University of New Orleans ScholarWorks@UNO

Wavelength Midlo Center for New Orleans Studies

4-1985

Wavelength (April 1985)

Connie Atkinson University of New Orleans

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Recommended Citation Wavelength (April 1985) 54 https://scholarworks.uno.edu/wavelength/53

This Book is brought to you for free and open access by the Midlo Center for New Orleans Studies at ScholarWorks@UNO. It has been accepted for inclusion in Wavelength by an authorized administrator of ScholarWorks@UNO. For more information, please contact [email protected]. NEW ORLEANS MUSIC · MAGAZINE

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ALVIN BATISTE AND THE MEANING OF JAZZ

Rouge ,~···. , Jazz dl Orleans Jazz in Chicago / Il-l- -SF)I~II S - 101~- St. Charles at Lee Circle

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Monday through S~toraayl0:00..-7:00~ ~Tiatt!ng. Phone: (504) 561-5050. Photo rosa~

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To The Editor: I have been an avid reader of Wavelength since its inception. Since I have moved to Colorado (the ~tate that soul forgot), I enjoy it even more. My only disappointment with U'avelength is that Tipitina's only rated last page coverage. Tip's was one of the finest music clubs anywhere and I shed a few tears when I received the news that it closed. I think Tipitina's, its history, To label San Francisco "gayland"' musicians, DIANA ROSENBERG the people that made up is a gross insult to a city that has a the organization, and all of the good large homosexual population but is 'The Best Fbr Lest' times it provided deserved much not predominantly gay. more of a farewell than Wavelength -Lee Hildebrand gave it. I spent many hours there lis­ Oakland, California "Now serving the best for lest [sic] around town!' So reads the tening to music, dancing, meeting hand-lettered sign on the wall of Henry's Soul Food and Pie Shop. It may people and once I even got a little To The Editor: not be great poetry but it's not false advertising, either. If you rely on local tipsy while the Radiators were play.:" Wavelength is the best music mag· food critics as a guide to find soul food, you may end up at Eddie's looking ing. I am saddened by its passing azine I've read. To say that I enjoy it for backbones or turkey necks, and you may end up asking how the place and hope to see more about Tip's in immensely doesn't seem strong was ever labeled a "soul food" restaurant when they don't serve cornbread the pages of Wavelength. enough praise. So "someone really or greens. Like the music industry moguls who, in their walk down the -Rick Hoffman loves you, guess who, guess who!' middle of the road, have come to label everything from Lou Rawls to James Buena Vista, Colorado -Ivory Joe Hunter Brown as soul artists, the local food press has faHed to distinguish food with -Jesse Belvi1 soul from soul food. Sure, venerable institutions like Buster Holmes and To the Editor: -Ford Eagli1 Chez Helene have been given their due, but the latter, with its oysters en Just wanted to let you know that -PeterWi brochette, jambalaya, and Creole-stuffed peppers, is far more than a soul I was rather distressed by the head­ Medina, joint. line, "Blues in Gayland," that ap­ New Orleans' soul food restaurants rely on the same staples as those in peared on my review of the San To The Editor: other cities: beans, greens, cornbread, stewed chicken and meatloaf with rice Francisco Blues Festival. Several Thank you for g1vmg me smothered in gravy. There are variations on this menu special to our city and people, who were not acquainted opportunity to praise the many tal· countless differences across restaurants. Red beans and rice, crowder peas with journalism and did not know ented and dedicated music teachers with okra and fresh fried trout or catfish are all regional specialties. Each that writers usually do not com­ in the public schools of New month this column will go below the world of the underground gourmet to pose their own heads, approached Orleans. [WL 53]. The te some of the city's most exciting and inexpensive ea(erys, beginning with its me and asked if I had written it. need all the recognition and support soul food restaurants. Next month, look here for the scoop on Henry's, While I explained that I had not, I that this community can provide. home of the "best for lest!' nevertheless remain embarrassed -AI Kennedy that such a stupid, insensitive Communications Coordinator -Macon Fry headline accompanies my piece. New Orleans Public Schools

4 WAVELENGTH/APRIL 1985 • • • •

··················· YES, '"'" "'""''C"Phoo lo WAVE LENGTH, Now O

CARIBBEAN GENE SCARAMUZZO Roots of the Radics . -:..:..,· '. '. With the ltals, here's a rare opportunity to

... '·,t see and hear the band that is almost singlehandedly responsible for today's reggae sound.

or the second time in less than time around by the inclusion of two years a reggae tour will be another roots singer, Don Carlos. Fpassing through New Orleans One of the founding members back and Lafayette, Louisiana, that in 1974 of the now-defunct Black includes Jamaica's hardest, most Uhuru, Don Carlos left the band sought-after back-up band, the before it achieved its commercial Roots Radics. Make no mistake, success by teaming up with Sly and this show, which will feature the Robbie. His solo albums and singles Roots Radics backing up the Itals have ranged from good to excellent, and Don Carlos, scheduled to especially a cut called "Spread Out:' appear at Jimmy's in New Orleans and we'll be getting the chance to on Thursday, April 11 and in Lafay­ hear him at an opportune moment ette at Grant Street Dance Hall the because his brand new album, Just next night, will be a rare opportunity A Passing Glance, is one of the fin­ to see and hear the band that is est reggae records to come out so far POSTERS & TEES almost single-handedly responsible in 1985. for today's reggae sound. Either the I'm guessing that the sound will Radics or Sly and Robbie's Taxi be the same on this tour, and the rea­ NOW ARRIVING Gang appear on practically 75 per­ son goes back to the fact that back­ cent of the reggae records that make up will be provided by the Radics. A it to the States, backing up artists show with the Radics is a treat like Gregory Isaacs, Frankie Paul, because they play in a clean, sparse, Sugar Minott, Melodians and many, super-heavy bass style that virtually many more. With a roster of artists no other touring band except possi­ like that requesting their time, the bly Freddie McGregor's Studio One Radics find themselves in the studio Band has the self-control and cool most of the time, but the Itals in to play. 1983 and Gregory Isaacs last sum­ mer managed to pull them away for ack on March 8, dance hall live performances in America. That star Sugar Minott appeared the Radics would agree to tour with B in Lafayette, and part of the the ltals is not surprising, consider­ New Orleans posse made the trip. ing the success of the first tour. The For a number of reasons beyond the Itals are a vocal trio that specialize control of Sugar Minott, the show l

6 WAVELENGTH/APRIL 1985 sing friVIDI01liS war. area aedicated "There are certain things you fllisht be singing and hear two exclusively to DRUMMERS and DRUMMING! on around you that make you gunshot... it kinda boosts you up. revolutionary songs, 'cause you . Even police and soldier, if they ina happening every day that dance and they feel nice ... they lick certain reaction. Sometime shot!' Thankfully, less bullets are have to just rebel in your music, going into humans, but it still things like water pump and sounds too much ina cowboy stylee •• y ·····~··· like that, to me it's kinda... tome. -I:EIITEII music!' He went on to say o many good reggae and ~ he prefers ghetto music, slow calypso/soca albums ·have and "cool-listenillg reggae!' Scome out recently that I dance hall hits. such as "Level couldn't do justice to them in the SALES••• SERVICE ••• INSTRUCTION ., "Dance Hall We Deh:' short amount of space I have left. ALL MAJOR BRANDS e COMPETITIVE PRICES Dance Hall Style etc., Check back next issue for a review have given the impression or of Island Records' excellent new e COMPLETE TEACHING FACILiTIES Minott 8S dance hall king, Reggae Greats series, a reissue by in his own words, "requested:' Shanachie of one of the all time 2013 WILUAMS 8LVD. 466-8484 likely by financial backers (the great dub albums, King 7Ubbys llkllllitOlliS executive producers) try- Meets Rockers Uptown, albums by to perpetuate the cash flow. the Mighty Sparrow, Shorty and more. Caribbean Show recommenda­ tions this month come from both ew Booking and promoting Jamaica and Trinidad. Ina Jamaica 12" single style comes Shinehead Odeans the musk of South louisiana with "Billie Jean" /"Mama Used to SaY,' and Barrington Levy with Jah Screw doing "Under Me Sensi!' The latter uses an old 18xi Gang (Sly and Talent Robbie) riddim called "Goal­ keeper" with a really catchy trom­ bone-hook, and the lyrics expound a Ex-e,:,.__ ___...... bit of truth with "Hey Babylon, you no .like ganjaman, but the weed bring the foreign purse upon the Jason Patterson and Jerry Brock island!' I like the new trend of including two different vocal mixes (504) 944-2369 plus version of 12" 18xi singles, giv­ I.ooltjor the N.O. T.E. Spring Series beginning April 19th. ing three different cuts for the money. And it's movie theme time for 12" singles, too, with Shine­ head's intermittent whistling of the FIStful of Dollars· theme on "Billie Jean" as well as a RAS release by Paul Blake and the Bloodfire Posse of the Pink Panther theme. From high incidence of gunplay in Trinidad comes an album of calyp­ dance halls was another sos and soca from Calypso Rose, that we discussed with Minott, called Pan in Town, that is excellent, again his reply flipped us out. especially a cut called "Huttam Pul­ explained that most of the music lam!' And a 12" single from Bally THE 1985 NIW ORLIANS violence in dance halls, songs has three great sorigs, each in a dif­ "Gunshot:• "Worries in the ferent style with witty lyrics ... IAII a HIRITAGI FISTIVAL " "Lickshot:' ad infinitum, "Gimme Piece:• a funny plea to his been addressing recent prob­ dou dou to stop the fighting and IS COMING! but that things had calmed give him a little peace (double enten­ "Everything cool now... dre time), "Me Neh Fightin"' and April 16th-May 5th, 1985 INY1thirur kinda nice. Right now "Tax Monkey!' Trinidad Carnival EYCning Concerts, The Heritage Fair. you hear a gunshot in the '85 awards will be announced next a salute 0 TICkets for all Jazz Festival events are on sale now at hall, it's like more of month. all TICketrnasta' outlets. An official brochure, with a complete schedule of LID D'RIII'AIIIIIBirrDAILY entertainment, as ~II as ticket order form, can be MUSIC e BOOZE e FOOD obtained by sending a self-addressed, stamped erM­ Iope to: New Orleans Jazz and Heritage Festival, P.O. Box 2530, New Orleans, LA 70176. For more Information call: (504) 568-0251 Just • few ol the performers Mila DeYis, Wynton Mlr'SIIIs, Sarah Vaughan, ~ Gyre, Stevie Ray Vaughen, Bobby "Biue"llland, Ry Cooder, Allen Toussaint, Doug Kershllw, Bonnie Raitt, Roy Ayers, Run DMC, Tl*d World, Albert King, Doc watson, Famous Selem Tnwelen, Neville Brothers, Staple Singers, Dr. John, Roy Orbison, Marthe Raws, Lany Corydc, Leo Kottlre, Blr-Kays, Ron cater, Wille Dixon, Tania Mlril, lrml Thomes, Lee Dorsey, Sipple Wellece.

IN THE FRENCH QUARTER J 104 DECATUR STREET CALL FOR SCHEDULE OF EVENTS 525-8199 •••adanai.._.G

APRIL 1IIIIWIWELENGTH 7 IT'S ALL MUSIC MARK BINGHAM ./ Dick Gregory and the AIDS Conspiracy

ou got a big job to do and not White jokes, black jokes; Harry Chapin lionized; Honeymooners. Hmmm. Sounds much time... Dick Gregory but is it a performance?; and the latest from like the Sixties to me. Hmmm. Y recently spoke at Tulane, .,.Recent biggies ... the buy from delivering his greatest hits plus Albania (can you wait?) Australia who inserts hooks into his some. As a comedian, Gregory is a skin and hangs himself in public master of the touchy genre of race intelligence. squeeze on many a Hollywood places for hours at a time. Perform­ jokes. We laughed at his mentions of Gregory's quests these days are mensch to cough up in the direction ance as exquisite pain has not yet hit what blacks think of the way whites spiritual-nutritional. He has used of African relief. Chapin was a the major galleries. Half Gertrude dance, eat, make love, budget, and, himself as a test animal to try out driven man, but a terrible driver. Stein - half Cosmo girl Laurie of course, we went wild over new food stuffs that can be fed to people Dammit, Harry, I told you not to Anderson is the true perfect modern extensions of the ever-popular size­ who are in advanced stages of star­ drive so fast! Harry's last words to woman and a strong contender for of-penis debate. No, black "pee vation. Gregory starves himself for this writer, "See you again, we're in ·Yuppie of the year. Anderson proves wees:' as Gregory called them, do extended periods, then recovers the same business, you know?' once and for all that the Sixties were not touch the ground. Most white using formulas made primarily Harry, thanks for the lift. the future. pee wees can actually be seen with­ from kelp . . Similar approaches are .,.What about New Orleans, where out the aid of a microscope. If white being taken right now· in Ethiopia. * * * time stands still? At Don Marshall's pee wees are actually smaller, it's (Much of the food going to Ethiopia Performance ... Taking polls is Contemporary Arts Center we find because white boys spend too much wou:ld kill the people if they ate it. fun. I wanted to find out what peo­ authentic government-sponsored time using their tongues. Hmmm. The body can't take the shock of ple knew about Performance. Not artsy fartsy Performance as Albng the same lines we were told say, a can of creamed corn, after Performance Art, that's like saying opposed to the Mardi Gras and that blacks don't get herpes because going without for a month.) Painting Art. The results were pre­ Eccentric Local Color Permanent herpes is linked to lysine, which is Gregory's favorite topic of the dictable. Nobody k'nows shit. Performance Pieces more readily licked, I mean linked, to sunburn, past is conspiracy. Most of us know Mostly I got names. The mid­ available here. Like Don Kirshner's which is linked to the destruction of who killed JFK and MLK but Eighties way of discussing art is to Rock Concert, the spiritual fore­ the ozone layer. Blacks don't sun­ Brother Greg has come up with namedrop and pontificate. These runner to MTV, Don Marshall's bathe. Nor do they use their tongues some theories that would scare any­ names were dropped the most and/ CAC has a singular approach to the to caress soft pink blood-swollen one ... even the President of the or added by me to round it out. Performance genre. While Don parts of the body. U.S.A. AIDS was researched and .,.John Cage ... A philosopher pos­ Kirschner had his performers play to Gregory is much more than a developed by the white racist power ing as a composer... Likes chess, the cameras in an empty theatre, comedian, however. After softening structure as a weapon against gays? mushroom hunting and fudgep~ck­ adding the audience later, Don up the crowd with so many white The Secret Service was responsible ing ... wrote A Year From Mon­ Marshall often·gives his performers jokes, he addressed the blacks in for the attempted assassination of day... invented Happenings? ... more than one audience ·at a time. chilling fashion. According to Gre­ Ronald Reagan? I suggest you go Used I Ching and other Oriental­ Video feeds to another room? gory, American blacks are rotten on see Dick Gregory and hear the rest isms. The BIG KAHUNA of Per­ Simulcasts to public access? Live the inside, devoid of spirit, which is for yourself. Meanwhile, get me a formance. radio? No. Don Marshall's genius why they are so infatuated with the tape measure and some wheatgrass .,.Others... Martha Graham, Yoko lies in scheduling, using random concept of soul. Stating that Black juice ... please. Ono, Chris Burden, Blaine Kern, genre juxtapositions to create pow­ America is "the fifth largest eco­ * * * John Giorno, TV, Chinese Opera, erful aleatoric statements. The com­ nomic power in the world;' Brother I'm just wild about Harry•.• Out Noh theatre, bad painters who want bining of the magnificent film Greg pleaded with the crowd to of nowhere, Harry Chapin is being to make it in the art world, anyone documentary Say Amen, Somebody change their diets, discard fashion, lionized for his efforts to fight hun­ who ever went to Bard or Sarah with the dress rehearsal of a play in hipness, badness, doo-wop, alco­ ger in Africa. It seems that Chapin Lawrence, the Harlem Globe­ the theatre next door to where the hol, drugs, guns, violence and Jesus was out there doing over 500 con­ tratters, Andy Warhol, Marshall film was showing said more about in exchange for purity, dignity and a certs to benefit Africa years before McLuhan, the Living Theatre, Sam the temporal nature of life than chance at oneness with the universal anyone else. It seems that he put the Shepard's early plays and The either work could have on its own. Dalt Wonk's Spiritual Gifts took on new meaning when combined with sounds from the Electronic Cabarel down the hall. Most films are easier to appr~iate when you also get to listen to a theatre audience queue up one wall and a few feet from where you are viewing the film, don't you think? It's all art, I guess. * * * News from Albania .•• Astoria, - Queens, is not Albania but it is one of the few places in the states to find Albanian records and rare qualities of paprika. I'm happy to report that Yugoslavian videos do exist. Leda Brena is a singer with a band that spins the Boney M, ABBA, Blondie axis and has produced videos. In one of the videos, partygoers eat chips and dip while flirting. It is good to know that they have chips and dip in Belgrade. .__ * * * Meanwhile••• I found out what Harmelodics might be in a musical sense, which differs greatly from ils use in journalism. Next month ... Also, now that we know that we are the world, what are you gonna do about it? Whatever you choose to The World's Fair as Performance CARLOS BOLL do, don't forget. .. it's all music. I I

8 WAVELENGTH/APRIL 1985 stage is to see him as he really is - straight out of the grand tradition of great showmen who know exactly how to please an audience. For in truth, while Michael has his sequined glove and furry stage friends for some high-tech laser sword and sorcery, Prince has his royal sceptre, bubble-bath, ejaculating guitar -and more costume changes than Mi­ chael (or Diana Ross for that matter). And while his fine band may be called The Revolution, all these special effects Anderson is engineering ... IGcking off and props, dazzling lights and slick a busy season, The Complex Studios in choreography were strictly showbiz­ Los Angeles played host to The Jacksons as-usual pt its most calculating and effec­ recently. The group mixed their latest tive. The IGd's certainly come a long way single, "Wait," at the studio. The project since he was booed offstage opening for was engineered by Greg Ladanyi, who the Stones in '81. also mixed Don Henley's new single at the facility. Danny Kortchmar co-pro­ duced. Kortchmar also added some of Top of his own touch when David Lindley the Charts tracked and mixed his latest solo album at The Complex. The disc was produced No. Albums Singles and engineered by Ladanyi and Tom Knox, with Murray Dvorkin as seco~d 1 She's The Boss "Can't Fight Mick Jagger This Feelin' engineer. Next up, Melissa Manchester (Columbia) REO Spee agon was at The Complex, cutting her new (Epic) MCA album with George Duke produc­ 2 Falcon & "California Girls" ing, Tom Vicari ~ngineering and Sharon The Snowman David Lee Roth Rice assisting. Last but not least, Com­ Soundtrack (Warner Bros.) plex owner and engineering ace George (EMI) Massenberg engineered the soundtrack 3 Centertield "The Heat Is On" sessions for the upcoming feature film, John Fogerty Glenn Frey A Certain Fury and an LP for top Austra­ (Warner Bros.) (MCA) lian act Goanna ... And out at Sound 4 No Jacket Required "Too Late Phil Collins For Goodbyes" Summit in Lake Geneva, WI, Cheap (Atlantic) Julian Lennon Trick are at work on their new CBS al­ (Atlantic) bum. Jack Douglas is producing, Paul 5 The Firm "Material Girl" Klingberg is engineering and JoJm Pat­ The Firm Madonna terson is assistant engineer. (Atlantic) (Warner Bros.) 6 Building The "Only The Young" Perfect Beast Journey Critic's Choice: Don Henley (Geffen) lain Blair Bows To His Royal (Geffen) Badness-Prince 7 Visionquest "One More Night" Soundtrack Phil Collins The Star swept into LA for a six-night/ (Geffen) (Atlantic) On Tour .•. sex-night sell-out at The Forum and pre­ 8 Breakfast Club "Cateless Whispers" Bronski Beat, the controversial British electro trio, bring their act to the stages of dictably blew away all pretenders to the Soundtrack Wham! America supporting Madonna. Their tour of major arenas and halls begins in throne with a two-hour extravaganza (A&M) (Columbi~) that left fans and critics gasping for air. mid-April in Seattle and runs until June, when they hit the Big Apple. Though an . 9 Heartbeat City "I Wanna Know What unlikely contender for chart success based on image (elfin) and lyrical stance For if 1984 belonged to Michael Jackson, Cars Love Is" 1985 is already Prince's despite the inev­ (Eiektra) Foreigner (de_i!dly serious), the group has still managed to top the charts in England and (Atlantic) crack America's Top 40. Much of the credit goes to Jimmy Sommerville (seen itable backlash and escalating stories of Royal Brattiness. And on the strength of 10 . Agent Provocateur "Lovergirl" here in t-shirt), whose high-pitched, even vocals are immediately recognizable these supercharged shows his victory is Foreigner Teena Marie on the band's hits "Why?" "Small town Boy," and "It Ain't Necessarily So." well-deserved. After a rhythmically im­ (Atlantic) (Epic) pressive but lightweight opening set by gator Records. In the producer's seat Sheila E., His Badness strutted on stage In The Studio ••• was another six-string legend, Stevie and unleashed the perfect opening num­ Personal Favorites Oeniece Williams stopped by Sound Ray Vaughan. Vaughan, meanwhile, ber, "Let's Go Crazy," on an ecstatic David Hidalgo, guitarist, vocalist, and Image Studios in Hollywood recently to has been working on his own new CBS audience that appeared to cut across all accordion player with Los Lobos, names cut some tracks with her co-writer Mont release at Compass Point Studios in Nas· normal rock and roll demographics - his five favorite songs: 1) "Rich Wo­ Seward and engineer Elliott Peters ... sau, the Bahamas ... Los Angeles' What young and old, white and black, the man" -Lil Millet; 2) "Corrido De Pedro Two American guitar greats met up in Is This journeyed to Woodstock, New overdressed and underdressed all hap­ Infante" - Los Alegres De Teran; Texas a little while back. The studio was York, where they are cutting an MCA pily shared the gospel according to The 3) "Anything You Want" - The Del Austin Recording, where guitarist Lon­ album with producer Todd Rundgren. Prince of Porn. And while a lot has been Fuegosi 4) "Rebel Kind"-The True Be­ nie Mack was overdubbing and mixing The sessions are taking place at made of Prince's blatant sexuality and lievers; 5) "Cumbio De Lust" - Rick some tracks for his new album on Alli- Rundgren's Utopia Recording. Chris Bad Boy reputation, to see him work a Ovalle Y Su Orchestra.

Warning: The Surgeon General Has Determined .That Cigarette Smoking Is Dangerous to Your Health. WAREHOUSE RECORDS CASSffiES VIDEO A New Star Rising GIFTS POSTERS T-SHIRTS The strong, beautiful voice of Congolese singer M'Bilia Bel is gaining popularity here.

joan armatrading .s evidenced by the number of request line calls to both A WTUL:s World of Reggae secret secrets show and WWOZ's Caribbean Show, a hot, new African pop star is rising named M'Bilia Bel. A strong, beautiful voice like hers could hardly go unrecognized, but her 4.99 sudden rise in New Orleans is sur­ prising considering she sings Congo­ LP/CASS. lese soukous style, a form of COMPACT DISC 10.99 African pop that up until now has not gained much popularity here. From Zaire, M'Bilia Bel has been for several years a protegee of Tabu SEE JOAN'S Ley Rochereau and has appeared on several of his albums as well as per­ NEW· VIDEO formed live in America during Rochereau 's 1984 tour of the States. AT FAIRMONS It was mentioned in this column back in May 1984 that it was our big ON APRIL 13TH loss that no New Orleans promoter ~~~DON'T MISS IT at the time was willing to bring the [!] Rochereau tour through New RECORDS Orleans because the music sounded too much "like Cuban music~' It was our loss because every review I read of the tour was enthusiastic and always included glowing reports of Also Available on M'Bilia Bel. further into these sounds, there is The album that has brought her another Shanachie release that fea­ to light is a new release on Shanachie tures Zaire's most famous guitarist, A&M Discs & Cassettes called Bameli Soy, which presents Franco, teamed up with Zaire's four long cuts sung in French and most famous vocalist, Tabu Ley Lingala (the majority language of (Seigneur) Rochereau. The album, Zaire). The opening cut, "Faux entitled Otnona Wapi, is a reissue of Pax;• was a single and a big hit for a 1983 release called L'Evenement her in Africa (the Congolese sound (The Event), Rochereau et Franco a continues to be the biggest selling of Paris, which was a huge success all African styles throughout the because it was truly an event. .. the continent) and is having similar suc­ first time these two superstars had cess in New Orleans thanks to the gotten together on record. Two of Shanachie release. For those who the four cuts on this album, want to hear more, M'Bilia Bel can "Ngungi" and "Kabassele -In be heard on several other records. Memoriom;• are beautiful in every 4.99 LP/CASS. 4.99 LP/CASS Most easily available is another sense- music and vocals. The reis­ 10.99 COMPACT DISC 10.99 COMPACT DISC Shanachie release called Tabu Ley, a sue has mixed up the song titles so compilation album put together to that the order listed on the jackel coincide with the Rochereau tour. does not coincide with the order of Joan Armatrading Actually a Rochereau album, Tabu the songs listed on the disc label. Track Record Ley features M'Bilia Bel on two The true song order is that which is cuts, most notably "Eswi Yo Wapi~' listed on the album jacket. And two African releases that occa­ While it is encouraging, and sionally show up in import stores somewhat surprising, that soukous here are M'Bilia Bel Avec Seigneur is finally breaking here in New Rochereau et L'Afrisa Interna­ Orleans, it will not be at all surpris­ tional, which includes two really ing if the new Orlando Julius fine performances of "Eswi Yo album, entitled Dance Afro-Beat, Wapi" and "Kelhia;• and a recent becomes an overnight sensation. release called Bagerants Ya Mabala, Three cuts from the album, "Dance 3.99 LP/CASS. 4.99 LP/CASS. which I haven't heard yet but which Afro-Beat;• "A Dara" and "Aye Le:· 10.99 COMPACT DISC got only a lukewarm review by Eliza­ have been getting heavy airplay on beth Sobo in the Reggae and Afri­ WWOZ's Caribbean Show and the can Beat magazine. response has been enthusiastic. OPEN ~ 7 DAYS The main elements of the Congo­ Orlando Julius (OJ) Ekemode is a lese soukous sound are the full, rich recording star from Nigeria who SHOP 10 A.M. 'TIL MIDNIGHT vocals, Cuban rhythms (rhumbas, began his career in the early Sixties etc.) and the multiple guitar work and subsequently moved to Los METAIRIE GRETNA KENNER that adds melody and percussion Angeles. He and his band, Ashiko, 4029 VETERANS 522 LAPALCO 3617 WILLIAMS (Between Cleary (Near Wall) (Near West Esplanade) because its being played in a single have blended Afro-beat, juju, high­ 888-6130 392-5860 443-2431 note style rather than chords. For life and funk to form a sound that is those who would like to delve a little guaranteed to make you dance. The

10 WAVELENGTH/APRIL 1985 horn section in particular charges Examination" (fortunately, a lyrics ahead and dominates the overall sheet is provided). The chorus of sound in a way that will sound "You are guilty... yes you are" is familiar to ears accustomed to rock chilling, and to quote from the press 'n' roll and jazz, but the rhythms release that accompanied this and vocals are strictly African. This album, the lyrics "in the context of album is highly recommended. (Fela's recent) arrest and his pre­ he two main creators of Afro­ vious history of harassment by the beat, Fela Anikulapo Kuti and police, military and government of Tdrummer Tony Allen, each Nigeria ... provide a powerful state­ have a new album out and both fea­ ment on African justice!' ture high energy music. The Afro­ On this front, Fela's troubles con­ beat style is a complex array of tinue, stemming from his arrest for rhythms a Ia James Brown, where currency trafficking as he prepared every musician, whether he be play­ to fly out of Lagos airport last Sep­ ing drums, guitar, horn or keyboard, tember for his flrst tour of America is adding to the rhythmatic inter­ in 15 years. He compounded his play. Tony Allen, who drummed for problem when, released on bail but Fela for 15 years and who some con­ denied the freedom to leave the sider to be the real force behind country, he called a press conference Afro-beat, has ventured on his own to "denounce the Nigerian gover­ to release what I believe is his third ment's actions and state his feeling solo album, entitled N.E.P.A. The that his travel to America was delib­ title is both the acronym for the erately being obstructed due to his Nigerian power and light company criticism of Nigerian establishment We're your PAL and Allen's critical renaming to institutions~· These statements Never Expect Power Always, a com­ resulted in his second arrest for Rentals • Sales • Installations mentary on the company's frequent "unauthorized public criticism of power blackouts. The album con­ the government:' Now, the govern­ tains only two cuts but each features ment has effectively silenced Ft":la by PRO AUDIO-LIGHTING a "dance dub" after the vocal cut. sentencing him to five years impris­ The songs feature Tony Allen play­ onment. The details of the arrest SERVICES INC. ing almost a train beat, fast and and subsequent trial show blatant driving, that never lets up. I much prejudice against Fela, with probable 24 Hr. Phone P.O. BOX 73592 JAREDJOLY prefer the dance dubs, which cook motivation of preventing him from 454-3713 METAIRIE, LA 70033 President

JIMMY'S APRIL Wed/3 Channel Zero Thurs/4 Teaser Fri/5 Multiple Places Sat/6 Union Chant Wed/10 Party Bullet Thurs/11 Reggae Show w/ltals, Don Carlos, Roots Radics

like nothing ever recorded in carrying his message to America. A Jamaica but echo off into space like movement began recently through the best Jamaican dub. For overall many U.S. reggae publications and effect, the closest thing I can com­ radio stations to bombard the Nige­ pare to these dance dubs is the waka rian government with letters of pro­ version of "Ja Funmi" that King · test against Fela's imprisonment. Sunny Ade (who, like Allen and The validity of this movement is Asleep At The Wheel Fela, is from Nigeria) released a few strengthened by the fact that Fri/12 years back. Amnesty International has picked The new Fela album, entitled up the case and now is distributing Army Arrangement, is truly excel­ press releases stating that Fela "may Fri/12 7th Anniversary Party MAY lent. The three cuts, "Army be a prisoner of conscience impris­ w/Asleep at the Wheel and Arrangement:' "Cross Examina­ oned for his non-violent political Ul' Queenie Thurs/2 Johnny Reno tion:' and "Government Chicken:• behavior rather than any criminal Sun/14 Island Night w/Exuma (6pm) & the Sax Maniacs are in typical Fela style, a blending offense!' They are calling either for SaU13 Models SaU4 The Fabulous of funky Afro-beat with provocative a re-trial by a court that is in accord­ Wed/17 Gothics Thunderbirds lyrics imploring Africans (and the ance with internationally accepted Thurs/18 Mighty Sam McClain world) to open up their eyes to what standards of fairness, or that Fela be &the Soul Purpose is happening in Nigeria and Africa. released. A short letter of protest FrU19 The Cold From a musical standpoint, the title written to the Nigerian Chief of SaU20 Uncle Stan &Auntie Vera 24 HOUR Wed/24 Bones Explosion cut, featuring none other than Staff will aid in the overturning of CONCERT Jamaica's Sly Dunbar on a hard this injustice to Fela. Letters should Thurs/25 Teaser Fri/26 Wooden head backbeat, is my favorite. But for be addressed to: Major General LINE Satf2.7 Radiators power of lyrics, nothing surpasses ldiagbon, Chief of Staff, Supreme the indictment of Nigeria's military Headquarters, Popan Barracks, .. 861-8200 government handed down in "Cross Lagos, Nigeria. -o

APRIL 1985/WAVELENGTH 11 r,.,.,.,.,.,.,.,.,.,.,.,.,.,.,.,.,.,.,.,.,.,.,.,.,.,.,., RARE RECORD ALMOST SLIM I Cosimo's Bar I Fats In ~ Gov. Nicholls, corner Burgundy ~ Las Vegas I Fats Domino ~ presents I~ Fats Domino '65 I FREE LIVE ENTERTAINMENT I Mercury 20070 hile many R&B record collec­ I Every Sunday Night I Wtors have written off Fats' post-Imperial releases as direction­ i • less stabs at pop music, this one is 1 8-12 .. 561-9018 positively an exception. Recorded I live at the Flamingo in Las Vegas, L.,.,.,.,.,.,.,.,.,.,,,,.,.,.,.,.,,,.,.,.,.,.,.,.,.;~ this album faithfully captures Fats time in Vegas during the period and at his enthusiastic best along with was known to throw the dice on lhe Clarence Ford's band. The songs odd occasion. and style are right out of the Impe­ Even though there has been a rash ~ ~==~~~==~~~~~ rial songbook, but addition of an of live Domino LPs released in the ~~======~ electric bass and the dirty amplifica­ past few years this is by far the best. tion of Walter Nelson's guitar give Too bad it's been out of print for the songs a whole new drive. No years. point in rattling off what's on this Found this one in Chester, one as you can well imagine. Let it England, of all places last summer ~ Bon Ton West be said, however, that Fats definitely at a book fair. /f)~ sounds at home, as he spent much -Almost Slim ~). "Good time music for all occasions" l-rr1 ; ~ P.O. Box 8406 Santa Cruz, Ca. 95060 REVIEWS

. ~.:? (408) 425-5885 Los Lobos "Shake That Girl" features a How Will the Wolf Survive? thumping bass and breakneck WEST COAST CONNECTION FOR Stash 25177 tempo reminiscent of Gene Sum· LOUISIANA FOOD AND MUSIC-CLUBS, mers' "School of Rock and Roll" FESTIVALS, PRIVATE PARTIES. ven though this is marketed but is too unpretentious to be Etowards the rock-set, this one lumped together with any nouveau· has as lot to offer everyone. It's rockabilly. really something different as their Dash Rip Rock is three guys from premier EP from last year pointed Baton Rouge who gig around lhe out. Basically 'it's lively LA-Mex Capitol, Lafayette, and sometimes accordion music, having links with find their way down here. Their our own Cajun music. It's dance material ranges fromthe R.E.M.· music, but I find it smoother than like "Marsupial" to country stand· Cajun music, as the lyrics to the ards to the rave-up "Shake That songs are just as important as the Girl~' rhyth!llS. You can hear traces of -Macon Fry nearly every type of music, well played and sung with positive con­ viction. . Irma Thomas "I Got Loaded;' the Lil' Bob Down At Muscle Shoals Camile swamp pop classic, provides Chess P-Vine 6013 (Japan) a real Louisiana link, in a knees up rendition. All of the songs are in houldn't this be called Up At English so you gringos don't have to SMuscle Shoals? No matter, since worry. Recommended. Irma's late Sixties Chess singles were -Almost Slim hidden classics, the inclusion of all four of them and some unissued material makes this a highly desir· Dash Rip Rock able album, even at its stratospheric "Marsupial" /"Shake That ($15 plus!!) import price tag. This Girl" material won't be too familiar, Riprock Records because according to Irma, Chess' promotion was nil. Nevertheless, was hooked on "Shake That Girl" Irma's really on top of her game I before I realized I was listening to here, working through blues and the wrong side of this record. Clock­ soul with equal ease. The arrange· ing in at two minutes and six sec­ ments are typical of the Muscle onds, "Shake That Girl" will leave Shoals style, often sounding like you shuddering and getting ready to country and soul simultaneously­ dance before you've figured what a sound that found its way not only it's all about. ''I need a-·girl. .. to help into the catalogs of Chess, but also ' me shake the one 'before" may 1 j JIMMY'S MUSIC CLUB 8200 Dot, Goldwax, r,a.m:, ' Att~.~~ic an~ WILLOW ST. sound like a lyric by a 'guy who I Thursday AprU Bell, . tha~~s tApril 25 doesn't learn a lesson but the music The Obs Redgirl'feovet; ''Clood in these grooves is ample evidence To Me:• is the only "hit:' as it made a that singer/songwriter Bill Davis brief two-week visit in the national SHOWS AT Stagefright Productions has done his rock 'n' roll homework 899-1164 887-7630 R&B charts in 1968. Other covers 10PM (and perhaps had enough sense to include "I've Been Loving You Too ignore most of what he's learned). Long:' "Security" and "Let's Do II

12 WAVELENGTH/APRIL 1985 Over,• which rival the originals .Irma and Andy Kirk, the Cotton Club saw really gets into the bluesy "Here I many varieties of pands grace its· I Am, Take Me" and "Somewhere stage and provide music for its floor­ Crying;• which really burn. On the show and dancing. Cotton Club up side, "Cheater Man" and "I Stars is a rich mix of different kinds Gave You Everything" will give any­ of performances from different times, l one the urge to boogaloo. c. 1927-1945, but the overall effect Playing time on this is just a shade comes very close to what a typical over 32 minutes and unless you're weekend of entertainment might fairly fluent in Japanese I'm afraid have been like. Ethel Waters ("I'll you won't make much sense of the Get Along Somehow"), James P. inner sleeve notes, so buyer beware. Johnson ("Go Harlem!"), and Ella Still Irma completists will already be Fitzgerald ("Moon Ray") all per­ reaching for the MasterCharge, as form with unusual combinations, this one belongs on the shelf with while the casual gang's-all-here the Imperials, Rons and Minits. chumminess of such numbers as - Almost Slim "Swingin' At the Cotton Club" (The Three Peppers), "Ain't Mis­ behavin"' (Bill Bojangles Robinson with Irving Mills) evokes the com­ Rockin' Sydney plex sociology and desperate good My Zydeco Shoes Got the time atmosphere of the club and its Zydeco Blues times. Maison de Soul 1009 -William D. White know I'm breaking a cardinal rule Iby reviewing an album I wrote the The Bud Freeman Quintet liner notes for, and I've covered two The Real Bud Freeman 1984 other Rockin' Sydney releases in the immediate past, but the story Principally Jazz Productions behind this one needs to be told. Most importantely, this LP contains ud Freeman is back- back in "My Toot-Toot;' which is burning BAmerica and back with an up every black jukebox in the state. album, his first in seven years. He Even though the record has been says it's his best work- and it is. At ignored by most radio stations for 78 his tone is better than ever - a being "too downhome;' the public's rich and open vibrato - and his taste has prevailed and according to phrasing has become more varied. the dean of Louisiana recordmen, The latter has undergone a remark­ Floyd Soileau, it is his fastest selling able metamorphosis from the single in nearly a decade. uncomplicated yet swinging lines of Once again Sydney supplies all the early days. Somewhere in mid­ the instrumentation, save the ever­ career the phrases became intricate, present drum machine. Everything the sound aggressive. We have some on here is catchy even though a cou­ of that here, on pieces such as "Bud GET READY FOR JAZZ FEST ple of times things get repetitive. and the Boys;• which cook at a high Besides "Toot Toot" you can temperature. We also have cuts that Horace Sliver Quintet: Blowin' The Blues JAI:l. LOVERS I Away. Jimmy Smith: The Incredible Jimmy "Dance and Show Off" to the swing steadily on a rolling beat and These Are Just A Few Of The Many Rare Smith. Jimmy Smith: Prayer Meetin'. Art still others (two ballads) that move And Out-Of-Print Jazz Selections poignant "If It's Good for the Gan­ Available At Peaches: Tatum: Here's Art Tatum. Cal Tjader: Con­ der" "Joe Pete Is In The Bed" and meditatively along. What Freeman cert By The Sea. Sarah Vaughan: Sassy. Louis Armstrong: Jelly Roll. Louis Armstrong: Sarah Vaughan: The Divine Sarah Vaughan. "Joy To The South;' among the gives us are different facets of him­ Hello. Dolly. Art Blakey: At The Jazz Corner. Chuck Willis: The King of the Stroll. Jimmy twelve selections. self and his art, an album mixing Dave Brubeck Quartet: Featuring Jimmy Rushing. Mit Buckner: Rockin' With Mitt. Ray Witherspoon: Blue Spoon. If you want a real conversation several voices. It is an extraordinary Charles: Dedicated To You. John Coltrane: New Orleans Favorites piece or something to shake the mud work, peppered with the unex­ Blue Train . John Coltrane: Live At Birdland. Doctor John: In The Right Place. Doctor John: off your shoes, this is it. pected. Miles Davis: Milestones. Miles Davis: My Anytime, Anyplace. Doctor John: One NiQht The four musicians who Funny Valentine. Ella Fitzgerald: Rhythm Is Live. Eureka Brass Band: Jazz At Preservation - Almost Slim join him My Business. Dizzy Gillespie: Swing Low, Hall. The Meters: Look-Ka-Py-Py. The Metws: - drummer Barrett Deems, pianist Sweet Cadillac. Ahmad Jamal: Inspiration . New Directions. The Meters: Trick Bag. The Stu Katz, guitarist Bob Roberts, Yusef Lltuf: Live At Pep's. Ramsey Lewis: Meters: Fire On The Bayou . The Neville and bassist John Baney - all Barefoot Sunday Blues. Ramsey Lewis Trio: Brothers: The Neville Brothers. Aaron Neville: Various Artists With Jean DuShon. Herbie Mann: Mann In Tell It Like It Is. Robert Parker: Barefootin'. worked witwh Bud prior to this ses­ The Morning. Was Montgomery: The Best Of. Cousin Joe Pleasant: Cousin Joe of New Cotton Club Stars sion, and it shows in the ensemble Freddie Roach: Brown Sugar. Sonny RoNins: Orleans. Roosevelt Sykes: Live In Europe. Stash ST 124 work. Deems, Louis Armstrong's Shadow Waltz. Sonny Rollins: Worktime. Allen Toussaint: Southern Nights. drummer for eight years, is a man he Cotton Club, that legendary who fires up a band as few other PEACHES stocks these and thousands of other T whites-only center of black drummers can. Here he and music, dance, and theatre, was per­ Freeman work with be-bop players rare, and hard-to-find titles. haps at the very apex of the Harlem and the styles fuse perfectly. Katz in We buy, sell, and trade. Come see .. . Renaissance of the Twenties and particular is a man gifted with a Thirties. Run by gangsters, frequen­ sense of swing. ted by show biz, society, and politi­ These cuts are also available on cal elites, the creativity and excite­ compact disc. To reward those who ment to be found at this glorified buy the more expensive version, the speakeasy contributed mightily to producer threw in three extra tunes the growth and development o(jazz, (alas for those of us who don't have black culture, and American enter­ a compact disc system), one of tainment. From Prohibition right up which is a fired-up version of "Tea til the days before World War II, the for Two:' a cut that no doubt will Cotton Club was host to an almost become a jazz classic. For all who unbelievable revue of talent From haven't heard Freeman in years and '3llZ/ S. CARROLLTON 3129 GENTILLY Louis Armstrong and Duke Elling­ wonder what the master sounds like ton, through Cab Calloway and Jim­ today, this album is indispensable. 482-6431 282-3322 mie Lunceford, to Lucky Millander - Robert Wolf

APfiL 1t151WWELEHGTH 13 JAZZ ROBERT WOOD

New Orleans Jazz in Chicago: Part I 1 ost of the makers and mas­ The migration north was at first slow and sporadic, ieland. Brown's group -never ters of early New Orleans but by the mid-Twenties almost all the great recorded and nothing much is M jazz were laborers and tra­ remembered about it except its desmen. The "black Creoles" before jazzmen were there. name. But the following year the 1890s, when they were edged out another band arrived, one whose of their social position midway music is remembered, but only by between whites and blacks, had virtue of the fact that it was the first been skilled workmen. A few, like jazz band ever to record. The Origi­ Sidney Bechet, Freddie Keppard, nal Dixieland Jazz Band made no and Paul Dominquez, earned their contribution to jazz, their work living with their music. But for being no more than a white man's most, music was an avocation, a imitation of the black music, largely labor of love. Most Creole musi­ jazzy versions of rags and dance cians earned their livelihoods as tunes. Their pieces were well cigarmakers, painters, shoemakers, rehearsed with the polyphony set in contractors, barbers, and restaura­ advance of performance, despite the teurs. But by the 1890s they were fact they talked enthusiastically and ousted from their trades by poor often to the press about their musi­ whites (moving to the cities from the cal illiteracy, trying to create the farms) and they were thrown into impression that each rendition of a competition with the blacks for work was not only improvised, but laboring jobs. Eventually, as tenor­ chaotic. They received, however, man Bud Freeman says, "All the tal­ considerable acclamation from ented people got out because New whites, so much so that they were Orleans did not support jazz:• booked into a New York club a year The migration north was at first later. It was also that year, 1917, that slow and sporadic. The twentieth they first recorded. century was 17 years old before the Their success was due in part to center of jazz moved from New the white dance music of the time, Orleans to Chicago. By the mid­ which was sedate, string-ensemble Twenties almost all the great jazz­ playing. The ODJB's music, which men were there. was also meant to be danced to, was Jelly Roll Morton hit Chicago Jelly Roll Morton's Red Hot Peppers. Left to right: Omer Simeon, Andre something else entirely. It had an about the same time Tony Jackson Hillaire, Jelly Roll Morton (seated), John Lindsay, Johnny St. Cyr, Kid Ory, instrumentation typical of contem­ did - around 1911 or 1912. Both George Mitchell. All except Mitchell are native Orleanians. porary jazz bands (cornet, clarinet, had played in the high-class whore­ trombone, piano and drums}, but houses of New Orleans to white cli­ was now in charge. A few days later ing with King Oliver's Creole Jazz more important, it had a frenetic entele. there were so many people out front Band, Louis Armstrong and his Hot pace and harmonies unfamiliar to Morton, whose style reflects of Elite Number Two wanting to Five, and Morton's Red Hot Pep­ most whites. Its music seemed to fill a heavy ragtime influence, travelled hear his band, Jelly Roll Morton pers, all Chicago bands. Cornetist a need; it matched the temper of the first to Kansas City and then to St. and the Incomparables, that two Manuel Perez also arrived the same age. All at once, whites were wild Louis, before settling in Chicago for policemen were needed to hold back year. Tuba player and bassist Ed about jazz. about a year. Morton complained of the crowd. Garland had come the year before. Audiences liked the. ODJB's use the prejudice he found in Kansas Morton said his band was the hot­ The typical band of those days of gimmicks, including the horns' City and St. Louis, but told his test in town until cornetist Freddie consisted of cornet, clarinet, trom­ imitation of animal sounds. This biographer Alan Lomax, "In Chi­ Keppard arrived with the Original bone and drums, with any combina­ was not original with them; King cago at that time you could go any­ Creole Band, fresh off the Pantages tion of the banjo or guitar, tuba, Oliver did the same and so did Fred­ where you wanted regardless of vaudeville circuit. Keppard had piano, and bass. King Oliver's Cre­ die Keppard. Bud Freeman, who creed or color. So Chicago came to been packing in crowds across the ole Jazz Band, before Armstrong grew up in Chicago, remembers be one of the earliest places jazz country, and when he came to Chi­ joined, employed cornet, clarinet, most pre-World War I Chicago jazz arrived, because of nice treatment cago he met with the same success. trombone, banjo, piano, and - white and black -as corny. - and we folks from New Orleans Keppard's playing was so fine that drums. Listening to his early record­ With the outbreak of the war, the were used to nice treatment:' Now Morton's trumpeter, John Arm­ ings one hears a style typical of New Secretary of the Navy ordered the Morton did not consider himself strong, quit in chagrin. Morton told Orleans groups. The banjo played mayor of New Orleans to close black. He, like his fellow Creoles, Lomax, "Keppard certainly fin­ chords, providing harmonic and down Storyville, the city's red light claimed to be French, and some Cre­ ished me at the Elite. Business went rhythmic background to amplify the district and a major employer of the oles did pass for white. Hence Mor­ to the bad, and as I did not wish to steady four-to-the-bar drum work. city's jazzmen. The secretary had ton's statement, if true, would apply stay and not satisfy everybody, I hit The cornet carried the melody, with good reason. Louis Armstrong, in to a handful of Creoles and not to the road again:• the trombone playing a harmonic an article for True magazine, told blacks, who were not allowed into This was in 1913, five years before line below the cornet and the clari­ what was happening to the sailors white clubs on the North Side. King Oliver arrived and nine years net playing a harmonic line above it. from the New Orleans naval station. At any rate, the black clubs were before Oliver sent for Louis Arm­ Improvisation was blown in unison "Before they clamped down on clustered in a half-mile long strip strong. Keppard was, at that time, by the three, except for the breaks Storyville there were an awful lot of along State Street known as the probably the finest cornet player in when one would improvise for killings going on ... Mysterious ones "Section:• Morton's first job in Chi­ Chicago. Morton ranked him above about four bars. Extensive solos did too... Several sailors were all messed cago may have been at one of the both Oliver and Armstrong, but not arrive much before 1924. up - robbed and killed ... That's Section's clubs, the Elite Number Bud Freeman dismisses the claim. Until the great black exodus to one of the main reasons for the clos­ Two, which was doing poorly, he "I had a great deal of respect for Chicago began in 1917, most white ing of Storyville ... Those prostitutes said, until the owner begged him to Morton;• Freeman says, "but he was Chicagoans were getting their ideas commenced to having their pimps manage it. Morton accepted, fired jealous of Armstrong. But bear in of jazz from white New Orleans hide somewheres arqund and either all the waiters, musicians, and enter­ mind that everybody was jealous of musicians. No doubt inspired by the rob-or bash their brains in - any­ tainers, and put out the word that he Louis:• success of black bands on the vaude­ thing to get th"at moneY.' So Story­ One of the most accomplished ville circuits, white promoters began ville did close - on November 14, Robert Wood is a Chicago writer jazzmen who came to Chicago fJom importing white groups to play to 1917. The whores moved across and contributor for the Illinois New Orleans before the war was white audiences in and around Chi­ town to plusher districts and most Entertainer, where this series first banjoist and guitarist Johnny St. cago's Loop - beginning in 1915 musicians either went back to their appeared. Cyr, coming in 1915 and later play- with Tom Brown's Band from Dix- trades or started playing on the Mis-

14 WAVELENGTH/APRIL 1985 sissippi riverboats and at the river­ towns, such as Davenport, Iowa, were Bix Beiderbecke, the greatest white cornetist of the Twenties, was born and first got his taste for the new music. The outbreak of the war gave impetus to the growth of American factories, and the sudden need for workers spurred the migration of blacks in large numbers to the north. The choice for the musicians was Chicago. A few months after Storyville's shutdown, King Oliver arrived in Chicago and was met at the train station by representatives from two bands, both of which wanted him for themselves. Oliver pacified both parties by agreeing to play with each at different times the same evenings. It was also in 1918 that a gifted young pianist, Jimmy Yancey, got off the Orpheum Circuit and settled in his hometown of Chicago. The 17-year-o1d Yancey had been singing and dancing in vaudeville shows King Oliver's Creole Jazz Band (early 1920s). Left to right: Honore Dutrey, Baby Dodds, King Oliver, Louis since boyhood, touring £urope and Armstrong (kneeling), Lillian, his future wife, Bill Johnson, Johnny Dodds. America. Once back in Chicago he developed a varied style, one that at of Thelonius Monk's work that one Because mostly everyone at that just in his blood. And that's the way times had the swinging left-hand wonders if Monk had not listened to time had a piano, you know. And he [started] taking his [music] up, I drive of what later became known as Yancey. And there are times when the kids would be out there and they can tell ya~· boogie piano, and at others had a Yancey's hands pause, creating would be having as they called them With Yancey and Oliver (and soft and slow introspective move­ silences that again are echoed in 'rent parties~ And they would be Oliver's band) esconced in town, ment. With the slower pieces, more later years by Monk. playing piano. It were quite natural and with Jelly Roll Morton coming complex rhythms were achieved. Who was Yancey listening to? just like the kids of today. They'd and going, Chicago was ready for One of his songs, "Crying In My Where did he derive his style? start up and go to dancing and whis­ the next development in jazz. 0 Sleep:' begins with a surprising two According to his widow, Mama Yan­ tling, you know. And you see, he (Next month: Part II - Oliver, bars of dissonance so similar to that cey, "He wasn't listening to no one. came from a musical family... It was Armstrong, and Beiderbecke.) RECORDING with the best!

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APf1L 1t151WoWELEHGTH 15 "Music is one of the most dynamic subtleties of life. Music spontaneously generated can electrify, and stimulate the performer and the audience . while implanting a residue of im('gination that regulated musical products erode. Also, in a very profound way the artist and the audience going through the process ofjazz discovery bring about a transmutation in the perception of art. Herein lies the aesthetic, therapeutic and symbolic value ofjazz as an American classical music."

By Kalamu yo Salaam

larinetist, composer and educator Alvin the development of key individuals such as the In the following interview, Alvin Batiste offers Batiste is beginning to achieve the national Marsalis brothers, Wynton and Branford, or the more insight from one of the leading musical C recognition his talent and accomplishments musical siblings Terrence Blanchard and Donald minds of the 20th century. deserve. As a clarinetist, Alvin Batiste is almost Harrison; this triune of teachers is also responsi­ without peer in contemporary jazz circles. His ble for the development of contemporary jazz as a solo piece is the highlight on the recently released respected artform for both a career choice and a Clarinet Summit LP that features clarinetists curriculum choice in school. It is too easy to forget Jimmy Hamilton, John Carter, bass clarinetist that before these three men, there was no orga­ David Murray and Alvin Batiste working in a nized and expert instruction in jazz available in the Why do you continue• playing clarinet when you quartet format. In December he did a concert at New Orleans school system. What Batiste et a/ could be playing any ofthe other reeds? Carnegie Hall that was extremely well received, teach is far beyond high school and college "jazz That's the way I started. You know how it is and Batiste also did one night at local jazz club lab bands" featuring Stan Kenton and Count when a child starts something. A child is very Snug Harbor that featured astoundingly strong Basie charts - these teachers have actually impressionable and that's the first instrument I solo work by Batiste, especially on two ballads, brought up a generation of musicians technically started on. Thad Jones' ''A Child Is Born" and the Billy Eck­ and intellectually prepared to raise and develop Yeah, but a lot of New Orleans saxophonists stein standard "I Want To Talk About You" the music to a higher level both musically and started out on a clarinet because that's what the (which John Coltrane had nearly claimed as his intellectually. These teachers have given the world older musicians were teaching thern on and... own), and on a Batiste original "Picou:• Not only musicians who are more than entertainers, they But they didn't start out hearing Charlie Parker, does Batiste get around the horn with masterful have been the mentors of artists. then after hearing Bird, hang out with Harold authority, but his solo approach eschews repeti­ For Alvin Batiste, cultivating jazz musicians Batiste, Nat Perriliat, James Black, Chuck Beatty tions of bluesy licks or virtuoso runs, for much who are artists has been a conscious vocation. and all those cats. We had a scene going during more insightful juxtapositions and rearrange­ Batiste believes that "The beauty and profundity that time, so there was no reason for me not to ments of melodies framed by ingenious harmonic that an authentic jazz artist can bring to the play clarinet. shifts. Drummer Herman Jackson's propulsive, human consciousness is a phenomenon that has When I played with the Ray Charles band, I subtly complex polyrhythms contributed the captivated the musical mind of the 20th centurY.' played baritone saxophone. When I played proper setting for Batiste's gem-like solos. A conscious advocate of his chosen artform, rhythm and blues gigs with Joe Jones or Smiley As a composer, the title cut of Batiste's recent i.e. the music commonly called "jazz;• Alvin Lewis, you know just the regular Municipal Audi­ LP, Musique D'Afrique Nouvelle Orleans (India Batiste recently wrote a guest column for a Baton torium gigs where you played unionized gigs, I Navigation), immediately established Batiste's Rouge newspaper in which Batiste grabbed the played saxophone then. But, that was just for pro­ credentials. The nine-part movement is complex proverbial bull by the horns and attempted to fessional purposes. For artistic purposes, not for without being convoluted, it's intellectually rigor­ wrestle with the thorny question of "what is jazz:' one moment did I ever stop playing clarinet. ous without being drained of emotional energy. His ans\\er illuminates the intellectual insightful­ How much shedding [practicing] do you do to The three companion cuts on the LP are also fit­ ness of this master of the clarinet: be able to get around your ax the way you do? ting additions to Batiste's composing resume - "One may ask, what is jazz? Well, the answer Right now I have the blues because I can only each of the three pieces establishes its own mood can take many forms, but the essentials are pretty shed for about an hour and a half every day. Some and has its own purpose. From the avant garde-ish much constant. First, the art of jazz thrives days I can do more than that. Today, I only played experiments of "The Endocrine Song" which cov­ through the use of the intuitive mind to make about a half hour. But when things are really nice I ers the entire audible spectrum of 20 to 20,000 music in the African-American idiom. Second, go a lot longer than that. I have shedded for long cycles, to "Words of Wisdom" with is a "sacred individualism comes forth in a musical way that stretches, like six hours a day. In fact, I have a rep­ chant;' Batiste has carved a high water mark for maximized self-expression in the harmonious utation around New Orleans for being one of the future "concept" jazz albums. excitement of the group. Third, there is an exhila­ "practicing-est" cats in New Orleans. As an educator Batiste is a key member of the ration that accompanies search and discovery dur­ You've got to practice to be able to play the clar­ Ellis Marsalis- Kidd Jordan- Alvin Batiste trium­ ing the musical process that has been known to inet in the modern mode. virate who are collectively responsible not only for spread to audiences:• That's really something I'm just becoming

16 WAVELENGTH/APRIL 1985 •

aware of. I wasn't aware of why it was so frustrat­ changes radically as you move from octave to Why did you decide to become a teacher? llta not being able to manipulate a lot of the things octave. It also has certain types of limitations in I didn't realize that I was going to be a teacher I was hearing. The instrument presents difficul- terms of flexibility. The clarinet, on the other until my junior year at Southern University. Tbe 1 spent a lot of time just with tne fundamen­ hand, is very vocal, it's like the human voice. people said, "Batiste, you have to sign up for stu­ tals. That's where my association with young Who werr your influences on the clarinet? dent teaching~' l said, "Student what? What is people helped quite a bit. I was always fortunate Initially, I didn't have any influences on the that?" I went to Southern because all of the hip to be around a lot of young talented peo- clarinet other than my daddy, who said, "I'm cats who could play were going to Southern. You ke Earl Turbinton - I taught Earl, Donald going to put these pictures on the wall. These are had Emory Thompson who is Umar Shariff, HJarru:r•n, Branford Marsalis. I have a cat up at some bad cats:' - he didn't say "bad cats" but father of Jamil Shariff; Edward Sawyer, a lot of [Southern University in Baton Rouge] now that's what he meant. There was a picture of cats. l came from the ghetto so l couldn't afford Webster Anderson, he's fantastic. Then Edmond Hall from Reserve, Louisiana, and to go to Xavier or Dillard, plus Dillard couldn't there's Henry Butler, and of course Herman Jack­ Benny Goodman. I used to listen to the radio all offer any scholarships. So we just went there to be son who's on the album with me. When cats like the time because my daddy was a chauffeur and a in the band and they told us in order to be in the that are in your environment, you're always learn­ card player and he also ran on the railroad. I had a band you have to take mathematics, science, you ing something because not only do they have seri­ lot of time at home so I used to hear all those know, the same thing that is happening now. ous questions that they are trying to get answers things on the radio, but this was way before I After I took practice teaching, in my senior year to, they are also putting down some music that if started playing music. the supervisor from the instrumental music sec­ p;~u can't come up to it, well then you've got to In fact, I went to art school during the latter tion of the New Orleans Public Schools came to pay some dues. part of elementary school and as a result of going me and said, "I want you to quit school and come Then of course Kidd Jordan and I married sis­ to art school l met Harold Batiste's brother. One and teach in New Orleans. l heard you are a good ters. We were in school together and we were day I was bringing him some artwork that I was clarinet player, so you'll make a good teacher.' always people who practiced a lot. When a new doing for him. So when I went around on LaSalle I said, "Man, no way. I've got one more year baby came, they'd put the baby in the crib, the Street - I lived on Loyola and they lived right and I'm not leaving~' ladies would go shopping and we would practice. across from the Dew Drop about three blocks He said, "Okay, when you finish, I've got a job When we looked up, Kent Jordan was playing away - and when I got there these cats were play­ for you~' flute. He had been hearing his daddy play saxo­ ing music and listening to music. I heard Charlie l finished and came on down here. When I came phone and his uncle play clarinet when he was in Parker playing "Now Is The Time~' I said, "man, to New Orleans I played with the symphony. his mama's womb. what is that? That cat, hey man, that's what I Played the Mozart clarinet concerto which I had Given that you have to practice as much as you want to do!" auditioned to play. I started playing with Nat Per­ do, why do you continue playing clarinet in a So I had the clarinet that my old man had got­ riliat and Melvin Lastie. modern idiom when you could play saxophone ten me in that gym bag. When I first got the clari­ In what year was this that you played with the and not have all the problems of squeals, staying net I was really drug because I had to carry it in a symphony? in tune, fingering contortions to make octave gym bag while other cats had cases. So I stopped In 1954. )lmps, etcetera? playing it. I had graduated from elementary So you were one of the first black cats to play Well, my daddy, who played a little clarinet, got school and was going to Booker T. the next year with the symphony? me my first clarinet from a pawn shop. He and it was during the summer before that I went Yeah, might have been the first. I don't remem­ brought it home in a gym bag. The cats used to rib around to Harold's pad with the artwork. I heard ber. Either I was the first or Richard Harrison was me about that. I used to fantasize about having a this record and said, "man, I got a clarinet~' the first. In fact, that's how I got my nickname, real clarinet case. From there I just kept going into Harold said go get it. I went back around to my "Mozart:• Melvin Lastie came to the concert. I the clarinet. Now, I'm very glad that I did, because house, got my clarinet, and Harold gave me a les­ had to wear tails and Melvin had never been to a as I work with my students I find myself trying to son right on the spot and I have never stopped symphony concert before. At the time we were belp them expand their range on the saxophone since then. I got in the instrumental program at playing jazz at Foster's up on LaSalle Street. So because the saxophone has a very limited range in Booker T. Washington and the next year I got in afterwards Melvin said - Melvin had a speech a homogenous sense. The sound of the saxophone the band and just kept on. impediment, he stuttered - "Heyyyyy - heyyyy

APRIL 1985/WAVELENGTH 17 get the music but they don't get the cultural heri­ of the archetypes, or in spite of the archetypes, tage. The neighborhood patterns, the whole cul­ just happen in the process of jazz. tural system that I came up under, looks You dealt very consciously with dialectics? Alvin Batiste altogether different now. Some of it consciously and some of it I can mmmaannnn, wh-wh-whattt wa-wa-wasss th­ So the various melodies, rhythms and forms rationalize after checking it out. I'm not smart thattt sh-shi-shittt youuu wa-wa-wasss pl-playy­ that you've incorporated into your suite are things enough to say, "Okay, this is what I'!ll going to innn? Th-thatt wa-wa-wass somm-somme that you heard when you were coming up? do:' But after seeing it, I recognize that this is pret-prett-pretttyyy sh-shi-shittt:' In my own thinking as I was working through something that should be passed on to young kids, I said, "That was the Mozart clarinet concerto:' this piece of music, those forms you referred to especially in a mature material civilization in He said, "Mo-mo-mozarttt!" So when we got .were sort of archetypes. However, as I hear it back which we live. You can often feel that the material on the gig and it was my time to solo, he hollered, under different conditions, then I get other things way alone, in its breadth and sophistication, is the "bbbbllloowwww MO-MOZARTTT!" And of together. The whole project has come out and only thing. course, he was the official namer and that's how I expanded more in terms of its meaning to me and You're saying that there is something beyond got my nickname. He was really a heavy cat. that's a very hip thing because in the way that I just what you can see and feel? On your current album there seems to be an think about art, that's the way it's supposed to be. Yeah, the material world, it's very weak. emphasis on composition. I don't think that you're supposed to grasp it all at Earlier you said the clarinet had the sound of Yeah! I was very happy to be able to make that once, not even if you are the artist. I think that the human voice, coupling that statement with kind of statement because in many instances, true art comes through you. It's not something what you just said about the weakness of the especially among the black intelligentsi,a, you that you actually do, it's something that you material world, you obviously see music in a don't find a recognition that there is an intellec­ invoke and in invoking the art, you as the artist are deeper context than just entertainment. tual legacy associated with the music unless you go lifted up and you are lifted up as well as are the On this album I began experimenting with - at it from a European standpoint. Of course, com­ people whom you serve. and I think it is a major omission in the scientific, ing from New Orleans and being weaned as a child For instance, in the part where the two .clari­ artistic and medical communities- I am trying to on parade music, the music of the Indians, the nets are playing together, the first time I did it, it serve the society by enabling people to hear music blues, the whole thing, that has always inspired was a single clarinet cadenza. Well then "The on its own vibratory terms. That's where the thera­ thought in my mind. Checking out the hip rlleto­ Saints Go Marching In" jumped up from my peutic impact of the music is. When you hear ric and the hip poetry that black artists and people mind, I said, "Wow, where did this come from?" music coming through a microphone you are who were in the movement in the Sixties were But, it has a valid place there and it was done in a altering the wave form and the impact that that doing - I thought that there had to be an intellec­ very unique way, which if I had planned it, I would particular instrument has on the body. You know tual counterpart to that in the .music. not have done it that way. that there are some people who love the way a sax­ This record was then an opportunity for me to So you're saying that in the process of laying ophone sounds, some people love a trumpet, some make an intellectual statement. The music had down the tracks of that which you had planned to people love a drum. When they hear those instru­ already been scored for orchestra but it t:ost too do, other possibilities came up? ments it's very therapeutic. It is either very restful much money to get recorded with an orchestra, Right. Often when I'm lecturing in the class­ or very energizing. We know from the time of the plus you would have so many stylistic problems room or just talking to people, people want to Egyptians that music, sound and color were used that it would not have been done as easily as it was know what my perspective of jazz is. I try to con­ for therapeutic purposes. With the amount of done with these great musicians. dense it and say that jazz is an art that uses the music that is used now, just think about all the dif­ Is there any other importance or reason for intuitive self participating in a duality with the ferent types of radio programs that you can have, your wanting to make an intellectual statement? brain consciousness. The two clarinets playing which utilize the therapeutic quality that music I think at this stage in America's history, a lot of together on twa different tracks sort of show that. has. I would like to see people experience that. new musicians don't get history in school. They The archetypes and the things that came as a result Thank you Alvin Batiste. •

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18 WAVELENGTH/APRIL 1985 BLACK TOP • Portrait of a small record label

ndependent record labels have played an essen­ that, or Eddie Messionier when he started the tial role in the documenting and developing of Aladdin label, which is not around any more, but I jazz, rhythm and blues, and rock and roll. let's say Chess records. They started off as some­ Independents, even as they provide an outlet for thing in the back of the El Mocambo lounge in local, regional, indigenous creativity, must none­ Chicago as the Aristocrat label, and it was just a theless compete with major labels for both local small one- or two-man operation in the beginning. and national markets. New Orleans has a long tra­ Muddy Waters was a very early artist for them: I dition of independent recording that has recently think the first one was actually Sonny Stitt or been picked up by Hammond Scott at Black Top something like that. They were trying to do jazz at Records. I had a chance to talk with Scott recently first, but then they got Muddy Waters and the and found him to be charming, engaging, and whole label built from there with his success. totally serious about the blues, quite willing to When you stop and figure that Muddy Waters share what information he could, generous with brought Chuck Berry to Chess and everybody credit to others, and eager to answer any questions considers Chuck Berry to be the beginning of, at on his work. If you've ever wondered what it's like lea;;t what most people deemed to be rock 'n' roll, to run an independent label in New Orleans in the that label went a long, long way toward having an 1980s ... impact on American music. On the other hand, I know you're a blues collector yourself; how you look at a label like Atlantic Records, they does your own taste influence your business deci­ started off recording mostly locally popular, terri­ sions? torially popular black artists doing blues and Well, being a collector probably influences me R&B; of course now they're one of the biggest in to do a lot of things that aren't all that commer­ the industry and they don't even record that kind cial, even though for something that's not all that of stuff any more. commercial I try and keep commercial ideas in , They kind of went the other direction? mind- not to have a bunch of instrumentals, try­ That's the usual trend. Now it's getting a little ing to have a tune that has good little hooks in it, bit harder. When Atlantic and those il:lbels were sort of a commercial, strong tune. Blues and R&B coming up in the early Fifties, you had your big were very commercial at one time; it all depends ones then like RCA and Columbia- even though on what the forces-that-be consider to be commer- Columbia had at that time what they would call a ·cial. Take Stevie Ray Vaughn. Basically what he's race division and RCA had a race division, like recording is what a label like mine would be Bluebird - basically those ·labels sort of left, recording, but the fact that it's on a big label like except for the most tried and true successful blues Epic, now it's considered commercial. Basically artists, they mostly left them alone. In other it's a three-piece, raw, uncompromising type of words, most large labels have a lot of overhead music, especially his first album, so I'd really call and unless they can see huge sales in something, that, by today's standards, uncommercial as well. they leave it alone, which leaves a gap for the small This shows that whatever people want to push can labels to fill, because there is a demand out there. be commercial. Probably a much larger demand than you realize So throughout the history of folk music and from the sales of independent records, being that black music in this country, there's been a series of you usually have distribution problems. For what independent labels throughout the Twenties and I sell, there's probably a much larger market than Thirties and up to the Fifties' rock 'n' roll that will what I'm getting to. The distribution thing, that's record regional music, then when it's considered a whole different story. popular enough, the major labels will take it over? How did you get started into dealing with a That's exactly right. If you think about Atlantic record company? by Records with Ahmet Ertegun, or even Chess Well, that's sort of an odd story. Records were William D. White records, the Chess brothers when they started something I always liked a whole lot, as a hobby.

APRIL 1985/WAVELENGTH 11 And blues music, especially, was closest to my going into the independent record label business, Well, it's all so expensive ... heart. But then I like rhythm and blues - I really you don't look at it as how much does it cost to do ... or even video? don't make too much of a distipction between a record, because if you do a record, you won't be If somebody approaches me with something R&B and blues, because to me it all comes out of in business for long. You have to go into it, right that makes sense. I've thought about the video the same tradition. The only thing is, in blues you off the bat, knowing that if you don't have the thing, we've talked about it but never gone past it. recognize almost a straight blues form, and R&B money to do three albums from the start, or at the The bad thing about the video is that you spend all doesn't stick to a straight blues form, but it ·an least two, you'll never get paid. The nature of this money and there's no way to recoup the comes out of that black Southern tradition. So I these various independent distributors all over the money except through the records, and I'm not lump everything together, from the most obscure country is that if you just come out with one sure whether if the video got played the records blues guy you can think of right on _up to James record that does moderately well - and you can would get sold. Also you have the problem of, Brown or anyone who's really doing heavy black only do moderately well when you're just getting since it's something from a small label, whether music. off the ground for the most part, because it's hard they would even play the video, so I'd be afraid to So you were a collector. .. to get radio play and the distribution when you put all that money out. I was a collector for a long time. I mean for a have your first release- if you don't have it being What kind of input do the artists themselves really long time, because I'm 34 years old today followed up by something else, chances are you'll have on the selection of songs, cover art, the pro­ and I had blues records when I was 6 or 7 years never get paid for that first album by a lot of them. gramming, and the type of publicity, the whole old, because I liked to buy little 45s back then, If they want the second record bad enough, then concept? when they first had 45s. It used to be a lot of black they're going to pay you for the first one. It goes different ways for different albums, but artists were played on the radio in the area that I what we usually do is draw up a list of songs that was from [Alexandria, Louisiana], so I knew the artist would like to do, then I draw up a list of about Jimmy Reed and John Lee Hooker and a what I'd like to do, and automatically we know lot of the bigger names in the blues at that time BlackTop we're going to do the ones that come up on both when they were having their original hits. I always lists. liked it, and then for awhile you couldn't find Discography Most ofyour artists are from Texas. You almost those records, every now and then you'd get an couldn't call Black Top a New Orleans label, occasional one, like in 1966 I was delighted they Anson Funderburgh and the Rockets except for the fact that you live here. You don't were playing Lowell Fulson on the radio in my Talk To You By Hand (BT-1001). record here... area. I was kind of surprised, 'cause you were The Cold Cuts That's probably true, except we're starting to starting to hear less and less of that type of music. Meat The Cold Cuts (BT-l 021 ). get more Louisiana artists on the label, and I have Slim Harpo had a few things right around that Anson Funderburgh and the Rockets plans for a lot of people. .. time, and I was lucky enough to get to see him... She Knocks Me Out (BT-1022). Who are some of the folks you're looking at So rock 'n' roll hurt the blues pretty bad? Ronnie Earl and the Broadcasters now? I was lucky enough to get to see Slim Harpo and Smoking (BT-1023). I'm not going to mention too many names, some of those people actually play, but for the because I'd hate Buckwheat Zydeco for things not to come to frui­ most part it seemed like it was dying out. Then tion, but one artist I'm interested all IOOOJo Fortified Zydeco (BT-1024). in doing, and of a sudden, this English invasion brought an this one's nQt even down the line yet, is this lady interest in blues and you started seeing more and Johnny Reno and His Sax Maniacs Katie Webster, a South Louisiana piano player more reissues available again, and new recordings, Born to Blow (BTEP-1 025). and vocalist. She's a fabulous showman, great a lot of which weren't so good. So I got more and Neville Brothers pianist and anybody who likes music that's real more interested in it. Neville-ization (BT-1031 ). hard driving and tough and well-played with a lot Is there any special sound you're after for the of precision would have to really like her. label as a whole? I'm still curious about how much it costs to Is there anybody else that you're thinking ofor There is one thing that I really strive for, and make an album. talking to? that's what we've done all along so far: recording I'd say the average that I spend for the initial Well I have this record coming out right now live in the studio. Most of what people consider recording session, without paying the musicians, with Anson Funderburgh and Sam Meyers, a some of the best records, the most classic records is about $2,800 to $3,000, something like that. partially-blind fellow from Mississippi, a long­ that were made in the blues and R&B field, the Now that's doing it very cheaply. term bluesman who worked with many of the thing that really makes 'em so infectious, I believe, How do you decide who to record? great names but he always stayed down in Missis­ is the fact that virtually all of them were recorded I guess the way anybody would, by how much sippi, and he's really an unrealized talent, because live in the studio. When overdubbing techniques they affect me when I see them, what impression he's the perfect combination of the real tough sort were coming in some of them were overdubbed a they make on me. To start out with I like kind of a of blues and at the same time the guy is such a little bit, but for the most part, they were live ses­ tough sound. I'll hold the door open to anything. superb vocalist that he could really sing just about sions, with everybody right out there on the floor It doesn't have to be blues, it doesn't really have to anything he wanted to sing, whether it's jazz, together and the same electricity that happened on be R&B, although for the most part those are my blues, or whatever: definitely one of the top living stage having a good chance of being generated in leanings. harmonica players around. the studio, so all of my records are recorded live. What is your break-even point? So every record you go for has to stand on its How long does it usually take on a session? Well, it's different for every record, but I would own? About three days, to record. Then we come say the average break-even point is about 4,500 It has to have several things going for it. It's not back and mix. copies and then after 5,000 you start making so much like I'm looking for a huge profit: the But hours at a time? Like four-hour sessions? money, and you could probably on paper say that bottom line is they can't lose money. It should Eight to ten hours. it broke even a little earlier, but for it to really make money, because generally what I do is turn Straight? break even it has to go over 5,000 copies. right around with the money that comes in and do Yeah. With breaks for fifteen minutes here and How long is it after the record is finally made other projects. there along the way. I usually keep 'em going and released that a band or an artist might see The big problem with a small label is in the aver­ pretty hard; usually by the time I bring the session some royalties? age record shop you go to, anywhere in the coun­ to an end, they're pretty tired. You can tell that Well, it depends on how much you got up front. try. I know there exists specialty record shops you're not gonna get anything that good any Obviously the thing has to be past break-even. where the people really know a lot about records, more. I always schedule three days, 'cause I find So you have to go into a second pressing, even down to the most obscure records on small that most of the time the first night is sort of a really? labels, but the average record shop is a chain sort washout. The musicians come in, and they're real Yeah, I don't see any way they can make money of operation or a mom-and-pop type of store, one excited about it all, but for one reason or another, on a first pressing. Your costs are much higher on or the other, and they really only carry the hits. it just seems like you have a hard time really get­ the first pressing to start off with. Where it all breaks down is that Rounder Records ting the ball rolling on the first night. You do cut What is the best way for you to promote your [Black Top's distributor] can do a fabulous job after cut that you're not satisfied with. There may releases? and they can really push it into their local distribu­ be one or two real good ones that come out of that The best place I can put my money is in giving tors, all around the country, but if the local dis­ first night, but then you find that it just rolls real records away, and usually we give away a mini­ tributor doesn't take it from there, then your hard the next two days. mum of 650 on up to 1,000 recvrds at the time we records are so sporadically available that you're How much does it cost to cut a record? What's release a new record. Rounder has established a missing all kinds of sales. I really believe that your typical expense? list of record shops and radio statios, and critics everything I put out could sell three times more Well, I find that expenses keep going up all the all across the country who are on their mailing list, than what it is selling if I had better distribution, time, to begin with. A lot of people don't realize so they all get serviced with the record. although now I have better distribution than 90 how many stages are involved in the production of Have you ever thought about television spots, percent of the people trying to do what I'm trying one record. Second thing I have to say about that, or concerts? to do. D

20 WAVELENGTHIAPRIL1115

• 1C

By Q. U. :Eddy

I I or more than a quarter of a century - at cosmos - has played with Elvis, Tom Rush and least since the advent of the popular concep­ Jose Feliciano. . I I f tion of rock 'n' roll - the notion has per- Oh yes, there's LeRoux, bless its short-lived Sisted that Louisiana music could be defined (seven years) soul, with a catalogue of five albums I I purely in terms of New Orleans. In terms of The for Capitol, and later RCA Records. Big Easy's commercial and artistic impact on the ost of this is past, if recent, history. The I I national and international music scene, that idea future holds some inter-esting "ifs:' and was essentially an accurate one. M"if' is a tantalizing possibility as far as I Unfortunately, New Orleans' rightful place in the Baton Rouge music scene goes. I both the historical and popular musical imagina­ If, for example, ex-LeRoux producer Leon tion helped form a tangled, nearly impenetrable Medica is able to do what some national music I I web of ·provincialism on the part of many New industry insiders are already saying he will do, he Orleanians, who tended to regard many legitimate just may have one of the mo~st commercially acces· I I Louisiana musicians with a certain lack of respect, sible album projects to come out of Louisiana in if they were not from New Orleans. Even more some time, notwithstanding recent' respectable I unfortunately, many deserving Louisiana groups efforts by the likes of the Red Rockers and Zebra, I died on the vine (i.e. national recording contracts) both New Orleans-area products. simply because they lacked - to borrow a phrase Medica, an affable, easy-going sort, has spent I I from former New Orleans jazz poet Ron Cuccia the last year or so since LeRoux's break up pro· -the "essential Big Tomato pedigree:' ducing tracks on the likes of the recently dis· I I The occasional Johnny Rivers (a Baton Rouge banded Sheiks, Lafayette-based Atchafalaya High School grad) or John Fred (born and raised (whose second album, Defined, has produced I in the Red Stick) were either too commercial or healthy sales across the Acadiana region) and New I too flash-in-the-pan to be taken seriously. Ferri­ Orleans' Lillian Axe, which is rumored close to an day's Jerry Lee Lewis, North Louisiana's James album pact of its own. I I Burton (a sideman for Elvis Presley), gospel star If those eclectic efforts surprise you, the efforts Jimmy Swaggart- are rarely considered when we of this 39-year-old, self-described country boy on I I list Louisiana's musical greats. his own album project will impress you. Along Ironically, it is a New Orleans institution - the with ex-LeRoux mate Tony Haselden, the afore­ New Orleans Jazz and Heritage Festival - that mentioned Duke Bardwell and a young, Steve I I has been responsible for opening up the rest of Perryish-type lead singer named Randy Knapp, Louisiana to the rest of the world. Simply by Medica has completed 80 percent of the tracks for I I booking -and in some cases, aggressively pro­ an MTV-oriented rock/dance music album that moting - a variety of Louisiana blues, Cajun, already has Medica's attorney, John R&B, zydeco, rock, country, gospel and jazz art­ Frankenheimer (who <\)so handles Diana Ross, I ists from outside New Orleans, the NOJ&HF has among others), flying coast to intercontinental educated provincial New Orleanians and national coast with legitimate hopes of a major national .~ ' . \ -:-.• t- ..~"~~·-: .. music biz and media moguls in understanding label breakthrough. Louisiana's uncommonly rich musical heritage. Meanwhile, Medica has been working with As a whole. With all of its implied and obvious another Baton Rougean, Bill Wray, who has cross-culturization. released two albums on Capitol/EMI's Liberty -I The next step is to consider the commercial label, the soundtrack to the pop movie hit Private potential (did I really say that?) of nbf!-New School, and songwriting credits with The Motels Orleans, non-roots music bands in the state. and Diana Ross to his credit. Wray, incidentally, is ' Baton Rouge, to get right to the point (finally), completing work on the soundtrack of a Private may have a bigger regional and national role to School sequel which may be released as early as play in the coming months than anyone realizes. this summer and has written or co-written at least Forget, for the moment, that Baton Rouge­ half a dozen cuts for the upcoming Loverboy reared Johnny Rivers was one of the Sixties' most album. recognizable and successful artists and producers. Another Baton Rouge product, keyboardist Forget that John Fred and the Playboys had an Rod Antoon, has been busy on a number of fronts international number one hit in the late Sixties as well. Besides working with fellow Baton with "Judy in Disguise:' Forget "I'm Leaving It Rougean Charlie Singleton on the last Cameo All Up To You" by Dale and Grace. You can even tour (which rebounded last year with the hit turn your nose up at the fact that bassist Harold album She's Strange), Antoon recently completed Cowart has gold records (as a sideman, of course) an album session with soul meister King Floyd at for his role in albums by the Bee Gees, Frankie Bogalusa's Studio in the Country. Valli, Andy Gibb and Barbra Streisand. Certainly Antoon was also a key figure in helping shape disregard the fact that Duke Bardwell - one of some of the instrumental layering on Medica's the most expressive and sensitive vocalists in the album project and sided Wray on a series of recent

22 WAVELENGTH/APRIL 1985 song demos for the Pointer Sisters. Farther afield, Antoon has plans to produce a promising new Baton Rouge vocalist named Amy Bolen, plus an album of his own songs. Most significantly, however, Antoon is report­ edly a finalist in the search for a keyboard player in a new Prince project called The Family, a band the diminutive Purple Rain-maker's putting together tor his next movie. · Network - a group that treads a mainstream \1TV rock/dance road- is also showing signs of breaking out. Composed of ex-LeRoux members Jim Odom and David Peters (who also played on Shad Weathersby's recent debut album for George Winston's Dancing Cat label), plus former Kansas backing vocalist Terry Brock, Network is man­ aged by topflight L.A. talent manager Budd Carr, currently shopping the band's recently completed album. Talent manager and producer Johnny Palaz­ zotto, a longtime road manager for Loggins & \1essina in the Seventies, who later managed ex­ Fairport Convention-er Ian Matthews, Li'l Queenie & the Percolators and the Jacksons' tour guitarist Gregg Wright, has lately been working on a number of other projects. Recently returned from the prestigious MIDEM music conference in Cannes, Palazzotto announced last week that he had engineered a record deal for ex-Rockin' Dop­ sie member Major Handy, a new zydeco artist with enormous promise. Handy's upcoming album, WolfCochon, will be released soon on the GNP-Crescendo label. Palazzotto also manages the Times, a Baton Rouge new music dance band which has been get­ ting solid notices for its second album, Hip Isn't It, and even more solid airplay from college and alternative music radio stations around the coun­ try. Palazzotto recently completed negotiations Y.ith national new music distributor Important Records to work the band's latest album. Speaking of Floyd Brown, in particular, and Baton Rouge's country music scene in general, there's a lot happening both above ground and behind the scenes. Brown's winning the Nashville Cable Network's "You Can Be A Star" contest neued him a single release on MCA, a tour with Bill Anderson, a featured role in a new Nashville Baton Rouge newsmo­ :-letwork daily variety show and the first appear­ kers (clockwise from ance ever, as far as anyone can tell, by a Baton above): Tim Smith, Rouge artist at the Grand Ole Opry. Major Handy, Rod Baton Rouge country music in general? A quick Antoon & Amy Bolen, quiz: Name the recent hit by Lee Greenwood and The Times. Barbara Mandrell (it's written by BR native Paul Harrison). Name BMI's country songwriter of the year for 1984 (it's BR native Lewis Anderson). ~arne a Baton Rouge-bred country songwriter with song credits for artists like Kenny Rogers and scores of others (it's Casey Kelley, aka Danny Cohen, a former member of the legendary Sixties frat band, the Greek Fountains). For still another slice of the Baton Rouge pie, try a taste of Our Favorite Band, a local country roots/ new mustc band on Praxis, the label that released Jason and the Scorchers' critically­ acclaimed Fervor album. OFB 's guitarist Don Spi­ cer sat in on a cut for the Scorchers' upcoming album, a session that had the legendary James Burton raving about Spicer's sterling slide guitar work. Down the road a bit, you'll be hearing from a wide variety of other Baton Rouge bands with such strange names as Twilight, Bridge Troll, Cay­ enne, Visitor, Dash Riprock, the ParaiElles, Exit, Tomcat, Kenny Acosta & the House Reekers, River City, Jody Smith, Tim Smith (now with the Producers), Lenny Marcus (a former Alvin Batiste student), and the Gordon Lane Quartet - all ranging from new music and country to jazz and funk, and all from the same area that produced Slim Harpo, Robert Pete Williams, Moses "Whis­ pering" Smith, and dozens of other authentic roots music legends- Baton Rouge, Louisiana.O

APRIL 1985/WAVELENGTH 23 Jazz & Heritage Over 4,000 Musicians to Perform at 1985 jazz Fest -Carol Gniady

eorge Wein, Executive Producer of the New Orleans Jazz and tieri­ blues, gospel, cajun, caribbean, latin, rockabilly, country, bluegrass Gtage Festival, has announced the complete schedule of the festival, and folk!' which will run April 26 through May 5, 1985. Some things we won't miss at the fest are the New Orleans premiere Wein also announced that tickets for all festival events are now on of horn player Lee Allen, returning from L.A. playing with "Mr. Lip­ sale at all Ticketmaster Outlets. Tickets for the festival's opening night stick Traces!' Benny Spellman. Also, one-time resident jazz guitarist concert with Miles Davis and Wynton Marsalis have been on sale for Emily Remler... and the always-versatile and popular Ironin' Board several weeks. There is also a second performance announced for the Sam. Bourbon Street veteran Chris Owens also joins the line-up. Wynton Marsalis/Miles Davis concert... Mr. Wein said, "Tickets for Noticeably missing from this year's schedule are AI Green, Fats Dom­ the Miles and Wynton concert have sold so well that we felt there was a ino and Chuck Berry. Notable local bands with a twist are Li'l Queenie need to add a second performance, so they will appear on Friday, April and the Boys of Joy and returning reformation ...The Continental 26 at 7:30pm at the Theatre of Performing Arts, and again at mid­ Drifters. night. Tickets for that second show are also on sale noW.' The fair will have nine total stages, but only four large stages as Artists making their first festival performances are Miles Davis, opposed to the traditional five. Food vendors will be offering over 90 Sarah Vaughan, Run DMC, Ry Cooder, Stevie Ray Vaughan, Third different dishes of Louisiana cuisine. New food items for this year World, Roy Ayers, Martha Reeves, Sippie Wallace, World Saxophone include crawfish bouli, gumbo z'herbes, grillades, fish court bouillon Quartet, and Dave Van Ronk ... just to name a few. Some familiar faces and caribbean-style vegetarian rastaburgers. For festival information who are returning are: The Staple Singers, Wynton Marsalis, Bobby call 504/568-0251. Brochures and tickets are now available at all Ticket· "Blue" Bland, Allen Toussaint, Spyro Gyra, Bonnie Raitt, Roy Orbi­ master outlets. To receive a brochure by mail send a self-addressed son, Dr. John, Doug Kershaw, Irma Thomas, The Neville Brothers, stamped envelope to the festival at P.O. Box 2530, NOLA 70176 0 Willie Dixon, Kid Thomas Valentine, Doc Watson, and the Olympia Brass Band. Says Wein, "We have the best in every kind of music, and NEXT MONTH: Complete Jazz Festival Schedule, with stages and times. we have every kind of music that feeds in and out of the New Orleans The May Wavelength will be distributed Apri126, with all Jazz Fest in forma· music heritage: jazz (both traditional and modern), rhythm and blues, tion.

Jazz Fest ~------~ N o t e s a n d R e flect o n s

he New Orleans Jazz and Heritage Festival is thought by many to be the overrun on the renovation of the Jazz and Heritage Foundation's Rampart Tbest music festival on the face of the earth. To some, the Jazz Fest is a Street headquarters. religious holiday. Seekers flock from around the globe to get a nine-day dose Saturday, April27... The Bar-Kays had a big hit with "Soul Finger" 18 of sonic guidance. The Jazz Fest is well organized, most always on time and years ago. They are still at it, with a new look and a new direction. They give amazingly comfortable considering the large crowds. One could gush for new meaning to the word Freakazoid. Aside from the Bar-Kays, Saturday hours over great performances at Jazz Fests past. The Jazz Fest is a fine brings us the magnificent Irma Thomas, the rarely heard in these parts any presentation of what New Orleans is famous for. Who could ask for any­ more Willie Tee, The Rising Star Drum and Fife Corps, great and good thing more? friends Emily Remler and Larry Coryell, Boogie Bill Webb, Lee Allen and Well, having just received the Jazz Fest schedule and press release, let's see Benny Spellman, Walter Payton and Ballet File, and, in what seems likely to what's up for 1985. be his last Jazz Fest appearance, Clifton Chenier. Strange booking: Leo Friday, April26... Friday is traditionally the lightest day at the Fair Kottke, Delfeayo Marsalis Quintet (gimme a break!), and Martha Reeves. Grounds and this year is no exception. Looking over the schedule, looking, Saturday night we find part two of the Jazz and Film gigs, this one called looking, looking but nowhere· can I find Kidd Jordan's Elektrik Band. The New Direction. This night features what used to be called "out" or Seems the foremost "now" jazz group in town is not going to be at the Jazz "outside" players, meaning they played outside the changes or dispensed Fest. OUCH! As I peruse the schedule and discover Bourbon Street stripper with changes entirely. The program mixed New York and New Orleans play­ Chris Owens will be appearing on the final Sunday, I begin to sweat and wait ers. This I will go to see. "Out" jam sessions are preferable to be-bop based for the Twilight Zone theme music to begin playing. Friday does have some soloist-oriented cutting sessions. To hear David Murray and Oliver Lake mix great music: Mars, Jasmine, Batiste Brothers and Sally Townes are some it up with Alvin Batiste and Kidd Jordan should be a treat. folks I've heard and enjoyed. Friday is a good day to get your legs, spend On the boat that night we find The Staple Singers, Allen Toussaint and hours in the gospel tent, check out all the food and run into friends from all The Dirty Dozen Brass Band. The Staples are just wonderful. The Dirty over the world. Horrors, there are no coolers allowed on the infield! This Dozen are always worth hearing live. The problem with this show is Allen may have been Jazz Fest policy from way back, but I'm afraid I've been too Toussaint. With all due respect to the great records the man has written, altered during the fest itself to recall. arranged and produced, his live shows are simply embarrassing. He can't After the Fair Grounds, rest up for the Heavyweight Main Event. The sing. So ... go up on the deck during Big Al's segment and watch the river Davis/Marsalis concert is the Event of the Jazz Fest. Whether it will be the flow. musical event of the fest remains to be seen. Pianist Kenny Kirkland plays Sunday, April 28 ... The Staples are also appearing on Sunday. The incred· with Wynton Marsalis is someone I would go see solo, with Mr. Rogers or ible World Saxophone Quartet is a must see. (I'm sorry that the New with Marsalis. Kirkland is one of the great unknown, unsung piano players. Orleans Saxophone Quartet is not playing this year.) Other Sunday high­ At the same time as the Davis/Marsalis gig there is something billed as lights: Sippie Wallace, Dr. John, Roy Orbison, Earl King with Timothea, Jazz and Film: The New Generation at Prout's Club Alhambra. They will the Savoy/Doucet Cajun Band (which I consider to be the best Cajun band show films of John Coltrane, Charlie Parker, Lester Young and many more. around anywhere), the bizarre Tim Williams, Rockin' Sydney with Katie There will be a jam session featuring "old" New Orleans players such as Webster, Willie Dixon, Lee Dorsey, Earl Turbinton, and, of course, the Earl Turbinton and Ellis Marsalis with "young" players such as Mike Pel­ Neville Brothers. Don't forget the gospel tent. lera, Marlon Jordan and Herlin Riley. This is a jam session and jam sessions During the week we find a Sarah Vaughan concert at the Theatre of Per­ can go either way. forming Arts on Tuesday night. We also get Spyro Gyra and James Rivers on Before getting on to Saturday, let's note that there is one less big stage. the boat. Spyro Gyra is one of the world's most popular fusion bands. I find Why? Officially, this has been blamed on sound leaks between stages, them to be overly calculated but enjoyable. Spyro Gyra is like musical prime something veteran Jazz Fest goers have never found to be a problem. Unof­ time network television. Why are they at the Jazz Fest? Perhaps to give ficially, the loss of one big stage would seem to be connected to the cost James Rivers the audience he deserves. People come from all over the world Festival New Orleans Jazz & Heritage Festival 1985 Schedule

EVEilE CCIICERT satEDUU OF EVEITS WEIIIIESDAY, MAY 1, 1915 FRIDAY, APRIL 26, 1ta5 SPYRO GYRA and The James Rivers Movement MILES DAVISIWYNTD/1 MARSALIS RiverlJoat President-9:00P.M. Theatre of Performing Arts-7:30P.M. & Midnight JAZZ AT STORYVILLE Miles Dav1s Band· AI Foster. John Scofield , Darryl The New Storyville Jarz Ha/1-8:30 P.M. Jones, Robertlrv1ng , Ill, Bob Berg & Steve Performmg Live " Kid She1k" Colar, Freddie lonzo. Thorton . Michael While, " Buddy" Charles. Sad1e Peterson. Wynton Marsalis Quartet. Branford Marsalis, Frank Parker, Stuart Dav1s : Caldona Jazzband of Charnette Moffet. Kenny K1rkland , & Jeffrey Watts. Oslo, Norway & R1verboat Stompers of Italy. JAZZ & FILM THE NEW GENERATION Performances on F1lm : K1d Thomas Valentine , Prout's Club Alhambra-Midnight LOUIS Nelson. Albert Nicholas. Jimmy Noone, Bar­ ney Bigard. & a film tnbute to loUIS Armstrcng. Performing live: Terence Blanchard. Donald Harri­ son. Ellis Marsalis, Herlin R1ley, Mike Pellera . J1m TlliRSOAY, MAY 2, 1985 Smgleton . Earl Turbinton. Jr. Johnny V1dacov1ch . Rick Margitza. V1ctor Go1nes & Marion Jordon . GUITAR EXPLOSION-STEVIE RAY VAUGHAN and Performances on Film· John Coltrane. Art Blakey, Double Trouble, ALBERT KING, "GATEMOUTH" Sonny Rollins. M1les Dav1s. Charlie Parker. Billie BROWN Holiday, D1zzy Gillespie & lester Young . RiverlJoat President-8:00P.M. SATURDAY, APRIL 27, 1985 JAZZ AT STORYVILLE THE STAPLE SINGERS, ALLEN TOUSSAINT, THE The New Storyville Jarz Ha/1-8:30 P.M. DIRTY DOZEN BRASS BAND Performing Live Spec1al Guest, D1ck Wellstood; RiverlJoat President-7:00P.M. & Midnight Chris Burke, John S1mmons . Frank Naundorf, Ron S1mpson. Magg1e Kinson. Em1le Martyn, Frank JAZZ & FILM THE NEW DIRECTION Fedenco's Dixieland Jazz Band; & The Europeal) Prout's Club Alhambra-Midnight Classic Jazz Band of Holland Performmg Performances on Film: Origmal Dixieland Jazz live. Dav1d Murray, Oliver lake, K1dd Band, Jordon , Alvm Bat1ste . Sidney Bechet. LOUIS Prima, Boswell SIS­ Tony Dagradi, Clyde Kerr. ters, Wilbur & S1dney DeParis Ramsey Mclean, AI Fielder, Elton Herron, Hurley , Kid Ory, Georg Blanchard , Darrelllav1gne Brunis & The Bobcats APRIL26 Performances on Film: Thelomous Monk, Eric Ool­ FRIDAY, MAY 3, 1tl5 phy, McCoy Tyner, John Coltrane. Cecil Taylor, Ar­ FUNKIFY chie Shepp & Cannonball Adderly THE WORLD ... THIRD WORLD, THE NEVILL£ BROTHERS BAND, TANIA MAR(~ tuESIIAY, APRil 38, 1tl5 Riverlloat President-7:00P.M. & Midnight All EVENING WITH SARAH VAUGHAN Presented by Travel/lew Orleans, Inc. SATURDAY, MAY 4, 1915 MAY5 RY COODER, Theatre of Performing Arts-8:00P.M. BOBBY "BLUE" BLAND, BOll/liE RAITT to hear people like James SARAH VAUGHAN and Tno, plus Special Guest Rivers, Johnny Adams, Alvin Batiste, etc., not to Ellis Marsalis RiwrlJoat President-7:00P.M. & Midnight hear Spyro Gyra. Spyro Gyra already plays all over the world. Bitch bitch. There are two nights of Jazz at Storyville, featuring original New Orleans jazz and performances on film. If you like this sort of thing, this should be Rill MUSIC SCHEDULE Morgan. Jean Kmght and Jessie Hill. Sanguma of Papua great. The New Storyville Jazz Hall is spacious and comfortable. I'm not New Gumea . Famous Salem Travelers of Ch1cago. Wild FRIDAY, APRIL 26 Magnolias. AI Belletto. Contmental Onfters. Savoy:Oou­ sold on all these European bands who recreate old New Orleans music. Batiste Brothers. The Cold, M1ghty Sam McClam cet Ca1un Band. lady Charlotte Jan Band. Oav1d & Ro­ Sounds like shit to me. Guys in striped coats w/Wayne Bennett Band, Mars. Banu Gibson . Fernest selyn, Edu . The Sheppard Band. Gaza B.C Mass Cho1r. and straw hats. Gimme a Fredd1e Lonzo Jan Band. Brother Percy Randolph . The break. Arceneaux & the Thunders, John Rankm. Hazel & the Go back to Norway, Holland, England and Italy. Write scholarly Delta Ramblers. J Monque'd Blues Band, Jasm1ne. Un· Ambassadors for Chnst, Scene Boosters SA & PC diatribes on Kid Ory. Help! I hear the Twilight Zone theme creeping through cle Stan & Aunt1e Vera. H1gh Quality. Lloyd Lambert Jan Band. F11e . Jan Couners, Java. levit1cus Gospel Sing­ the mist after me. ers. Reb1rth Brass Band. Bnan White's Magna Jazz SATURDAY, MAY 4 Thursday night on the boat we find the Guitar Explosion. Stevie Ray Band of England. The Uptowners. Wayne Toups & the C3jun Creole Band . Mastermind. Parish Pnson Gospel Third World. Doc Watson, Albert Kmg, Run OMC. Vaughan, Albert King and "Gatemouth" Brown all have working bands, Cho1r, Tulane Jau Ensemble. Golden Stars , N1eve . DICk Wellstood . Arnett Cobb w1Red Tyler & Fred Kemp, tight and ready to rip. Marvel at the way Albert King yells at his band while Emery Thompson Jan Band. J. 0 & the Jammers. Sally Johnny Adams w/Walter Washmgton & the Sotar Sys­ Townes. Ray Bonneville. Calv1n Durand Qumtet. Ken· tem Band . Astral Prorect. Dusenbery Fam1ly Smgers. remaining charming to his audience. Should be a knockout. nedy H. S. Cho1r. Avenue Steppers SA & PC . los K1d Thomas & H1s Algiers Stompers. Mildred Clar'K & Friday night on Comet as the Meloda1res of Columbus. Oh1o. Marc1a Ball. Kent the boat it's time to Funkify the World with Brazilian Jordan Qumtet. A Taste of N 0 wiRobert Parlier. YounQ singer Thnia Marie, commercial reggae group Third World and the Neville Tuxedo Brass Band. Ruben "Mr Salsa" Gonzalez. Lll SATURDAY, APRIL 27 Brothers. You like to dance? Go for it. Queeme & the Boys of Joy. Allen Fontenot & The Country Bar-Kays. Martha Reeves. Irma Thomas and the Catuns. Widespread Jan Orchestra, Deacon John Blues Saturday, May 4 ... Back at the Fair Grounds. The admission price is so Profess1011als. Benny Spellman and lee Allen. Chiton Revue. James Black Ensemble. Uptown Affa1r. Creole ridiculously low that I can't believe this is 1985. This has got to be the best Chemer, Leo Kottke. Onward Brass Band . Dewey Balla. W1ld West. Johnny Allen. John Mooney & the Blues1ana Larry Coryell & Em1ly Remler. W1ll1e Tee. A Tnbute to Band. MIChael White Quartet. Holy Name Gospel S1ng· music deal ever. On this day, for $5.50, you'll get to hear and see: Arnett Sidney Bechet w'Bob Wilber & Joanne Horton. Terence ers. NOCCA Jan Ensemble. Klaus We1land. Frank Fred­ Cobb with Red Tyler and Fred Kemp, Johnny Adams with Walter Washing­ Blanchard and Donald Hamson . Kid She1k & H1s Sto· enco Jan Band. Hezeklah Early & the House Rockers. ryv~lle Ramblers. Cousm Joe, lronm Board Sam. James Mt Pontchartram Stnng Band, The Gospel Chords . ton, Kent Jordan's Quintet, Doc Watson, Albert King, Marcia Ball, James Drew Quartet. A-Tram. Sammy Berfect & the 01men· A.J Loria .. Black, John Mooney and thousands more. (I told you a million times not to s10ns of Fa1th Commumty Cho1r. R1s1ng Star Drum & F1fe Corps. Ramsey Mclean & Surv1vors. Bourre. Gary SUNDAY, MAY 5 exaggerate!) Brown & Feelings. Troy L Deramus & the Country Kmg Allen Toussamt That night on the boat we find Ry Cooder, Bobby "Blue" Bland Show. TheN 0 Sp1ntualettes. Oelfeayo Marsalis Qum­ . Ry Cooder. Roy Ayers. Doug Ker· ' and tet, The Pf1ster S1sters. Boog1e B1ll Webb. Walter Payton shaw. lama Mana. Bonme Ra1tt. The Radiators. Clar­ Bonnie Raitt. Cooder is a great player. Let's hope he doesn't sing too much. & Ballet F1le. Hector Gallardo & H1s Son go Allstars . ence " Gatemouth .. Brown , Rock1n Oopsie & the Tw1sters. Dave Von Ronk. Bland is anything but. Bland is one of the great singers, always worth hear­ Bryan Lee & the Jumpstreet F1ve. White Cloud Hunters Ell1s Marsalis. Ron Carter, Van W1111ams . Chosen Few Brass Band. Tim Green Dave Sm1tty Sm1th and Germaine Bazzle, Wallace Davenport ing, any time, any place. Bonnie Raitt is, of late, doing generic funk, of Goodman Qumtet & Jan Band. Snooks Eaglin. Clarence "Frogman " Henry. Helen Brock & the New Gospetettes of Houston. similar tempi and density. Don't expect any Jackson Browne tunes. New Lev~athan Oriental Foxtrot Orchestra. 01rty Dozen Sunday, May S ... The final day is traditionally the most packed with Brass Band. Chns Owens , Tommy R1dgley & the Un­ 'SUNDAY, APRIL 28 touchables w'The 01x1·Kup~ . Bobby Mitchell & Frankie music that you want to hear but can't get to all of. I will try to see: the Ford . Percy Humphrey & H1s Crescent C1ty Joymakers. Ardoin Family, the Olympia Brass Band, Ernie K-Doe, Bobby Marchan, Or John. Staple Smgers. Roy Orb1son. Nev1lle Gospel Soul Children . Exuma . Tennessee Tech Tuba En ­ BrotMrs . Willie 01xon & the Ch1cago Blues Allstars. semble. ImprovisatiOnal Arts Qumtet. Mason Ruffner & Caliente, the Improvisational Arts Quintet, Mason Ruffner, Exuma, Gospel Dave Bartholomew Jan Band . Luther Kent & Tnck Ba~ . the Blues Rockers. Pop Combo wlennt Zen1th . Bobby Soul Children, Germaine Bazzle, Rockin' Dopsie and maybe even the Ten­ Eart Kmg & the New Day Blues Band w!Timothea. Alv1n Marchan & H1gher Ground. Erme K·Doe. Jr.'s Ultnnate Batiste. S1pp1e Wallace . World Saxophone Quartet. Blues Expenence. Olympia Brass Band . Russ Russell & nessee Tech Thba Ensemble. I will not go see Chris Owens. I won't even Rockm S1dney w Kat1e Webster & Phil Ph1ll1ps, LOUIS the Rustlers. Caliente. Beausoleil. Sherman Washmgton look. If Allen Toussaint closes the Jazz Fest I'll be sure to leave early. By that Nelson B1g S1x. lee Dorsey. Earl Turbmton Qumtet. Sady & the F.1mous Z10n Harmomzers. White Eagles. Theron Courville & the Mamou Hour Ca1un Band. LOUISiana Lew1s & Umt 7. The Heralds of Chnst. Ardom Fam1ly time I will have soaked up enough music and "coolchuh" to last until... Purchase , Doc Paulin Brass Band . Tim Williams, Ohver Band w Bo1s Sec & Canrav Fontenot • well, I'll probably turn on WTUL on the way home. 0 -Mark Bingham

APRIL 1985/WAVELENGTH 25 Saturday, 27 Superpops IV. smg-along-wlth·Arthur­ Ice, UNO Laketront Arena , Ticket CONCERTS The Steple• Sln•ere; Allen Tou•· Fiedler' s-old-timer' s-night . 286-7222. ••lnt; Dirt~ Dozen Br••• B•nd, Steamer President, 7 p.m. and midnight. April 14 Tuea.8 .l•u a Pllm: The New Direction, Andrew Massey conducts a free concert as S•n•·Prold ...AII day blood donation Prout's Alhambra, 732 N. Claiborne. mid­ part of the French Qua rter Festival. at 4 Tulane University; 865-5708. night; see page 24. p.m. on Bourbon Street. Sat.13 & Sun.14 Tuesday, 30 A~ttll 18 Audubon z- Centennl•l, a An •venin• with S•r•h Y•u•h•n, Speol81 Concert for C~ ~plo~-· · tacular birthday party with giant with ..... M•rull•, Theatre for the Per­ Andrew Massey conductor; Peter Collins, music, clowns. balloons. nni"'""''"l""'"­ forming Arts, 8 p.m. pianist; tickets through City Hall at those seals for one. etc. H•ll •nd O•te•, UNO Lakefront Arena; 586-3143. TicketMaster. Sat.20 April 23 & 24 K•r•te a Kung Pu Clll811npllo,I81111M Orpheum. 8 p.m. Maxim Shostakov1ch. con­ Superdome, 8:30 a.m. to 11 p.m. OPERA ductor. Tcha1kowsky's Romeo and Juliet, Shostakovich's Symphony No.5 , and Sat.27 & Sun.28 Wedneaday, 3 Borodin's In the Steppes of Central Asia. Lon.ue Vue Hou•e a G•rden• Ruddl8ore, or The Witch's Curse by Tickets for Orpheum subscription concerts nuel P18nt ..le, The Pavillion, 7 Gilbert and Sullivan, on WYES Channel12 are available through the Orpheum's box Road, 1-5 p.m. at 8 and offtce (525-0500) and Ticket Master outlets. simulcast on WWNO 90-FM. through the month Wednesday, 17 N•tlonel C•ncer Month, Simon lloco•n.. r• . Verdi's Venetian VIDEO Assoc1at1on of Greater New answer to Boris Goudonov; this opera, fering free screen1ngs for cerv1cal revised extensively by the composer, is a C•ble AccH• Ch•nnel e look1ng for In­ information at 482-1113. Ta'l Falco, with a gigolo great favorite of ours. but for some dependent video programs. Contact Com­ The Zoo Crul•e departs Canal three limes da1ly. Information at moustache, Sat.20 at St. Theresa. reason-and suggested ones include its munity Access Corp., 866-4900. leading bantone role or its emphasis on Mu•lc Cit~ . Cable Channel 2. 586-8777. politics-it is not a great favorite in the Wednesdays at 6 30. Thu rsdays at 6: 30. Quote of the Month I Ea•ter general repertory; anyway it will be part of Saturdays Tuesday, 2 at 10, Mondays at 10:30. all p m. "For wherever true Chnst1anlly the wonderful Live Toto, Saenger, 8 p.m. (I thought these guys From The Met series, on Wed.3 Followers of Chnst and The Heaven­ 11must cause diligence and frugality, did a nice soundtrack for Dune, but finally WYES Channel 12, tonight at 7:30 and will ly Stars. Wed.10 : Johnny Adams and Walter 1n the natural cause of th1ngs, must be simulcast having gotten a long-all too long-look at on WWNO 90-FM. Washmgton. Wed 17: The Rad1ators. Wed riches. And nches naturally beget 24 Danny Rosanna Arquette who inspired one of their Barker and B1lly Taylor love of the world, and every temper hits, I think they could find happier muses NOYAC, 2010 Magazme, 524-8626, o!fers destructive of ChristiaMy."-John from which to derive their inspirations, I SYMPHONY continumg programs and classes in editing, Sermons. I, 411 . must say). camera operation, etc. Call for Information. " When the kmg of France was g1ven A"prll 8, 1 0, 11 by the doctors and was suffenng Friday, 5 Orpheum, 8 p.m. James Paul, conductor; agon1es of death, he had himself nl,r-.PI'Inn· Requiem by Andrew Lloyd Weber featur­ Yefim Bronfam, pianist. Brahms' Tragic RANDOM a bed of ashes and sa1d to the crowd ing Placido Domingo and the Westminster Overture, Piston's Symphony No.4, round1ng him: 'There he is, he who was Children's Choir from England, at 8 on Rachmamnoff's Piano Concerto No.3. DIVERSIONS most noble and the most opulent 1n WYES Channel 12. world, who. by wtue of hiS April 12 Tuea.8·Sun.14 wealth. and friends, exerted the Saturday e & Sunday 7 Orpheum, 8 p.m. Joel Levine, conductor; W•lt Dl•ne~'• ••lc Kln8dom On fluence. He can no longer even .loee Lui• Roclrl8uez, a sultry-looking (if surcease from death, nor extort a a little thin-lipped) young man; Saenger. hour of grace from illness. What use TicketMaster. those advantages?' These words FESTIVALS tears from all eyes But the pnnce. Sunday, 7 by God at the moment when he was ...te r B~ C•ndlell8ht, Armstrong Pk. dead. rose up, and. rendenng thanks Easter egg hunt and Easter Parade-and Sunday, 7 God. he took the cross " -an anecdote you'll find that you're in the rotogravure­ Merk•wllle ...ter ... Knookln8 Etienne de Bourbon, chaplain of St. from 2:30; jazz from 3 to 5, the Zion Har­ Conteet, information on ovum-bumping. Cited in La chaire francaise au moyen monizers at 5:30 and the indescnbable Ray­ Avoyelles Parish-style, at 318·253·7578. 1886, by Lecoy de Ia Marche mond Miles leads a gospel song service beginn1ng at 6. Fri.12·Sun.14 South L8. Creole PHtlw•l, Houma, Tues day, 8 which ought to remind us all that before it was the Pelican State, this was the Theetre At ... •ea-sa1ling from Lo• Lobo., Steamer President, 8 p.m. Creole State according to 19th century geogra­ Italy on Apnl 14 (but not performing Sunday, 14 phies. Information at 504-876·7652. ward Bound or Dames At Sea or Coward's Sail Away) w1th Patric1a ••ume with Island Night and Chef Palmer Sat.13-Mon.15 Lynn Redgrave, D1ck Shawn. Larry and all the roast goat you can stand. Jim­ Ponohetoul8 James Coco aboard; th1s 14-day my's, 6 p.m. Stnwberry P..Uw•l, from the town that also brought you Irma calls at Alexandria, Athens, Capn, Wednesday, 17 Thomas and Elmer's chee·wees. lnforma· Ha1ta. Herakle1on. Malta and Rhodes. lion at 504·345·8004. The Second Annu•l Prenoh Querter mallon at 212-869-5470/5476 S•mm~ H•••r, UNO Lakefront Arena. Pe.tlw•l, is slated for Apnl 12·14 with Pr••ue •nd l•nael, trips to which Saturday, 20 entertainment in Jackson Square. the 1ng orgamzed by NOMA in Saturday, 20 PNIIOII Ao•d.. n lluelo PMtlw81,Abbe­ Market. and other spots around the Quarter. the Precious Legacy The A••ocl•tlon, at Hibernia Bank ville. Information-at 318·893·1257. All tree and the list of bands includes Luther through May 4. 1nformat1on Pav11ion at the Zoo. Information at 861· Kent, Ronn1e Kole, AI Belletto. Chuck East· Sun•me•h ' 85 at the 2537. Sat.20.Sun.21 erling's Swingaphomc Orchestra, Placide Mississippi. D1xie Week T•v P•lco a P•nther Burn•. St. Rlwer C!tw ...... PHtlwel, Baton Adams. Connie Jones, The Dukes of Dixie· concludes w1th this blues Theresa's School, 1115 Prytania. Rouge; information at 504·344·8558. land. Chns Burke. Jacques Gauthe, Bob eludes Nappy Brown and the New ..ll•re•, Carol Robinson Gallery, Hletorlo Weellll..... ~I ~nto French's Tuxedo Jazz Band. Lou Sino, Up and the Southern Grass Bluegrass 4537 Magazine. ... a Arte end Crefta P..Uwel, Wash· With People, Scotty Hill, the New Orleans Information at 601-232-5993. ington, La., information at 318·826-3626. Philharmonic Symphony, the U.S. Marine Good Friday Cr•wfl•h Boll, Fn.5 Sunday, 21 Corps Bands: the entire shivaree will be Verm1llon Oueen 1n Lafayette. I Trumpet-Or••" Reclt•l, at Ch rist Sunday, 21 kicked off by Hizzona Dutch Morial on Fri· 10:30 p.m. Information at 31 Church Cathedral, 2919 St. Charles Ave., .....,naoftlleShrtmpl'leei,Chauvin. day and on Saturday and Sunday there will 4 p.m. Information at 504·594·5859. be a jazz brunch in Jackson Square ...more ..llet Afrlce performed by Kumbuke at details at 522·2621 . LIVE the CAC; 523·1216. Fri.28-Sun.28 Little River ..nd, Steamer President. Tltlbodeux Pl...... ,.'• Pelr, where else? Information at 504·447-6221 . Sat.27 & Sun.28 Monda y, 22 Wlnn Perlah Ponet Peetlwel, but don't Independence ltell8n PHtlvel, Inde­ Benn~'•• Valence at Camp. Bon•o., Kendall Cram Room. Tulane try killing time at the Twilight Zone Lounge pendence, La. Information at 504-878-9269. nonspecific-music on Mondays. University Center, 8 p.m. in Winnfield after what we've read in the T·P New Orleena .leaa a Herlt••• Blue Room, In the Fa1rmor1t recently. Information at 318-628-4528. Pe.tlwel, continumg through the first 529-7111 Through Wed.10: Keely Friday, 28 weekend in May. Information at 504·888· about whom words are fa~rly MI... O.vl•; W~ •rulle, Theatre Fr1.28-Mon.28 4700. or 1·800-535·5151 for out of town though if you lasted through for the Performing Arts. 7:30 and midnight; A.....toen Lesion Pelr end Pood ticket orders. embarrassing marathon on 586-0251. Peetlwel, (wonder if they'll have your por­ Jukebox Saturday Night, you .l•zz a Pllm: The New Qener•tlon, trait sketched while·u·wait by Douglas Tuea.30... y 12 Miss Keely was one of the only Prouts Alhambra, 732 N. Claiborne. mid­ Bourgeois?). Gonzales. Information at 504· Contnlltend .,.,_, Lake Charles. lnfor· rassing participants. From Thurs.11 mght; see page 24 this issue. 644·4191 . mation at 318·436·5508. Tues.23: B.B. King, one of the few

26 WAVELENGTH/APRIL 1985 JON NEWLIN &DIANA ROSENBERG

musicians whose advice is solicited by Her The Veranda, in the Intercontinental a1 Rincon de Ia YI•J• Guardia, 2105 Majesty Elizabeth II. Wed.24 through Thurs. Hotel, 525·5566. Sundays, 11 to 2:30 in the Hancock, Gretna, 367·0733. Fridays and 30: Toni Tenille. Reservations; dinner, afternoon, the LeRoy Jones Trio. Saturdays from 10, Ritmo Caribeno. Sun· dancing. day afternoons: Las Dos Rancheras, with Cerrollton Station, 8140 Willow, LAKEFRONT Wavelength's own Carlos Boll on accordion 865-9190. Sat.13: bluesmeister A.l. Burn­ e and Patsy "Chanchita" Rico on xylophone, side. Sat.27: Johnny J and the Hitmen. Call All81•'• Delaao, West End Park. Tues.2: castanets and duck call. lor balance of April listings. Union Chant. Wed.3: Southern Metal (old Pat Cate, 505 Gretna Blvd., Gretna, 362· Pelrmont Court, in the Fairmont Hotel, euphemism for red clay). Fri.5-Sun.7: Pen· 0598. Call for listings. 529·7111. Tuesdays to Saturdays, Judy ny Lane. Tues.9: Moon Tan. Wed.10: Tricks. w.... , •• , 1610 Belle Chasse Hwy., 361· Duggan on the piano bench from 9 to 1. Pat Fri.12·Sun.14: Windsor. Tues.16: Fever 7902. Tuesdays-Saturdays, Firewater until Mitchell at the same hours Sundays and (whether scarlet or rheumatic is not 1 a.m. during the week and as late as 2:30 Mondays and again during the week from specified). Wed.17: Tricks. Fri.19 through on the weekends. 5 to 7. Sun.21: Silk·n·Steel. Upstairs: Fri.5 through Qermen B"r Garden, 1101 S. Peters, Sun.7, rri.26 through Sun.28: Impulse. 528-9366. Tues. through Sun.: Johannes Ot· Fri.12 through Sun.14, Fri.19 through • N.O. EAST li mit seinem Original Osterreich Quintet, Sun.21: Rare Blend. from 7 and on Sundays from 2, asking the Nexus, 6200 Elysian Fields, 288·3440. Beau Oeste, 7011 Read Blvd., 242·9710. Imusical question, "Wust das ist das Thursdays, 7·10, and Fridays, 6-9: Wanda Fridays and Saturdays, 10·3, Billy Bell and jazzmusik?" Rouzan and her Band. Fridays, 10:30-2:30, the Dominoes. Gl••• Houae, 2519 South Saratoga, 895· and Saturdays, 11·3, Lady BJ with David The Club, 1701 St. Bernard, 947·9334. 9279. Mondays: the Dirty Dozen Brass Torkanowsky, Julian Garcia and Chris Jazz workshops every Sunday from 7·11. 1Band . · Severin. Hrett Hotel, 561·1234. Sundays, 10 Prlvat.. rs, 6207 Franklin Ave., 288-5550. a.m.-2 p.m., Chuck Credo and the Basin Sat.6: Exit 209. Sat.13: Scott Detweiler and Street ·Six in the Courtyard Restaurant. Organized Noise. Sat.20: If. Sat.27: Force e FRENCH QUARTER Fridays, 4-8 p.m., Bobby Cure and the Sum­ of Habit. MARIGNY R.L. Burnside, grand old man of mertime Blues in the Mint Julep Lounge. country blues, Carrollton Station ollmmr'•• 8200 Willow, 866-9549. Wed.3: e MID-CITY Artist Cete, 608 lberville, 523·9358. Mon., Mon.13 and Snug Harbor Wed.15. Channel Zero. Thurs.4: Teaser. Fri.5: Multi· Wed., Sat. from 6 to 10 p.m.: The Slewfoot pie Places. Sat.6: Union Chant. Wed.1 0: Capps, 111 N. Carrollton, 484-6554. Call Blues Band. Tuesdays from 10: American Party Bullet (is that anything like dum dum for listings. Gypsy Theatre. Tues. Thurs. , 2 to 6 p.m.: Jorge Mabarar hom 8 in the River View. or hollow point bullets?) Thurs.11: reggae Chinatown, 1717 Canal St., 525-7937. Rita McCoy. Mahoganr Hall, 309 Bourbon, 525-5595. with Roots Radics, l.tals, Ron Carlos. Fri.12: . Saturdays: Vietnamese music from 9. Other Bonaparte'• Retreat, 1007 Decatur, Mon.-Sat.: Mahogany Hall Jazz Band, 8·1. Jimmy Anselmo turns 7 or his club does, nights: Vol nhung chuong trinh dac sac do 561·9473. Music changes daily-walk by Fri, Sat., Mon., 9·2: Mary Mayo. Sun. 7-11: with Asleep At The Wheel and Li'l Queenie. cac nghe si thoi danh tu S~n Francisco, Los and check. Chris Burke and his New Orleans Jazz Band Sat.13: The Models. Sun.14: Island Night Angeles, Las Vegas, Houston ... ve trinh dien. CaJun Countrr, 327 Bourbon, 523-8630. with Lloyd Washington. The Dukes of Dix· With Exuma (I'll be having lsleno Night soon, Vol cac loai thuc pham kho dac sac. Co ban Thursday through Sunday, the Gela Kaye leland will be on the balcony during the watch for details). Wed.17: Gothics. va cho muon bang nhac, video tape, Band at 8; Mondays through Wednesdays, French Quarter Festival Fri.12 through Thurs.18: Mighty Sam Mclain and The Soul cassette. Mike Cascio. Sun.14. Purpose. Fri.19: The Cold. Sat.20: Uncle Dorothr'• Medallion, 3232 Orleans. c-lmo's, 1201 Burgundy, 561·9018. Pro­ Maxwell'•• 400 Burgundy, 522·0879. Call Stan and Auntie. Vera. Wed.24: Bones Fridays and Saturdays, Johnny Adams and gressive jazz on Sundays; call for for listings. Explosion. Thurs.25: Teaser. Fri.26: Walter Washington with the House Band. information. Old Absinthe House, 400 Bourbon. Woodenhead . Sat.27: Radiators. Ike's Place, 1710 N. Broad, 944-9337. Dream Palace, 534 Frenchmen, 943· Wednesdays through Sundays, Bryan Lee leple Leaf Bar, 8315 Oak, 866·9359. Sundays: Chuck Jacobsen and the Wagon 6860. Fri.5: TBA. Sat.6: Continental Drifters. and the Jumpstreet Five. Mondays and Sundays: The Wabash Company. Wednes­ Train Band. Fri.12: Woodenhead. Sat.13: True Faith. Tuesdays, also Saturday and Sunday after­ days: J. Monque'D. Thursdays: Bourre. Call Parkvlew Tavem, 910 N. Carrollton, Fri.19: Multiple Places. Sat.20 and Fri.26: noons, Mason Ruffner and the Blues for dates. Sunday poetry readings at 2:30, 482·2680. Fri.5: Snakebite and the Cotton­ The Radiators. Sat.27: Benny Spellman. Rockers. followed by Piano Bar with Fred Kasten: 7: mouths, featuring Johnny Price. Fri.12: Pamoua Door, 522 .Bourbon, 522·7626. Old Opera House, 601 Bourbon, 522· Richard Benton. 14: Dan Hughes and Clark Paula and the Pontiacs. Monday and Tuesday, Thursday and Friday, 3265. Sundays-Fridays, 4:45·8:30, Kathy Powell. 21: Larry Griffin. 28: Tom Lavazzy Thomas Jefferson and his Creole Jazz Band Lucas and the Loose Band. Mondays-Wed· and Dan Fogel. ' from 8; Wednesdays, Saturdays and Sun­ nesdays: Chocolate Milk. Thursdays­ llennr Post, 5110 Danneel. Sundays: e METAIRIE days, Mike Cascio from 8. Sundays: E.L.S. always open mike. Check the board for the Peelings, 2600 Chartres, 945·2222. Preservation Hall, 726 St. Peter, lineup as you go in. Chancea, 2301 Causeway Blvd., Thursdays and Fridays, Kenny Ard. Satur· 523-8939. Sundays: Harold Dejan and the !lets Pounteln's, in the Hilton, 523·4374. 834·3105. Bands every Saturday. Sat.16: days: Harry Mayronne. Mondays-Wednes· Olympia Brass Band. Mondays and Thurs· Pete Fountain and his band at 10 nightly; Johnny J and the Hitmen. Sat.30: Multiple days: Phil Kaplan. · days: Kid Thomas Valentine. Tuesdays and one show only and reservations probably Places. 844 Club, 544 Bourbon, 523·8611. Fridays: Kid Sheik Colar. Wednesdays and a good idea. McAllister'•• 3619 Fat City Avenue, Wednesday through Saturdays, Gary Brown Saturdays: The Humphrey Brothers. Pet•'• Pub, in the Hotel Intercontinental, 456·1524, Live heavy metal music Tues­ and Feelings. CMS from 9 to 9 Fridays and Roral Soneste Hotel, 300 Bourbon, 586· 525·5566. Edward Frank, Monday through days. Apr.2: Nasty Nasty. Apr.9: Lillian Axe. Saturdays and from 9 to 3 other evenings. 0300. Call for listings. Friday from 5 to 7. Apr.16: Pi. Apr.23: Network. Apr.30: "7." French Market Concerts, weekends 1 Rran'• 800 Club, 441 Bourbon, 525· llorltc'halrtr!lln Hotel, Bayou Bar, 2031 to 3 p.m. Sat.6: Murphy Campo. Sun.7: 7269. From 9, Mondays-Salurdays, the Charles Ave., 524-0581. Bruce Versen Harold Dejan's Olympia Brass Band. Celtic Folk Singers. from 5 until 9 during the week, save Satur· e WEST BANK Sat.13: Eddie Bayard. Sun.14: Kid Sheik Seaport Cafe and Bar, 424 Bourbon, days and Sundays. Michael Neal takes over Colar. Thurs.18: Harding Academy Concert 568-0981. Wednesdays-Saturdays, from 9, ooslt-cc>cKtall and post-prandial duties and The Arch.. , 7 437 Lapalco, 348·2945. Call Band from Memphis. Sat.20: Connie Jones' Sundays from 2·6, Sally Townes. late as 1 a.m. on Saturdays. for listings. Crescent City Jazz Band. Sun.21: Frank 711 Club, 711 Bourbon, 525·8379. Tues­ 5234 Magazine, 891-4989. Men­ Bronco'•• 1409 Romain, Gretna, 368· Federico. Sat. 27: W. Bachemin. Sun.28: days through Saturdays, Randy Hebert. Mike Pellera Trio. Tuesdays and 1000. Mondays, Wednesdays, Fridays, Harold Dejan's Olympia Brass Band. Thursdays through Mondays, AI Broussard. s: Leslie Smith and Co. Saturdays: Mississippi South. Gazebo, 1018 Decatur, 522·0862. Amasa Snug Harbor, 626 Frenchmen, 949·0696. WPrlnP"n~'v"· Steve Masakowski and Mike 1801 Club, 1801 Stumpf Blvd., 367-9670. Miller, 11 to 1 on Saturdays and Sundays, Mon.1: J. Monque'd. Thurs.4: Renegades. Fridays and Saturdays: James Wednesdays through Saturdays: Janet sometimes accompanied by those armfuls Fri.5: Edu and the Sounds of Brazil. Sat.6: Sundays: Willie Tee. Lynn and YaYa. of sweetness and clutch-bags full of har· The Cruz Quintet. Sun.7: Focal Point with mony, the Pfister Sisters. From ·1 on Willie and Earl Turbinton, Jim Carter anct weekends Chris Burke's New Orleans Elton Herron. Mon.8: Ray Bonneville Blues Music follows. Alfresco ragtime piano each Band. Thurs.11: Mason Ruffner and his day noon until 4. Blues Rockers. Fri.12: Pfister Sisters. Quste•s, Jackson Brewery, St. Peter Street Sept.13: Ramsey Mclean's Sneak Attack. at the river. Fridays and Saturdays at 6:30: Sun.14: Ellis Marsalis and Lady BJ. Mon. 15: Ronald Jones & Heat. Fri.5: Tommy R.L. Burnside Blues Band. Thurs.18: Ridgeley at 10. Sat.6: Samba Express at Snakebite and the Cottonmouths. Fri.19: AI 12:30, Tommy Ridgeley at 10. Sun.7: Sam­ Belletto Quartet. Sat.20: Five Steps To ba Express at 12:30; the Becky Allen Heaven. Sun.21: Ellis Marsalis and Lady BJ. Review at 9. Fri.12: Antoine Domino at 10. Mon.22: Paula and the Pontiacs. Thurs.25: Sat.13: Pan Vibrations at 1 2:30; Antoine Tony Dagradi and Astral Projection. Fri.26: Domino at 10. Sun.14: Pan Vibrations at Wayne Bennett's Golden Contrasts with 12:30; the Becky Allen Review at 9. Fri.19: Mighty Sam Mclain. Sat.27: Johnny Adams Oliver Morgan at 10. Sat.20: Oliver Morgan and Germaine Bazzle, with Ellis Marsalis. at 10. Sun.21: the Becky Allen Review at Sun.28: Ellis Marsalis and Lady BJ. Mon.29: 9. Fri.26 and Sat.27: David Lastie at 10. Snooks Eaglin. Tues.30: New Orleans Jazz Sun.28: the Becky Allen Review at 9. live Couriers. music Tuesdays through Sunday; call for Storrvlll• Club, 1100 Decatur, 525-8199. additional lineup. Mon., Wed. at 7: Chris Burke Jazz Band Lendmark Hotel, ·541 Bourbon, 524· featuring Lloyd Washington. Tues., Fri., 7 7611. Every night save the sabbath, ELS p.m.: Placide Adams Jazz Band. Thurs., and the Aubry Twins alternate. Sat.,7 p.m.: Teddy Riley Jazz Band. Sat. 1 Malson Bourbon, 641 Bourbon, 522- p.m.: David Torkanowsky Trio and Jacque­ 8818. Dixieland and traditional New Orleans lyn Jones. Sat., 11:15: Luther Kent and Trick Lobos, cuatros guapos musicales, sobre el barco Presidente, jazz every night until 12:15. Bag '85. Sundays, 1 p.m.: David Lastie and nueve de abril. No se pierda!! Marriott Hotel, Canal Street, 581·1000. Wanda Rouzan. Sun., 8 p.m.: Luther Kent

APRIL 1985/WAVELENGTH 27 and Trick Bag '85. Thurs.18 and Fri.19: Prytanla, 5339 Prytania, 895-4513. tion of Chinese work outside the socialist· Pleyena Dinner Theatre, 1221 Etta James at 10. Sat.20 at 1: new Orleans Through Thurs.11: Stop Making Sense, realist style that has dominated that coun­ Highway, 835·9057. From Fri.12: Jazz Club Jam Session open to all. Fri.26: Jonathan Demma's film about Talking try's art for the past four decades or so, and Teller, a musical comedy based on the life Placide Adams at 11:15. Sat.27: Teddy Riley Heads, required viewing for those who can including 100 hanging scrolls. Continuing and career of Benny Spellman with music at 11:15. look at David Byrne's puss blown up that in the U.S. Mint: Mardi Gras in New Orleans and lyrics by Naomi Neville and book(mak­ large for 90 minutes. Fri.12 through and New Orleans Jazz. two large and self· ing) by Allen "Black Cat" Lacombe. Thurs.25: Swann In Love, directed by Volker explanatory exhibits. Rose Dinner Theetre, 201 Robert St. Schlondorff with Jeremy Irons, Merlo VIII• Gellery, 3908 Magazine, Gretna, 367·5400. Through Thurs.28: Alain Delon, Ornella Muti, of course taken 895-8731. Through Wed.10: photography by Butterflies are Free. from the first part of In Search of Lost Time Ray Kutos, sculpture by Norman Therrien. Saenger, 524-0876. Hal Holbrook in Mall (as Nabokov always referred to it), in other From Sat.13: photography by Josephine Twain Tonight! in which one will hear boo words thrill again to Swann and Odette and Sacabo, work by Paula Roland. mots like "Heaven for climate, hell for can­ Chari us and Madame Verdurin ... From Fri. New Orleens Museum Of Art, City pany!" and hear anecdotes like the tale of 26: Paris, Texas, Wim Wenders' much ac­ Park, 488·2631. Through Sun.28: Ida Kohl­ Grandfather's Old Ram, all of which v.il claimed film about Harry Dean Stanton's meyer: Thirty Years, a show of five dozen lead one to two-historically authenticated, stonefaced search for his wife, his child, the paintings from public and private collec­ the both of them-conclusions: that Twail lost beauty of the past; from a script by Sam tions throughout the country by the loathed his lecture-tours/personal appear· Sheparq (a caveat to some). With Natassja celebrated local painter. New acquisition: ances which were undertaken in later years Kinski, Dean Stockwell, Aurore· Clement, Francois Boucher's Woman with a Cat (cf. . solely for financial gain after he had lost his music by Ry Cooder. incidentally, Robert Darnton's The Great shirt investing in a new-fangled typesetting Saenger, 524-0876. Fri.26: Life in the City: Cat Massacre for some interesting machine (the fool) and that Twain was. in The Story of an Urban Eden, a documen­ sidelights on the iconography of cats in 18th his last years, mentally unbalanced by tary commissioned by the Friends of the Century French life and culture.) Through depression, personal nihilism and eschato­ Zoo in honor of Audubon Park's centennial, July 7: a memorial tribute to the late logical doubt to the point of virtual madness showing the past, present and future of the Clarence John Laughlin, consisting of eigh· (lor which cf. A Horse's Tale or The park. teen portraits of him from his own collec­ Mysterious Stranger in the collected short UNO, 286·6349. Thurs.11 and Fri.12: The tion. Group tours for the deaf the fourth Sun· stories volume). Tickets from TicketMaster Big Chill. Thu rs.18 and Fri.19: Blazing Sad­ day of every month. Town Hell, 642 North Rampart (street ol dles. Films are at 8 in the Commons in Bien· the stars), 581-9605. Thurs.11·Sat.13, at ville Hall; $1 general admission. 8:15, Answers, an "intense" drama byKaz. Honks and howls, brays and barks Fri.26 and Sat.27: The Drunkard, produced of Happy Birthday J.J. Audubon by Town Hall's No Frills Productions (b.k.a fill the air at Audubon Zoo. ART David Jolley and his Slaughterhouse Thurs. 25. Players). A Gallery for Fine Photography, 5432 Tulene ·Arene Theatre, 865-5361. Magazine, 891-1002. Through Sat.20: Through Sun.14 and from Tues.16 through CINEMA photographs by Andrew Jackson Pickett. Sun.21: Le Misanthrope by Moliere, oneol Loyola's Film Buffa Institute, 895- Aaron·Haatlnga Gallery, 3814 Maga­ the dozen or so best plays of all time-1 3196. Tues.9: Deserto Rosso, Antonioni's zine, 891-4665. Through Wed.10: paintings, should know having played Alceste along lugubriously beautiful, repulsively solipsistic many of them peculiar views of sites in with the author at the first production, and 1964 drama of post-industrial anomie; with North Africa, by sometime-cartoonist· let me tell you that farthingale was some Monica Vitti, Richard Harris, Carlo Chionet­ alltime-Surrealist Robert Landry Jr., with heavy. ti. Wed.1 0: You Only Live Once, Fritz Lang's work by Bradley Wester in the back gallery. UNO. Tues.2: in the Thrust Theatre, slightly overrated 1937 film about a young ·From Sat.13, paintings by Heather Ryan Orleans Parish Schools stage a one-act play couple victimized by the law-good robbery Kelley. festival. Wed.1 0: in the Arena, lonesco·s scenes, the gratifying sight of William Academy Gallery, 5256 Magazine, 899- Parlons Francais at 8 p.m., and the world's Gargan as a prison priest getting gunned 81 f1. Through Wed.10: sculptures by Bill most famous Rumanian expatriate play· down, Sylvia Sidney splendid and beautiful Ludwig, work by Joanne Greenburg. From wright will be there lui-meme. to autograph as always and less tremulous than usual, Sat.13: paintings by Kathy Gergo. your old Grove Press copies of Amedee, and Henry Fonda's poignant cri de coeur: Arthur Roger, 3005 Magazine, 895-5287. The Chairs & The Lesson, Rhinoceros, etc. "Remember the frogs!" With Barton Mac From Sat.13: paintings by purveyor of Thurs.18 and Fri.19, in the Lab Theatre, Lane, Jean Dixon, Ward Bond, Margaret suburban weltanschauung Jim Richard. Garcia Lorca's Bodas de Sangre at 8 p.m.. Hamilton, Chic Sale. Fri.12: The Shanghai Arts Council, 522-ARTS: a telephone but Mr. Lorca will not be present having Gesture, Josef Von Sternberg's mightily number which dispenses information about been blown away by Franco's goons some­ peculiar 1941 film of John Colton's ancient local art events of some currency. time in the late Thirties. Fri:26 through melodrama-a film much beloved by Bienville Gallery, 1800 Hastings Place. Manipulated color by Jack Pickett, at A Gallery for Fine Photography, Sun.28: Much Ado About Nothing, as part French surrealist film critics for its touches, 523-5889. Call the gallery for information. of the first Annual Louisiana Shakespeare that of a Viennese Baudelaire; set in the Contemporary Arts Center, 900 Camp, through Sat.20. Festival (Beatrice and Benedick won't be gambling hell to end them all on Chinese 523·1216. From Thurs.18: Fresson Photo· present though), which includes seminars. New Year when debts are paid and scores graphs-A Union of Visions. Sat.27: a Newcomb College Art Gellery, Tulane folk dancing and programs of Elizabethan are settled, and with one of the great, children's art festival. music through the first weekend in May. ashes-in-the-mouth last lines in movies; with Davia Gallery, 3964 Magazine, 897·0780. campus. Through Thurs.11 : an Undergradu­ Ona Munson, hair twisted about like an Call the gallery for the month's listings. ate Juried Exhibition representing Newcomb and University College; from ebony croissant, as Madam Gin Sling, Gene DeVIlle Gallery, 132 Carondelet, Information in Wavelength's cal· Tierney as Poppy, Walter Huston as Sir 522·2363. Call for information. Sun.21 : photos by Alison Scott at the Women's Center Art Gallery (hours and in· endar is published FREE. Listings Guy, Victor Mature as Dr. Omar, Phyllis Duplantler Gallery, 818 Baronne, formation at 865-5238). deadline for May is Monday, April Brooks as Dixie, Maria Ouspenskaya as the 524-1071 . Through April: MediaMixture, a old amah, Marcel Dalia as the croupier, ragout or stufato including Lois Simbach, Posselt·Beker Gellery, 822 St. Peter, 15. Send all information to P.O. Mike Mazurki as the coolie, Albert Basser· Joan Maloney, David Reese Gregor, Van 524·7252. From Fri.12, Cleavage. recent Box 15667, New Orleans, LA paintings by Jim Sohr. man as the police inspector. Fri.19: The Wade Day and Susan Bofils. 70175. Pumpkin Eater, excessively exquisite 1964 Gelerle Slmonne Stern, 518 Julia. Tahir Gellery, 823 Chartres, 525·3095. film written by Harold Pinter and directed 529·1118. Through Wed.1 0: monotypes by Prints by American masters-Childe by Jack Clay1on from the Penelope Mor· Wayne Amedee. Call the gallery for the Hassam, Reginald Marsh, John Sloan, Thomas Hart Benton, etc. timer novel ·of domestic horreurs; Anne balance of the month. Bancroft is a bit much but James Mason Gesperl Folk Art Gellery, 831 St. Peter Tilden-Foley, 4119 Magazine, 897 ·5300. Through Wed.1 0: a group exhibition of land­ is, in his brief role as a lecher, a defining St.. 524-9373. A group show of gallery scapes by gallery artists. From Sat.13: pain· example of rotting charm. Mon.22: I Vitel­ artists. lings by Martin Delabano. loni, Fellini 's famous 1953 account of five Historic New Orleens Collection, 525 provincial louts-a minor masterpiece, and Royal. Continuing: the exhibit of Boyd without the later reliance on phantasma­ Cruse's Louisiana Alphabet, accompanied THEATRE goria; with Alberto Sordi, Franco lnterlenghi by a selection of related paraphernalia. (the youngest and most attractive and the ltellen American Renelssence Foun· Boneperte's Dinner Theetre, in the only one not meeting a dismal non-fate, and detlon Museum end Llbrery, 537 S. Quality Inn, 3900 Tulane Ave., 486-0625. -of course-the Fellini surrogate), Lida Peters, 522·7294. This new museum con· Nick Hall's Broken Up; call for times, etc. Baarova (rumored many years before to tains most of the exhibit from the Italian C.A.C., 900 Camp, 523·1216. Thurs.11 have been Goebbels' mistress during the Village at the LWE. The library contains, through Sun.28: The Wake of Jamey Foster. Thirties). Fri.26: Summer Wishes, Winter among much else, Giovanni Schiavo's large Merquette Theatre, Loyole. Wed.24 Dreams, a 1973 menopausal drama with collection on Italians and their history. through Sat.27: Eugene O'Neill's Ah, Joanne Woodward and Martin Balsam as Longue Vue, 7 Bamboo Road, 488-5488. Wilderness! a comedy of fin·du·siecle fam· the depressive married couple who sludge Nothing during the cruelest month save ily which was such a relief to a public in· catatonically through life; not cheery, azaleas in bloom. · ured and immured in gonk like Mourning though Sylvia Sidney as the old mother has Loulslene State Museum, on Jackson Becomes Electra, The Hairy Ape, Strange a wonderful soliloquy on the fact that you Square and elsewhere. In the Presbytere's Interlude, etc. ad nauseam, that it was don't get lemon slices of decent thickness clgthing gallery, Intimately Revealing.._ given the Pulitzer Prize almost immediately. with tea in restaurants any more; with Dori underclothes from the Victorian and Edwar­ Mlnecepelll's Dinner Theatre, 7901 S. Brenner as the quarrelsome daughter, Ron dian periods. Also, Mike Smith's Spirit Claiborne, 888-7000. Through March: Rickard as the homosexual son who ap­ World remains a burst of joy amid the Under the Yum Yum Tree with Bob Krieger pears only as a rather macabre dream dozens of dour faces of [someone's, not from Channel 6 as lead farceur. figure. Films are shown in Bobet Hall, on ours] Louisiana ancestors; through April: New Copeetetlc, 840 Piety St., 947-6026. the third floor, at 7:30; admission by season Chinese Traditional Painting 1886-1966: Fri. and Sat. 5, 6, 12, 13: Window, a play Airborne visage by Bill Ludwig, subscription ($15) or $1.50 at the door. Five Modern Masters, an important exhibi- by Norbert Dickerson. Academy Gallery through Wed.10.

28 WAVELENGTH/APRIL 1985 CLASSIFIEDS Stcq~~,~ MUSICIANS EXCHANGE MUSICAL INSTRUCTION BLUE STREAK KEYBOARDS. Need Money? Jan, St udic rock, classical, blues. Serious inquiries U .AR"' U .An GUITAR E:::J Michael Harmeyer 504'887-5554. STUDIOS only. 1-504-386-5745. Run by Musicians, DRUMMER wants to join Heavy EXPERT l>RUM INSTRUCTION "S·TRACK" . fetal Rock band into Led Zeppelin, Beginners to advanced, all styles, Ja11, for Musicians Noise reduction, Rush, Judas Priest and some originals. Latin, Rock, also conga and conga set Analog and digital erious musicians only. Call after 6pm. instruction. Call for appointment, Drum Otari Multitrack delays, flanger, 835-6554. Studio 504 , 523·2517. and 112 track chorus, reverb, drum machine, DRUMMER NEEDED for weekend Unn Drum ance band. No rocksters. Call Balad BOOKS & MAGAZINES amps, drums, piano eboat 581-4514. OVER 15,000 used & old books. Post­ Yamaha OX 7 Synthesizer and synthesizer KEYBOARDIST cards and records. Music a specialty. Digital Delay included. vailable. All styles. Exc. equipment. George Herget - Books. 3109 Maga­ Aurar Exciter zine. 891-5595. $20 an Hr. • 3 Hr. Min. ocal ability. 10 yrs. exp. Serious pro­ S25 hr. SISO day fessionals only. Bill, 504-283-640 I. NOT EVERYBODY reads the classi­ cassette Dupes ' Studio Musicians HOT STRINGS fieds! Because you do, you can order Available call Stonee ire New Orleans· favorite string group for both Living Blues record-review issues our wedding or party. Call 837-3633. together for a discount. Numbers 48 488-3976 (504) 467·3655 and 60/61 contain detailed reviews of MUSICAL INSTRUMENTS literally hundreds of discs - what's & EQUIPMENT hot, what's not, what's classic, the funk, the junk, the old, the new, the Skratch Records ASIOTONE MT-30 keyboard, $100. rhythm and 37-2332. the blues - yours for The Times $4.50. Send check or money order to GIBSON-LES PAUL GUITAR Living Blues, Center for the Study of 971 Gold Top with Anvil case, custom GIVE A FRIEND SOME MU Southern Culture, University, MS ick ups. $500. 837-5086, 9 to 5 call The TIIII!S new LP, "HIP ISN'T IT", II for anyone and 38677 and MENTION THIS everyone 68-1011 ext. 311. AD. , e1peclally "YOUNG PROF'.SSIONALS" whoH "CHILDHOOD" waa 1pent "LOIT.RING WITH INT.NT" YAMAHA CP70B BLUES AND RHYTHM-The Gospel or "I!XIL.D IN L. A.", while "CHANGING" and trying to see "TH• WHOL. THING". 'lectric Grand Piano and matchmg Truth; published ten time~ per annum, "SANDY (JANI., LORI, CATHY, CYNDI)" all At lhe followtng record 411 5H I OOW amp and speaker system covering blues, R&B, go~pe l , vintage soul, have 1ald that this album by the TIMES Is "TWIC. AS NIC."I stores Metronome I•· or sale. One year old, perfect condi­ cajun and 1ydcco. 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(25<) Dostrobutors welcome . pinup/swimsuit/lingerie modelling. Produced tty Johrvty lltaluzotto. Hana Van 8raekJe & The Ttmea ENTE-.RVISION Producuons produces Excellent figure essential. No exp. nee. Av•ll•blo through lmport•nt record distributors (718) tt5·11200 oadcast quaht> \"Jdeo demos for mu:1c _ Pix to Magda, Orion Agency, PO Box oups and bands at reasonable rates. For 6831, New York, NY 10 !50. ore mlormauon. contact Glen West at 04) 833·2815. tUSICIANS HANDLED WITH CARE mencas largest Entertainment Agency ·et" or~ needs touring Hotel and Roc~ :tcts. all Nauonal Headquarters in Nc" York. Ofi!On Management. Inc. (607) 772·0!!57. RECORDS ARGE SELECTION of classical ·. . C\'cryth1ns you "'ant to kno" al:x>ul .\menca'a mu6Jcallcga the cordings from a professional musi­ "urtd-the blue6- I have &ubAcnbcd and I h,>pc you do. too. Tell ·em ian's collection. George Herget Lucille 6Cnt you · ooks, 3109 Magazine. 891-5595. B. B. Ku'S 'ANTED: THE SHEIKS. I pay a very ood price for the Going Public I bum!!! Also interested in any kind of ,,.,h.J t,, I' ''~ I ~U<..,. pes. Call 899-0503 or write to 2900 k on our l t•nh.·r t,,r lh<.· .~u.. tv ,~ •'-'ulh<.·rn l"ullurc.· t. Charles Ave., Apt. I, NOLA 70115. The.· l Rl\cr.. .h '" ~,,:.,. ,M,Pf't Take a tre ages to Unl\<."rNiv M,, }8677 BUY COLLECTIONS-any amount, kk-ph.,;._. w11m i'l'll ny category. Disc jockeys, sell me the star-tille~ p\aces. ecords you're not playing. Pay cash- fair 30, _z3A2 rices. Record Ron makes house calls. 50A 8 95 ...... 129 Decatur Street, 524-9444 . LASS IF IED Moil to: Wavelength Clossifieds, P.O. Box 15667, New Orleans, LA 70175. •......

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APRIL 1985/WAVELENGTH 29 over urn K-Doe Burn was almost a JHE fE.At< oF THt;_ pledges during their marathon B reality. An out of control 18- draiser. wheeler jumped lanes on I-10 and In all of South Carolina thert made straight for a car driven by ;V£1(Vov~ CA!\ToorvrsT but one radio show playing Ernie K-Doe. Sorry- obit fans and 1,85 Gary Irwin hosts "Blues In would-be entrepreneurs holding one Night;' which airs on WSCl-FM of a kind K-Doe tapes: Naugahyde Charleston. Irwin plays Gofu much heaven will just have to wait! K-Doe kHP ONlHf Orleans music on the show, escaped the crash with minor inju­ BriiM I lf-1£ WORLD ing Fess, Earl King, Huey ries. The car no longer has an WON'T BLow u f' / the Nevilles on a I engine. Erwin also reports, " GoiTA 5frt1L£ l rio Teaser has returned to a three­ duction is gaining strength in man line-up ... Chip Collins on 5£Ntjt; TN' Carolina. Th~y have drums and vocals, Mike Rapier on Wot\P..'/IN~l many old ricebeds into bass and Randy Couch on guitar. ponds~' Bombay Management is handling Nexus owner Noah the group's bookings. Now we know plans to open R.S.V.P. as Nexus New Orleans is low on good book­ Uptown. ing agencies, but ... According to Atchafalaya is travelling ITT representative Vivian Lucier, a the Atlantic Bayou to perform three-minute call to Bombay will Turkey, Morocco, Czechosl · cost you $12.26 plus tax. Write and Portugal. According to when you get work. Lucier at ITT, a three minute call Leroy Jones will be accompany­ Turkey will run you close to $10 ing the Original Camelia Jazz Band you dial direct. to Singapore for a three-month gig Hot on the heels of The at the Singapore Holiday Inn Park­ of Jazzasize comes The view. The other Camelia members Jazz, a series of TV shows on, are Otis Bazoon on reeds, Quentin else, jazz history. Wynton 1vaalfYIII• Batiste on piano and Trevor Howard has been signed up to narrate on drums. A three-minute call to Trumpet Ki ngs segment, which Singapore during the day will run feature King O li ver, Louis you only $5.22 plus tax. strong, Dizzy Gillespie, Cat Yes kids, there are living musi­ son, C het Baker and Clark cians in New Orleans, even a few Disregard any and all who actually make livings. To honor about a change in music pro1gra1.. these select few, April 29 through ming at Snug Harbor. According May 3, 1985 has been designated M.ike Moliere, now in charge New Orleans Musicians Week. The booking at the club, there will be purpose of such a week is to make changes. Jason Patterson will ad school children more aware of living a booking consultant. Patterson musicians. Now, how about a field Jerry Brock are now associates in trip to Dorothy's Medallion booking agency (N.O.T.E.) Lounge? More info is available goal is quality out-of-town through the Public Info Office of ings for New Orleans acts. Orleans Parish Schools. continues as full-time p The ballad "Hard to Please" off director for WWOZ. the She's The Boss LP by Mick Jag­ Harbor Music, (no relation ger has astute listeners arguing over What is the name of the period in tors are also becoming popular in Snug Harbor) is now in the possible influences behind Jag­ the earth's evolution when the first "the land of fruits and nuts;' the doing music for films, video ger's unusual vocal styling. After land animals appeared? Silurian is beautiful state of California. The advertising. Composer Jay one reviewer likened the sound to the answer and also a band whose Rads just returned from an extended heads up Harbor and can be Bob Dylan singing "Lay, Lady, LaY,' press release says they are, "locally tour while The Cold will be visiting at 504/891-5290. The first Jagger admitted he was trying to known and loved for having made a and performing in Southern Cali­ project is a Weigel orchestration sound like Aaron Neville. Jagger's huge dent in the Uptown area~' You fornja April 9-15, playing such spots the A&M Records tribute to secret to getting that patented figure it out. Silurian also claims to as Madame Wong's (east and west) Weill LP, which will feature Neville sound? According to a feature intricate leads and the ability and The Music Machine. A three Orleans musicians Steve source close to the Stones, "Mick to move your soul. Move it to where, minute call to L.A. will run you any­ kowski, Johnny Adams, says novenas, gargles honey, lemon Bombay? · where from $1.60 to $5.25, depend­ Jones, Kidd Jordan, Ralph ..... u·-­ and cayenne, with occasional Zata­ Two of New Orleans most popu­ ing on what long distance service Aaron Neville, Stephanie SieiJeflll• rain's crab boil and pumps iron~' lar bands; The Cold and T he Radia- you use and the time of day. and Mark Bingham. Phew.

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30 WAVELENGTH! APRIL 1985 SEEING YOUR IS VHS. KIND BELIEVING ·BETA OF MUSIC

JAZZ ·BLUES

CAJUN • RHYTHM & BLUES

PROFESSOR LONGHAIR

KID VALENTINE NEVILLE BROTHERS CLIFTON CHENIER LIGHTNIN ' HOPKINS * ALWAYS FOR PLEASURE (1978, 58 min.) *THE BLUES ACCORDING TO LIGHTNIN' Starring Professor Longhair, the Wild Tchoupl­ HOPKINS (1967, 41 mlns.) He sings, he jives, he toulas (with the Neville Bros.), Art Ryder's Electric ponders, he boogies. Country blues Is passing Street Band, the Olympia Brass Band, Kid Thomas away faster than nature herself Is disappearing. Valentine, Mardi Gras, Jazz Funerals, magnificent " It's a beautifully made fllm."- Carman Moore, fusion of jazz, R&B greats & New Orleans.. $49.95 The VIllage Voice ...... $44.95

,· * HOT PEPPER (1972, 54 min.) Clifton Chenier, • BLUES LIKE SHOWERS OF RAIN (1970, 30 0 the greatest blues accordionist ever, mixes rock min.) J.B. Lenoir, Otis Spann, Robert Lockwood. and blues with zydeco music, a pulsing combin­ Rare footage of J.B. Lenoir (1929-67), one of the ation of Cajun French with African undertones. In greatest tenor blues singers of the century. Also 0 addition to Clifton belting It out In sweaty dance features Paul Oliver. A rare and beautiful video for IS halls, the film winds his music through the bayous blues, blues, blues...... $39.95 d and the countryside...... $49.95 a * A WELL SPENT LIFE (1970, 44 min.) A ;e • DRY WOOD (1972, 37 min.) Featuring "Bois precious document of Mance Lipscomb, ,_ Sec" (Dry Wood) Ardoin, his sons, and Canray considered by many to be the greatest blues Fontenot. Old style Cajun, a rollicking country guitarist of all time. The film captures Mance's k Mardi Gras, work In the rice fields, a men's-only music and combines It all with his love. The com­ 11 supper, a hog butchering party, a rare glimpse of bination of the man and his music hits you rtght old time Cajun music and lifestyle...... $44.95 in the gut, Kansas City Times ...... $49.95

* SPEND IT ALL (1972, 41 min.) The Balta • A DIFFERENT DRUMMER (1970, 30 min.) Brothers, Marc Savoy, Nathan Abshire and others Elvin Jones and rare footage of the John Coltrane provide the music. Also Cajun quarter horse Quartet from the 60's. Power and complexity from racing, coffee roasting, accordion building, cook­ truly great jazz legends ...... $39.95 Ing and eating. A marvelous film about the white, French-speaking Cajuns In Southwest La. Tap_~our * AFTERHOURS (1961, 27 min.) B&W TV show, feet and get hungry...... $49.95 THE OF THE Coleman Hawkins, Roy Eldridge, Cozy Cole. A UST jam session from the early 60's in a club on 52nd • THE TIMEX ALL-STAR JAZZ SHOW Nov.10, . t.~U:! St., N.Y. Period swingers cliches ...... $39.95 1958, CBS-TV. Jackie Gleason, host, with Louis KANSAS CITY J AZZ ••• Armstrong, Duke Ellington and His Orchestra, Featuring Jo Jones, Eddie Durnam, • SUN RA: A JOYFUL NOISE (1980, 60 min.) Dlzzle Gillespie, George Shearing, the Dukes of film clips of Charlie Parker, One of the great leaders of the avant garde jazz of Dixieland, Gene Krupa, Jo Jones, Roy Eldridge, Jimmie Forrest, Baby the 60's. Riveting musical sequences, a Bobby Hackett, Coleman Hawkins, many others. many others ...... fascinating film about a mysterious jazz The greatest jam session ever...... $44.95 great...... $59.95

These videotapes are all legal, copyrighted videos, remastered from the masters on the BUY ALL 12 TAPES Save $35.00. finest state-of-the-art equipment available today. For home viewing only, not for rental * All other tapes priced as marked or duplicating. Film and 3/.4 tape rentals available. Shipped free on· entire collection Purchase, own the greatest jazz, blues video Call (404) 277 ·1916 for infonnation package ever, Save $35.00 ...... $550.00

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Call 404-277·1918 Add $3.00 per tare, handling and 1st VCV Videos with your card I# for charge by phone, or Class postage. AI tapes factory sealed you may mall your charge I# & exp. date originals, money back guarantee if not 240 Tilton Road S.E. Dalton, GA 30720 In for charge by mall. satisfied. Write or call for Info or 404-277·1918 Mon• .sat. N catalogue of other jazz, country, '50s Please specify VHS or Beta Allow 4~ weeks for delivery. rock, other videos. Add $3.00 per tape postage·handllng Normally 2 weeks.