Naugahyde lui-meme) K-Doe. Movement. Wednesdays and Sundays: fusion Germaine Wells Lounge, 833 group Atlantis. Bienville, 523-9633. Fridays and Satur­ 711 Club, 711 Bourbon, 525-8379. days, James Drew, Jim Singleton and Sundays, Mondays: Nora Wixted. Jeff Boudreaux. Tuesdays through Saturdays: one man (,. Symphonia Randy Hebert...... ,.,. Showboat, 3712 Hessmer, 455-2123 . Wed.1: The Rogues, LA. CLUBS ...... courtesy of Jackie Collins. Thur.2: The Li'l Charlie and the Eager Beaver Boys, Tiptina 's, Sunday June 12, Rebels. Fri.3: Britain Limited Edition Antler's, 555 Jefferson, Lafayette, with Delbert McClinton. (which it may well be if they don't get 318-234-8877. rid of that Thatcher woman). Sat.4: Big Desperado Saloon, Highway 90, Bang. Thur.9: Eclipse (not the one with Raceland, 1-537-3647. Monica Vitti and Alain Delon). Fri.1 0: The Dock of the Bay, North Beach The Rogues. Sat.18: Nothing Personal Boulevard, Bay St. Louis, MS., and Vital Functions. Sun.19: The 601-467-9940. Thursdays, Fridays and Rogues. Fri.24: The Limit, the pride of Saturdays, The Music Company, the St. Louise de Marilliac CYO. featuring Jerry Fisher, erstwhile lnug Harbor, 626 Frenchmen, BloodiSweatfTears member. 949-0696. Fri.3: Germaine Baule and Enoch's-A Cafe, 5202 Desiand the Sentimental Gentlemen of Jazz. Street, Monroe, 318-343-9950. Sat.4: Kent Jordan's Quintet. Fri.1 0: Gibson Street Lounge, Covington, Edu and various Sounds of Brazil. 1-892-7057. Sat.11: Ramsey Mclean and the Grant Street Dance Hall, 113 Lifers. Fri.17: The Hot Strings. Sat.18: Grant Street, Lafayette, 318-332-9569. The Ellis Marsalis Quartet. Fri.24: Blue Harry's Club, 517 Parkway, Breaux Lu Barker with her illustrious spouse Bridge, 318-332-9569. and his Jau Hounds. Sat.24: Caliente. Iron Horse, 403 Phillip, Thibodaux, Dav1d Wynne at the piano every Thurs­ 1-447-9991. day The Pfister Sisters over the aether Jefferson Street Cafe, 209 Jeffer­ and at the microphones. son, Lafayette, 318-234-9647. npltlna's, 501 Napoleon, 899-9114. Mulate's, Breaux Bridge Highway, A little bit of everything, with, in the im­ Breaux Bridge, 318-332-4648. mortal phrase of our Editor, "Room To Wednesdays and Thursdays: Beau­ Dance." Wed.1: Mr. James Booker. soleil. Thur.2: Paul Butterfield and Rick The 01' Corner Bar, 221 Poydras, Danko. Fri.3 and Sat.4: Clifton Chenier Breaux Bridge, 318-332-9512. and h1s Red Hot Louisiana Band. Pam's Place, Old Town, Slidell. Tues.?: Spencer Bohren. Wed.8: the Wednesdays, Fridays and Saturdays: aptly named Blasters (recently Great Escape. spotlighted, along with Blue Oyster Pappa Joe's, 12375 Florida Blvd., Cult, 1n an ABC Sunday Science show Baton Rouge, 1-273-2376. that examined the critical problem of Party Town, Military Road, Slidell, Rock 'N' Roll Deafness-no foolin' !). 1-649-3867. Thur.9: John Mooney and his Blue­ Ruby's Rendez-Vous, Highway siana Band. Fri.1 0: Albert Collins and 190 in Mandeville, 1-626-9933. M1ghty Sam Mclean and Brownsville. Scarlett O's, 1025 Broad, Lake Sat.11: the Radiators. Sun.12: Delbert Charles, 318-436-87 42. McClinton with Little Charlie and the Slick's Music Hall, Highway 31, St. Eager Beaver Boys. Tues.14: The Mor­ Martinville, 318-394-3867. rells. Wed.15: A Roomful of Blues, in Trinity's, Perkins Road, Baton a benefit for John F. Lawhon. Rouge, 1-388-9884. 24-hour concert Thurs.16: Mighty Sam (Mr. and Mrs. line. Untrue) Mclean and Brownsville. Fn.17: The Blue Riddim Band. Sun.19: Wavelength's listings are a free, The St. Croix Philharmonic Steel Or­ monthly public service. They are com­ chestra. Wed.22: Woodenhead and piled by Margaret Williams and Jon The Works. Fri.24: The Neville Bro­ Newlin; if you have information for us, thers. Sat.25: The Radiators. Tues.28: by all means tell us. Call 895-2342 for Safety Last, Tupelo's, Wednesday June 8. J.D. and the Jammers. Wed.29: The information.

WAVELENGTH/JUNE 1983 CLASSIFIED&

...., ~:. .,.·~- ~ -.· ~-. ,). . .. r· ··,"'=::::· . ·,, . LIVING BLUES, America's leading blues magazine; ·~ . ·~ · ~ ~I i' D~ · · ~ ').~ sample copy $2, subscription (4 issues) $8. Living Blues, 2615 N.Wilton, Chicago IL 60616. t., ~~a~~ ..~ . ~ . ·::~~\~~ PIANO TECHNICIAN has special selection of recon­ ~~ '. ·. t Ir t-"'· . ~IS ~ · '-.-ll~ ditioned upright, grand and player pianos, $795.00 Shepard H. Samuels ~ • "'< .~.. :.>- ...... ''i'.#- and up. Practice pianos $495 up. Wholesale prices on ~·- ~ Regular Features new pianos. For information call 1-242-0716. · Sundays-John Rankin E C L P S E Attorney at Law Mondays-James Carroll Louisiana Appearances: Juris Doctor-Louisimw, Bookerm May 31 The Heritage (Covington) June 9 Showboat (Fat City) Civil and Entertainment Tuesdays-Lil Queenie & Bruce June 21 Augie's Del Lago (Lakefront) MacDonald & John Magnie For Bookings: 504/364-7366 Wayne Law Practice Wednesdays-Mason Rufner & the Blues Rockers RHYTHM GUITARIST-singer with original songs looking for bassist and drummer to form nucleus of Thursdays-Bourre Cajun Band high-energy rock group. 899-0046. 899-3524 Special June Attractions MISSISSIPPI'S on this rocket and we know TAV FALCO'S PANTHER BURNS is outta this world. Fri. 3-Lil Queenie & Backtalk. We believe, Daddy, shouldn't you? Sat. 4-James Booker Rhythm & Blues Revue FEMALE VOCALIST/ keyboardist and lead guitarist Fri. 10-Radiators into R&R, originals, new wave, etc. are looking for serious bassist and drummer interested in forming a Sat. 11-Beausoleil band. Call Ariane,282-0417 (after 8 p.m.) or Mauriee, Fri. 17 & Sat. 18-Tony Brown 466-7499 (after 6 p.m.) Reggae Band Fri. 24-Rockin Dopsie & THE RECORD ONE-STOP OLDIE-BUT­ the Cajun Twisters GOODIE QUESTION OF THE MONTH What New Orleans artist did "Nothing Sweet As Sat. 2s-Caribe You"? The first 50 correct answers to the above ques­ 2 for 1-hiballs and draught-9 P.M. tion will receive a free oldie-but-goodie album. Write til showtime w/your answer c/o The Roadrunner, the Record One­ Shows 10 P.M. weeknights Step, P.O. Box 547 , Kenner LA 70063. The answer 10:30 weekends to last month's question was: Johnny Adams did the original version of "I Won't Cry."

8316 Oak Street MUSIC PROMOTION AND PUBLICITY Press releases, bios, promotional material, ads, press 866-9359 kits and everything else you need to get your band, club, special show or whatever the attention you deserve. Pendragon Productions, Keith Twitchell , 486-7236. NEED DRUMMER for pop band. Ready to do road work in Texas immediately. 504/ 383-3094 (B.R.) Whiskey, HARD TO FIND RECORDS CLASSIC NEW ORLEANS R&B We have the fmest selection in the world-and a mail­ 11ues order service to match. Send ~ Women, two 20• stamps for list of records and sample newsletter. DOWN HOME RECORDS, 10341 San Pablo Ave., El Cerrito CA And ... 94530 USA. REGGAE BEAT/ AFRICAN BEAT Magazine. ·OPUI Spreading Jah word internationally. For sample coipy, Published quarterly. 6 issues send $2 to Bongo Productions, P.O. Box 29820, Los already out with biographies & Angeles CA 90029. Subscription (12 issues) $8. interviews, discographies (i n REGGAE INVASION Heartland reggae linited edi­ Eng lish), articles on Chicago, tion award-winning reggae movie poster available in Mardi Gras, Cajun/Zydeco, color suitable for framing, 30 x 18". $5 U.S. including reviews (festivals & concerts, postage. Order from Music Freak Enterprises, P.O. books & records), lots of photos, Box 10, Station B, Toronto M5T 2T2, Canada. news, tour itineraries, radio GUIBANJOLINS? programs, small ads... Next issue Ffee catalog of guitars, banjos and mandolins by Gib­ (No. 7) out in September with full son, Martin, Ovation, Guild, Doboro, Yamaha, Ken­ auction lists & lots of surprises! tucky in all pric~ ranges. " I got it cheaper at Man­ dolin Brothers, 629-WL Forest, Staten Island, N.Y. Sample copy USA/Canada airmail OM 6,50 10310; 212/981-3226." (or 7 lACs), subscription airmail 1-8 OM 45,00; Japan OM 7,00 (8 lACs), subscr. DM DIS IS DA PLACE!'> 50,00; Australia DM 8,00 (9 lACs). subscr. WE SELL GREAT MUSIC, NOT JUST HITS® DM 55,00; Europe DM 5,00 (5 lACs), subscr. DM 35,00. WE MAIL-ORDER, export/ import and distribute worldwide all Louisiana and New Orleans labels. All foreign payment by IMO or American Rhythm & Blues, Zydeco, Cajun, New Orleans Jazz, Express in Deutsche Mark only, payable to: Contemporary, New Wave and anything else the local creative community invents in the meantime. We bring Thomas Gutberlet New Orleans music to the world, giving service New Blues Forum Orleans style: Half-Fast. Write or call John Berthelot, Glogauer Str. 22 Great Southern Record Co., Inc. Home of the New D-1000 Berlin 36 Orleans Sound'> , Oept.XW, P.O. Box 13977, New Orleans LA 70185. 504/482-4211. Write for available West·Germany catalogues, dealer inquiries invited. If there's or transfer to Postscheckkon'to something special you want, ask for it and we will try Berlin-West Nr. 438671-100. to find it for you.

36 WAVELENGTH/JUNE 1983 NEW ORLEANS ROCK 'N' ROLL Those oldies but goodies! If you're looking for those special records that you can't find anywhere else, send us your want list of 45's, LPs or tapes. Or if you would likeone of our catalogues, send $2 (to cover postage and handling, refundable from first order) to The Record One-Stop, P.O. Box 547, Kenner LA 70063. We have one of the largest stocks of oldie-but-goodie records in the South. Stoqee's Studio

$15 an hr. Amps, Drums 3 hr. min. Piano & Synethesizer FRIDAY. JUNE 10 Cassette Dups C St included a 11 onee MASON RUFFNER (504) 467-3655 AND THE BLUES ROCKERS FRIDAY, JUNE 17 OLDIES BUT GOODIES 45's available from The Record One-Stop: $2 each, any 6 for $11, add $2 for THE PRANKSTERS shipping and handling. Don & Dewey: Jelly Bean!I'm RHYTHM AND BLUES Leavin It All Up To You; Justine/Bim Bam; KoKo The Dutch bluesmagazine Joe/ The Letter; Big Boy Pete/Farmer John; Jerry Appears: quarterly Byrne: Why Did I Say Goodbye/You Know I Love FRIDAY. JUNE 24 Language: dutch You So; Raining; Lights Out; Tony Allen: Night Owl; Johnny Fuller: Haunted House; Swinging at the THE JIVE Printed in off-set, Creek/ Many Rivers Mighty Seas; Little Richard: Tutti SOUTHERN BOOGIE size: A4, illustrated with many photo s (past Fruitil l'm Just A Lonely Guy; Lucille/Send Me Some and present), record-covers and occasianally Lovin'; Miss Ann/Jenny Jenny; Keep A­ some drawings. At least 40 pages. Knockin'/ Can't Believe You Wanna Leave; Hey Hey Contains: Exclusive interviews, discographies, Hey/ Good Molly Miss Molly; Long Tall Sally/Slip­ biographies, information regarding new pin' and Slidin'; Ready Teddy/Rip It Up; All Around 1ssued blues-records, record-, book- and The World/ The Girl Can't Help It; She's Got concert-reviews, bluesnews from around the 11/ Heebie Jeebies; Shake A Hand/ All Night Long; world. Ooh My Soul/True Fine Mama; Guitar Slim: The Also regularly reports from The States. Things I Used To Do/ Well/ Done Got Over; I Got Somethin' For You / You're Gonna Miss Me; Later BLOCK IS BEING PUBLISHED BY: For You Baby/ Trouble Don't; Wynona Carr: Please Rien & Marion Wisse, Mr. Jailer/ Nursery Rhyme Rock; Clifton Chenier: P.O. Box 244, The Cal's Dreamin'/ Squeezebox Boogie; Lloyd Price: 7600 AE Almelo - The Netherlands Lawdy Miss Cl awdy/ Mailman Blues; Restless Phone: (0) 5490-19976 Hearts!Oooh Oooh Oooh; Country Boy Rock/Rock fish 'n' Roll Dance; Stagger Lee/Personality; Frankie Subscriptions: Ford: Roberta/Sea Cruise; Chris Kenner: Packin' Up; head Hfl. 15,- a year (Benelux) music Hfl. 17,50 a year (Europe) Jimmy Clanton: Go Jimmy Go// Trusted You; Venus Hfl. 25,- a year (outside Europe) In Blue Jeans; Just A Dream; Dixi-Kups: Chapel Of Love; Huey Smith: Rockin' Pneumonia; High Blood Single issues and/or sample copies: Pressure/ Don't You Just Know It; Havin' A Good Hfl. 4,50 (around the world) Time/ We Like Bird/and; Lee Allen: Watkin' With Mr. Payments: in advance. Make them payable Lee; Lee Dorsey: Ya Ya; Bobby Marchan: There Is to: M.A. Wisse, Something On Your Mind; Clarence Henry: But I Do/ You Always Hurt The One You Love; Ain't Got RICliators P.O. Box 244, 7600 AE Almelo, The Netherlands. No Home; Bobby Charles: See You Soon Babboon; Fri.3 ...... Benny French's Pay on my postal-account 3422782 Later Alligator; Rod Bernard: This Should Go On (Bay St. Louis) or by IMO Forever; James Rivers: Just A Closer Walk With Thee; Benny Spellman: Lipstick Traces/ Fortune Sat.4 ...... Jimmy's If you dig the blues subscribe to Teller; Earl King: Those Lonely Lonely Nights; Trick BLOCK now! Bag; Aaron Neville: Tel/It Like Ills; Waitin' At The Fri.lO ...... Maple Leaf Station; Art Nev'ille: Ooh Whee Baby/The Whiffen­ Sat.ll ...... Tipitina's poof Song; Cha-Dooky Doo/Zing Zing; All These Things; Big Boy Myles: Just To Hold My Tues.l4 ...... Tupelo's Hand/Hickory Dickory Dock; Larry Williams: Slow Fri.l7 ...... Boot Down/Dizzy Miss Lizzy; The Hootchy-Koo/The Sat.l8 ...... President Dummy; Bony Morone/ You Bug Me Baby; Short Fat Wednesdays and Sundays Fannie/ High School Dance; Just Because; Irma Fri.24 ...... Tupelo's Thomas: I Did My Part/It's Raining; Ernie K-Doe: Sat.25 ...... Tipitina's at the Rose Tattoo Mother-In-Law; 'Tain't It The Truth/Hello My Lover; Eddie Powers: A Gypsy Woman; Chuck Com­ Sun.26 ...... Pontchartrain eaux: Bells In My Heart; Professor Longhair: Big Classic Fridays and Saturdays Chief; Allan Collay: Last Chance; Hawkettes: Mar­ (Covington) at Phyllis Chalet di Gras Mambo; Stop, Inc.: Second Line; The Meters: Pauger at N. Rampart Hey Pocky Way; They All Axed For You; Bobby For complete monthly listings of Radiators' Moore's Rhythm Aces: Try My Love Again/Searching upcoming appearances, record info, For My Baby; Barbara Lynn: You'll Lose A Good original song lyrics and other news on Thing; dozens and dozens more. Send orders to: The topics ranging from The Law of the Fish Road Runner, c/o The Record One-Stop, P.O. Box to Life on Mars, send name and address to: 547, Kenner, LA. 70063. Fish Headquarters Atlantis 140 S. Clark St. BED & BREAKFAST INC. Jazz Funk Fusion Overnight lodging in private homes. Economy, New· Orleans, LA 70119 moderate and de luxe accomodations. Information: 504-488-0493 1236 Decatur Street, New Orleans LA 70116. and you'll receive the Radiators' Booking Info: 944-4607 504/ 525-4640. monthly newsletter

WAVELENGTH/ JUNE 1983 37 LAST PAGE

Notable quotes from this year's Jazz Fest: Eddie Do's exhortation to the crowd to "Give yourself a round of applause, you de­ serve yourself!"; Johnny Adams, invited to sing in the Festival Tent with Bobby McFer­ rin, exclaiming after an ovation, "I don't know what I'm doin' here ... "; and Marcia Ball's "When I'm an old lady, so old I can't get out of the bed, I'm gonna wake up in the morning and say, 'Damn, I wish I was at the Jazz Fest.' " Wonder why Rockin' Dopsie didn't ap­ pear as advertised at Jimmy's on May 12? He forgot the date and booked another job in Breaux Bridge-also apropos the absent­ minded accordionist, the latest addition to the Cajun Twisters is Robert St. Judy, late of Clifton Chenier and Buckwheat Dural's aggregations ... Butch McDade, former drummer with the Amazing Rhythm Aces (of Low Rent Rendezvous fame) is the latest addition to Mason Ruffner's Blues Rockers ... The Radiators rumored to be The Models add a new member. shoppin' A to Z for a label...Luigi's has abandoned its Wednesday night live music policy ... Rounder Records, which recently tra, conductor Andrew Massey and Lewis), Orientalist, publisher of Karrollton signed both Tuts Washington and Johnny pythons, macaws, seals, penguins, giraffes, Karnality and universally respected authori­ Adams, recently "inked a pact" as they say otters, donkeys, tigers, owls, miniature ty on Unpopular Music, Faruk Von Turk in show-biz with tall-tan-terrific Marcia Ball. horses and a number of other creatures will be going out over the aether with a series Speaking of Tuts, he recently left the Hotel you'll never see at the Orpheum (with any of famous works of world literature to be Pontchartrain's Bayou Bar, with Joel Simp­ luck) ... Fats Domino back from Florida illustrated/illuminated with selections from son taking over the ivories in the p.m.; some dates, and soon off to Europe where he will his enviable collection of the (often deser­ acrimony was reported, but Tuts will be be joined by Mr. Google-Eyes. Also slated vedly) forgotten-on-shellac, to be aired on bringing his virtuosity to Preservation Hall to cross the water: Cousin Joe this summer WWOZ-FM. Exactly which works would be from now on. and Boogie Bill Webb at the beginning of rendered in this manner remains, as always June 8 is the deadline for proposals for next year ... Gatemouth Brown, who himself with Von Turk, mysterious-Bussy­ the 1984 Municipal Endowment Grants for just returned from The Continent, has two Rabutin's Histoire Amoreuse des Gauls? the arts; for more info, contact the Arts new albums-One More Mile on Rounder Pepys' Diaries? William Gaddis' The Council of New Orleans at 523-1465 .. .in the and a Swiss bootleg of a live date. Recognitions? The Eddas or Evelina by same vein, one of the many prizes in the 8th Atlantis have added a new horn player, Fanny Burney? It's anybody's guess what Annual Old-Time Country Music Contest Tim Green, formerly with Irma Thomas and Von Turk's Theatre of the Air (with scripts (Box 8089, Omaha, NEB 68103) is a recor­ Gatemouth Brown. Their new headquarters by F.V.T. himself, performed by his Sons ding date at a top Nashville studio and 500 are the Phyllis Chalet at Pauger and North of the Sand Not Ready For Air-Time free records pressed at Floyd Soileau's Ville Rampart (the place where James Rivers was Players) will include-but there's simply no Platte Pressing plant. The contest goes on shot). doubt that it can't be missed. Sundays at (with categories for fiddler, singer, bluegrass June birthdays of local note are the 5:30, or for the indolent/ indigent among us, band, etc.) Sept.2 to 4 at the Pottawattamie pognathously ugly gay Storyville professor Tuesday and Thursday mornings at 9 a.m. Fairgrounds, "just west of Des Moines, Toney Jackson, composer of Pretty Baby Allen Toussaint will perform (at lowered Iowa." ... Chrome recently closed down and saluted as their superior by Jelly Roll cover prices) in the Fairmont's Blue Room Rockabilly's, a big Houston club (literally) Morton and Clarence Williams (June 5); for six days-you've heard of nine-day­ during a series of Texas dates ... Caveat clarinetist Raymond Burke (June 6); pianist wonders, well. .. the dates are June 29 Emptor of exorbitantly priced Huey Smith and singer Billie (I'm In The Racket) Pierce, through July 5 ... And another first for local and Frankie Ford albums on Ace being one of the indispensable New Orleans voices music: producer Ken Keene announces (pro­ fobbed off as originals that are popping up (June 8); New Orleans Rhythm King Paul udly, we imagine) the World's First Record in local stores-they are repressings being Mares (June 15); Deacon John (June 21); Produced By Telephone: Bony Morone by sold in their original jackets. Memphis Minnie, the nonpareil blues sing­ Fort Worth singer BiUy Day. Don't even ask Zachary Richard's group has disbanded er/ guitarist "born in Louisiana and raised what they'll think of next. .. with the two French members, Freddy in Algiers" (June 24); brass bandsman J.D. of J.D. and the Jammers has had a Koella and Jean Michel Biger heading back Oscar "Chicken" Henry (June 28); and little identity crisis lately. First, when he and to La Belle France; Richard's new band in­ trumpet virtuoso Wallace Davenport (June band subbed for the Blue Vipers at the re­ cludes members of Sonny Landreth's group. 30). Also of note: the feast day of St. An­ cent benefit for Wilkinson Row, they were Richard also heads to Montreal late this thony, who inspired that great local introduced as the Vipers and identified as month for work on a new album ... Look this prayer-"Saint Ant'ny, start lookin' the B.V.'s in subsequent media coverage. month for Taken, a new group with Jacques around, there's somethin' lost that's gotta Then, onstage with Willie Tee at the Fair Grundy formerly of The Look on lead, be found"-on June 13 and eerie St. John's Grounds, Willie referred to J.D. as "T.J." Rebecca Nice on keyboards and lead vocals, Eve on June 23. Then, Channel 6 played a good two minutes George McQueen on drums, Corbett Kent The Models have recently added key­ of the band in Jackson Square and didn't on rhythm guitar, and ex-Singles member boardist Gary Attardo, formerly of White even bother to identify them at all.. .so for Charlie Wyman on bass ... the end of May Tiger, to their lineup. The band is current­ those of you out there who have heard how saw yet another demonstration that the local ly negotiating with a major management good the Vipers were at Wilkinson, or how music scene is just a jungle, folks: the and record company in New York and plan hot Willie Tee's band was at the Fest or saw Musical Zoo Revue on May 27 and 28 at the to showcase there late this month. that unnamed musician on Channel 6 and Audubon Zoo, in which the participants in­ Master showman, radio personality (a want to see and hear more, check out J.D. cluded the New Orleans Symphony Orches- combination of Arch Oboler and Ted at Carrollton Station. • 38 WAVELENGTH/ JUNE 1983 CHOUPAZINE RIANGLE

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