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Home , Archibald (musician), Art Rupe, Bobby Charles, Bobby Marchan, Cosimo Matassa, Earl King

at his Governor Nicholls Street studio in 1958. photo: unknown

REMEMBERING COSIMO MATASSA PART I: THE EARLY YEARS AND INDEPENDENT LABELS AMED RECORDING ENGINEER and studio head, Cosimo and I appreciate it. But all I did was try to do Matassa, died at Ochsner Medical Center on September, 11. He had been in declining a good job with what came my way. There health for the past several years after having suffered a stroke and, up to the time of his was never any self reflection on my part about passing, was confined to a local nursing home. my place as historical figure. In fact, generally FTypically of this modest and self effacing man, he never claimed responsibility for the develop- speaking, it was a lot of fun,” he was wont to ment of what has come to be known as New Orleans rhythm and . “People say I’m a legend say. Nonetheless, for no other reason than the

6 | BLUESRAG | DECEMBER 2014-JANUARY 2015 | MOJOWORKIN.COM REMEMBERING BY LARRY BENICEWICZ COSIMO MATASSA PART I: THE EARLY YEARS AND INDEPENDENT LABELS fact he personally witnessed this genesis, he would were on such a scale as to reach mythic proportions. be worthy of recognition. But to have actually been Indeed, among his countless sessions, he oversaw at part of the creative process not only as engineer least 250 nationally charting singles and 21 million but also producer, arranger, and sometime writer, selling records. sets him apart. With a career of such a vast scope, It would be difficult to imagine what the Golden he loomed larger than life and his accomplishments Age of New Orleans R&B (mid-forties to mid-

MOJOWORKIN.COM | DECEMBER 2014-JANUARY 2015 | BLUESRAG | 7 COSIMO MATASSA

Matassa’s grocery store Cosimo Matassa with in . , late 50s photo: larry benicewicz photo: red tyler

sixties) would be without Cosimo chemistry student. Discovering that DeLuxe, based in Linden, New shouter and exemplar, Matassa. He not only was simply he was more technically inclined, Jersey (1130 St. George Ave.), were Roy Brown, whose caravans, as Mr. at the right place at the right time, he dropped out after five semesters gaining footholds in the region. Matassa noted, “sported so many when the home grown music was there to instead seek courses in elec- Represented by the Braun brothers, shiny black Cadillacs as to resemble taking wings, but also he had the tronic vocational schools. Thereafter, David and Jules, who doubled as a funeral cortege.” In July, 1947, the necessary character traits to nurture it wasn’t long before he became talent scouts, they were the first of then twenty-one-year-old engineer this indigenous genre of music both involved in the juke box trade, a the “carpetbaggers” and “usurpers,” supervised, arguably, the first rock in its naissance and throughout sideline also of his father who sold as Mr. Matassa referred to them, and roll single ever with Brown’s its two-decade long hey-day. Aside old used 78s out of a storefront at who “looted and plundered the “Good Rockin’ Tonight” (#1093). from his great sense of humor the nearby intersection of Rampart treasure of New Orleans music at And not forgetting the roots of this (he was an amazing wit) which and Dumaine Sts. With a partner, the cost of a few dollars session fee,” music, Mr. Matassa also recorded tra- served him in good stead during the Joe Mancuso, Mr.Matassa gradually he asserted. Some, granted, like this ditional jazzmen for DeLuxe during recording session, his greatest virtues expanded the inventory of this shop initial imprint, were more benign the late forties, including cornetist, in the studio were the three “P’s”- to include not only new releases than others, but Mr. Matassa at that Oscar “Papa” Celestin, and clarinet- --perfectionism, perseverance, and, but also the sale of small appliances juncture, needed a label, and the ist, George Lewis, respectively, at the above all, infinite patience, which such as radios and amplifiers. By the Braun brothers were all too willing tail end of their illustrious careers. would insure that each project reach mid-forties, he had acquired the to accommodate him. When it commenced operations, a satisfactory conclusion, no matter wherewithal to produce local voice Many of the original artists this newly christened J&M studio how many takes were involved to recordings and personal messages recorded by Mr. Matassa on DeLuxe (the initials were those of his father, achieve its completion. To put it on disks, both which proved to be (or auxiliary Regal) were to have John, and the aforementioned Joe bluntly, often when handed chicken lucrative pursuits. The popularity of a tremendous impact on the ulti- Mancuso) was about as primitive as feathers, he produced chicken salad, this undertaking, plus his awareness mate direction of R&B. Trumpeter they come. And Mr. Matassa would when given lemons, lemonade. And of the magnitude of unrecorded , from Egard, often use expressions like “baptism because the musicians had such a musical talent residing literally with- LA, would later go on to arrange by fire,” “trial and error,” or “flying high regard for his judgment, he in blocks of his humble enterprise, or produce nearly all of the ensuing by the seat of my pants,” to describe was always able to extract the best ultimately convinced him to branch Imperial sessions, including the early the methodology employed to suc- from them. And, despite the rather out into the recording market. efforts of , , cessfully launch this new business rudimentary recording techniques, Nonetheless, Mr. Matassa, dur- Bobby Mitchell, and a host of oth- venture. Typically, using a duo of the quality of the end result remains ing that time frame, was not the ers, including vocal groups. Pianist Presto 8N recorders, two crude a tribute to his genius behind the only one cognizant of the pecu- , out of Kentwood, LA, masters were cut simultaneously, control panel. niary potential of all the facets whose band featured the under- one serving as a safety or back-up. Cosimo Matassa, of Italian heri- of music that were so distinctly rated blues chanteuse, , This process meant that all the tage, was born in New Orleans on peculiar to the Big Easy, be it R&B would subsequently attain the status recordings had to be direct to disk. April 13, 1926, approximately two then in its nascency, traditional , of A&R (artists and repertoire) man Thus, the whole ensemble had to years after his father established a or . It was the time of for and later become be present and complete the piece family grocery business (which still the rise of the independent record associated with Clarence “Frogman” in one take, as if in a live perfor- endures) at the corner of Dauphine labels which would capitalize on Henry and . mance, without a sour note from and St. Philip Sts in the French the ethnic or less than mainstream Moreover, the coterie of studio anyone or it was back to square Quarter. Although he helped out music long neglected or given a musicians so often employed by Mr. one. This painstaking procedure was in the store as a youth, he had his short shrift by the pop oriented Matassa would often spring from extant just prior to the technologi- sights on higher education and, majors such as RCA, Columbia, the nuclei of both Bartholomew’s cal breakthrough of the one track narrowly averting the draft toward or Decca (each which had a lim- and Gayten’s supporting cast. But, tape, which allowed some flexibility the end of WW II, he enrolled in ited “race” designated catalogue). perhaps the biggest name from this in correcting human error. To his the uptown Tulane University as a Already, small companies such as era would undoubtedly be that of benefit, Mr. Matassa soon thereafter

8 | BLUESRAG | DECEMBER 2014-JANUARY 2015 | MOJOWORKIN.COM in Baltimore, 1990 photo: larry benicewicz

Charles “Hungry” Williams, 1959 photo courtesy joined the Audio Engineers Society pet of “Keep A Knockin’,” which would be either or vexed contemporary engineer, J.D. and, by attending conventions of Mr. Matassa was able to extend Chuck Badie. And finally on Miller, of Excello records renown in this organization, he could keep to a full length, two minutes and could be found Edward Frank or Crowley, LA. However, in a culture abreast of all the latest advances in ten seconds, thus personally invent- Salvador Doucette. like New Orleans wherein danc- this field. Even so, these rather rough ing Mr. Richard’s last million-seller. In fact, they all played with such ing played such a significant role, hewn disks, as well as the first tapes, Mr. Matassa looked back to those precision that any artist who was not feeling a visceral “beat” was always had to be farmed out to other engi- days and jokingly asserted that he up to snuff technically would be at of utmost importance. Thus, there neers, such as Bunny Robyn in Los was entitled to a special Grammy a loss ever trying to duplicate such a had to be excessive emphasis on the Angeles, who had to re-master them Award for tape splicing, or maybe high level of proficiency during his bass and drums, even more so than before the records could finally be a “Golden Razorblade Trophy,” to public performances. Such was in on the melody, to carry the number pressed. use his expression. Fortunately for the case of Smiley Lewis. “He was a along. To rectify this deficiency, one Before relocating to a new facil- Mr. Matassa, his hand picked crew great singer but I wouldn’t ever let or more were “doubled;” ity at 521-525 Gov. Nicholls St. usually kept mistakes to a minimum. him near his during the ses- that is, they served to reinforce the in the French Quarter in 1955, Some of Mr.Matassa’s detractors sion. In fact, he once begged Ernest notes of Fields’ string bass, playing Mr. Matassa did acquire a model criticized his use of the same session McLean to play a little off key or along, but an octave or two higher. 300 Ampex ¼ inch single-channel men, using terms like “clique” or hit a few bad notes just so it would As for the horns, they were utilized tape machine which, if the sound “inner circle.” And it was true that more resemble his live act,” said Mr. merely to fill out the recording and man were clever, alleviated a lot of he had quite a pool of musicians in Matassa with a laugh. always played in unison. In the case frustration in the studio. To dem- the area from which to draw. And And just what comprised this of the piano, both directors wanted onstrate this point, Mr. Matassa if he ignored some of the highly characteristic Cosimo Matassa it to be “barely there.” Mr. Matassa was fond of relating two particular competent Crescent City players, sound? Always giving credit where recalled that one day, Williams, actu- episodes wherein he put his impro- it was for a purpose. His chosen credit was due, he often singled out ally punched a hole in his drum in visational skills to good use. The clan, the so-called Studio Band, his arrangers and producers, but his quest for that so desired quint- first involved Fats Domino, whom complemented one another and Dave Bartholomew in particular. essential “thump.” Of course, after he greatly respected as a musician. achieved on the premises the sound Like Mr. Matassa, Bartholomew was everything was set in motion, the Nonetheless, Mr. Domino had this for which he constantly strove. “I a kindred spirit--- a “perfectionist” thorny issue of optimal mike posi- exasperating habit of stopping in knew I had a good thing going and a “consummate professional” tioning remained. the middle of a perfectly good take and that, time after time, it proved in the studio. But in the words of As far as this unique dance beat and innocently inquiring, “How a winner,” he said in an inter- the late singer/ Bobby was concerned, both Bartholomew am I doin’ Cos?” To make a long view. The basic fifties horn section Charles, “he could be intimidating, and Matassa saw fit to incorporate story short, Mr. Matassa finally had featured outstanding tenors, Lee because he was such an exacting and this signature, syncopated, so-called to splice two pieces of his great- Allen and Herb Hardesty, and the stern taskmaster.” But these were “second line” or New Orleans est hit, “Blueberry Hill,” together. steady Alvin “Red” Tyler on bari- exactly the qualities that endeared “parade rhythm” in so many record- If you listen closely to the record, tone, the acknowledged leader of Bartholomew to the engineer. In ings, a practice which distinguished you’ll hear an ever so slight glitch, the outfit. Arranger/composer Dave fact, over the years, they so trusted this type of R&B apart from any hardly discernible. The other story Bartholomew normally handled the each other’s intuition as to form a other genre of the era. It was read- involved (Penniman). trumpet chores. While guitar duties mutual admiration society. ily recognizable in some instances, After Mr. Richard’s sudden con- were assigned to local standouts Of immediate concern to both such as in Smiley Lewis’s (real version to religion (wherein he like , Ernest McLean, men and a problem that demand- name, Overton Lemons) great 1956 disavowed secular music), Justin Adams, Walter “Papoose” ed some sort of resolution was disk, “Down Yonder, We Go Ballin’” of contacted Mr. Nelson, and . Able the authentic transferal of the low (Imperial #5404), wherein a tuba Matassa and wondered whether any bodied percussionists included Earl end or “bottom” (bass) which the is actually employed and Professor outtakes remained in the can. There Palmer and Charles “Hungry” early recorders inadequately sensed. Longhair’s (Roeland Byrd) immor- was one---a 40-odd second snip- Williams. Invariably on upright bass This was the same topic that so tal “Go To The Mardi Gras” (Ron

MOJOWORKIN.COM | DECEMBER 2014-JANUARY 2015 | BLUESRAG | 9 Four Winds Blow,” #5439), just to Close on the heels of Imperial was name a few, Imperial became far and Atlantic, a New York-headquartered COSIMO MATASSA away the greatest purveyor of the “indie” (234 W. 56th St), operated New Orleans sound to the rest of by , Herb Abramson, #329) in 1959. Or it may have his right-hand man, Al Young, as the nation. And vocal or doo-wop and Jerry Wexler. The latter figure, an taken subtler forms, as a shuffle, in talent scout, Chudd soon had a groups then coming into vogue, avid R&B aficionado, was intrigued Fats Domino’s “” covey of local artists, including such as the Barons, Bees, Hawks, especially by the rhumba-like piano (Imperial #5704) in 1960. In short, Bartholomew in his fold. It was at Pelicans, Jewels, and Spiders (with rhythms of , who in all its infinite variations, this J&M in 1949 that the young Fats their “Witchcraft,” #5366), show- had previously recorded at J&M “funky” rhythm weaved a common Domino recorded his classic, “Fat casing brothers Chick and Chuck without much promise in 1949 and thread throughout the march of Man” (#5058), and (Leon Carbo, fared almost as well. So much 1951, for respectively, less aggressive New Orleans’ Golden Age of music. T. Gross) in 1950 his oft-recorded, by then did his reputation precede suitors, Mercury and Federal. In At the onset of the fifties, Mr. gambling themed gem, “Stack-A- him, Mr. Matassa was also able 1949 and 1953, Wexler arranged Matassa devoted his time exclusively Lee” (#5068). In addition, with to attract and record out of town sessions for the artist, the latter to the recording business, as more such solo performers as Tommy Imperial luminaries as well, such which yielded his famous calling independent record executives were Ridgley, Billy Tate, Jesse Allen, Chris as Austin’s stellar guitarist, Pee Wee card, “” (#1020).Atlantic “flocking to New Orleans to get Kenner (“Sick and Tired,” #5448), Crayton, and New York’s torch sing- also found much success in 1954 a piece of the action” (to use Bobby Mitchell (“I’m Gonna Be A er, Faye Adams. In fact in 1950, he with both native, , his words). One of the first after Wheel Someday,” #5475) , Smiley issued platters by Kansas City blues with his instrumental hit, “Jam Up” DeLuxe was the eclectic Imperial Lewis (“Blue Monday” #5268 and shouter, , on both (#1039), and touring artists, Ray (and Post subsidiary) based in Los “I Hear You Knockin’,” #5356), Imperial and its subsidiary, Bayou-- Charles, who scored with “Feelin’ Angeles (137-9 N. Western Ave.) James “Sugar Boy” Crawford, and -the much sought after “The Blues Sad” (#1008) and Big Joe Turner and run by . Using eventually Roy Brown (“Let the Jumped the Rabbit” ( #015). with his “Honey Hush” (#1001)

10 | BLUESRAG | DECEMBER 2014-JANUARY 2015 | MOJOWORKIN.COM and “T.V. Mama” (#1016), the lat- That I Used to Do” (#482), this to take risks on an individual it con- was overseen by Mr. Matassa, who, ter backed by Elmore James’ outfit. time with in a cameo sidered a budding star, Specialty also by then, became extremely well Atlantic would remain a big player role, sitting in on the ivories. One captured some early experiments by regarded in the industry. As a mat- in the Big Easy music scene well of the last chart makers manufac- guitarist Roy Montrell, bassist Lloyd ter of fact, Mr. Cooke (celebrated into the seventies, especially in the tured at J&M was Little Richard’s Lambert (associated with Guitar lead vocal of the gospel group, Soul distribution capacity of such logos “Tutti Frutti” (#561), but Mr. Slim), and Ernie K-Doe as Ernest Stirrers) made his secular debut in as Instant, Chimneyville, and South Matassa would go on to engineer Kador. Oddly enough, by the end New Orleans singing a Red Tyler Camp, just to name a few. virtually all of the dynamo’s hits of the fifties, Art Rupe’s ex-wife, penned ballad, “Forever” (#596), Although one of the rather late- after he relocated to Gov. Nicholls. Leonora, who now owned Ebb utilizing the thinly disguised pseud- comers to the party, Art Rupe and Additional Specialty artists of note records (at 4523 South Western Ave. onym of Dale Cook. On the other Specialty records (311 Venice Blvd, who were recorded by Mr. Matassa in LA) got wind of this Crescent hand, not all locals, who recorded ) quickly made up for were guitarist Earl King (at that City “gold rush” of indies and even for Specialty, availed themselves of lost time, and, for a while, rivaled early stage a clone), managed to wrangle a three-sin- Matassa’s facilities, as in the case Imperial as the largest exporter of trombonist Edgar “Big Boy” Myles, gle commitment from Professor of , former valet Crescent City material. On March and the youthful , who Longhair, records which remain and hairdresser for , 14, 1952, Mr. Matassa supervised hit it big with “Cha Dooky-Doo” some of his finest undertakings, who recorded his many hits, “Bony one of the biggest R&B smashes (#637) in 1958.This latter session courtesy, again, of the expertise of Moronie,” “,” etc. in ever with Lloyd Price’s “Lawdy and that of the white sensation Cosimo Matassa. . Los Angeles. Miss Clawdy” (#428), featuring Fats Jerry Byrne’s “Lights Out” (#635) It’s interesting to note that, by Around the same time frame as Domino on piano. And he reprised in the same year were produced by the middle fifties, it became almost the Specialty foray in the Crescent another such monster on October Harold Battiste, who, as arranger, standard practice for outsiders, like City, another West Coast label, 27, 1953, with Guitar Slim’s (Eddie would go on to make his mark in a for example, to make Aladdin (at 451 N. Cannon Dr. Jones) monumental “The Things the decades to come. Never afraid a pilgrimage to whatever studio in Beverly Hills) came knocking.

MOJOWORKIN.COM | DECEMBER 2014-JANUARY 2015 | BLUESRAG | 11 Shirley & Lee, Aladdin promo COSIMO MATASSA shot. 50s Operated by the Mesner brothers, subsidiary, Checker, were “Sugar Eddie and Leo, they also sought Boy” Crawford of “Jock-O-Mo” to capitalize on whatever artists (Checker # 787) fame and Cajun, remaining that weren’t under con- Bobby Charles (Guidry), who tract to their Los Angeles-based entered the R&B hit parade with rivals, Specialty, Imperial, and “Later Alligator” (Chess #1609) in RPM. And, aside from provid- 1955 (before it was covered by Bill ing locals and Bobby Haley on Decca). Oddly enough, Marchan their first chances in the the perennial favorite, “Mardi Gras studio, Aladdin’s major claim to Mambo” (Chess #1591) by the Guitar Slim fame was its astute exploitation of Hawketts (with Art Neville as Specialty the national teen market with its vocalist) proved also to be a win- Records duo dubbed the “sweethearts of ner in 1955 but whose recording promo shot, the blues” Shirley (Goodman) & somehow eluded the now vener- 50s (Leonard) Lee. Their long string able J& M studio. Later another of solid sellers culminated in the affiliate label of Chess, Argo, was to national smash, “Let the Good sponsor two million selling efforts Times Roll” (#3325) in 1956. by Paul Gayten protégé, Clarence Although Aladdin was never really “Frogman” Henry---“Ain’t Got able to establish as many connec- No Home” (#5259 in 1956) and Dave Bartholomew, 50s. tions as their competitors in luring “But I Do” (#5378) in 1960, photo: unknown home grown talent, nonetheless, the latter a Bobby Charles com- many artists of Aladdin’s stable position. Throughout the fifties, by the Bihari brothers, Saul, Joe, while on tour in the Big Easy, Gayten, himself, issued many a and Jules. These siblings enjoyed such as bluesmen , Checker and Argo title, and, as a modicum of success by issuing Lowell Fulson, and A&R man for Chess, was instru- several singles on their Modern would quite often frequent Mr. mental also in signing Milson Luce auxiliary by , who Bobby Charles, Matassa’s studio on Rampart St. and Oscar Wills to the label, the was almost an exact copy of Fats Chess Records Like Specialty and Aladdin, latter scoring with “Flatfoot Sam” Domino down to the vocal into- promo shot, yet another “Johnny come lately” (#5277) in 1957. nations. They, too, requested of 1955 independent label to come calling Seemingly, by the mid-fifties, Mr. Matassa to record one of their was Chess, the -based jug- almost every independent R&B biggest stars, , whose gernaut (located at 4750 S. Cottage label had jumped on this New “Tough Lover” (Modern, #998) Grove Ave.) Having made many Orleans bandwagon, either by was executed with the assistance of trips to the Deep South in search contracting and recording natives Dave Bartholomew. of talent, Leonard Chess (real sur- or by hiring Mr. Matassa’s house And when Tommy Ridgley name Czyz), one of the proprietors band to back whomever they had became a free agent, Al Silver, one of the logo, was also eager to take previously signed elsewhere. Such of the four principals of Herald/ advantage of the seemingly bot- was the case of RPM, another Ember, another R&B “indie” (236 tomless well of artistry residing in huge Los Angeles-headquartered W. 5 5 th St in New York), wasted South . Early perform- imprint (at 244 N. Cannon Dr. no time in inking him to a con- ers contracted by Chess and its in Beverly Hills) presided over tract, but received a bonus when

12 | BLUESRAG | DECEMBER 2014-JANUARY 2015 | MOJOWORKIN.COM Clarence “Frogman” Henry, promo shot, 1960.

Alvin “Red” Tyler in , circa 2005. photo: larry benicewicz another signee, tenor Lee Allen, hit managed only to find only pianist The notorious tightwad Lubinsky most notable outcomes of Savoy’s the big time. Although Allen’s ini- available. Bocage was seemed to have his tentacles in every brief presence in New Orleans in tial effort for Aladdin, “Rockin’ at able to reward them with an R&B U.S. market and in every genre of 1953-4 were the studio debuts of Cosmo’s” (#3334) fizzled, a similar hit on his initial try, “I’m Wise” music including jazz, gospel, and both Huey “Piano” Smith, Earl instrumental “Walkin’ with Mr.Lee” (#486), a thinly disguised remake of R&B. But in this instance, he may King (Johnson), and Ernie K-Doe, (Ember #1027) was a phenomenon Little Richard’s “Slipin’ and Slidin’” have reacted too late after, perhaps, the latter as part of the vocal group, and prompted several more similar (Specialty # 572), but his five fol- discovering that his longtime, cigar the Blue Diamonds, whose “Honey exhibitions of his gym- low-ups recorded in quick succes- chomping nemesis, Syd Nathan of Baby” (#1134) remains a cherished nastics which were less enthusiasti- sion by Mr. Matassa never generated King records (1540 Brewster Ave. in collector’s item. cally received. By the way, sixties the impact of his first. And Apollo, Cincinnati, Ohio), landed a big fish, And last, but not least, of stars such as Joe Jones and Ernie which overall had quite a good the aforementioned Roy Brown, these “foreign invaders” was Ace K-Doe (Ernest Kador) subsequently track record in the gospel, R&B, and whom Nathan continued to record records based in Jackson, MS (227 joined the label in the late 50s, but vocal group categories, never really under his aegis at J&M. Unlike in Culbertson Ave.). Ace was found- their singles were largely ignored by established itself here as a force to be the past, Savoy was unable to make ed by another “pasquale” (as Mr. the general public. reckoned with. any serious inroads in this particu- Matassa affectionately addressed Not wanting to be outdone by And not entirely outside looking lar city and came and went rather another Italian), another Big Apple competitor, the in during this period was Herman quickly, only able to corral a handful (Imbragulio), who gained valuable Bermans, Ike and Bess, owners of Lubinsky of the formidable Savoy of up-and-coming young Turks on experience as a former leg man Apollo records (615 10th Ave) belat- records which was situated in the scene, like vocalist Dave Dixon, and producer in New Orleans for edly swooped into New Orleans but Newark, NJ (at 58 Market St.). who later recorded for Ace. The Art Rupe and Specialty. His main

MOJOWORKIN.COM | DECEMBER 2014-JANUARY 2015 | BLUESRAG | 13 Johnny Vincent, Jackson, MS, 1990 photo: larry benicewicz

“the pipe dreams of fame swelled before. Although frustrated, Heller his [the former’s] ego” (to use his was extremely impressed with the COSIMO MATASSA expression). Studio Band, a group which by that Since by the late 50s, artists like time also included the very young objective was to showcase and pro- refute this assessment. In fact, what Fats Domino, Jimmy Clanton, and pianist/composer, . mote specifically South Louisiana facilitated Vincent’s goal was that Huey Smith were regularly appear- Not wanting to go home empty music. In the beginning, Vincent he became a familiar, hands-on ing on the national Top 40 pop handed, he prevailed upon Toussaint concentrated on his strong suit, figure in the Crescent City, hang- charts, the majors were beginning and leader, Red Tyler, to come up blues and R&B artists, represented ing out at the after hour jam ses- to stand up and take notice, but, as with an album’s worth of instru- by (pseudonym sions at Frank Pania’s popular Dew far as New Orleans music was con- mentals, and, to his amazement, it is Bobby Fields), Earl King (Johnson) Drop Inn, wherein he constantly cerned from the beginning, it had just what they accomplished practi- and pianist Eddie Bo (Bocage). In assessed talent. Although Jackson always been a matter of the “early cally on the spot. The result of this fact, it was Bocage, who would go had some primitive recording facili- bird getting the worm” (to use Mr collaboration was an LP with twelve on to enjoy quite a prolific musi- ties, Vincent, eventually, after forging Matassa’s words). And to illustrate tracks, most named after famous cal career and who first recorded a bond with Cosimo Matassa, would this point, he was particularly tickled race horses---The Wild Sound of for Vincent, as Little Bo, a year almost exclusively utilize those of to relate this story. It seems that in New Orleans—by Tousan (Victor before his flirtation with Apollo. this recording engineer by then 1958, A&R man for RCA records, #1767) and a single by Toussaint (as Nonetheless, as time wore on and ensconced on Gov. Nicholls St. Eddie Heller, came to town with Tousan), the rollicking “Whirlaway” desirous of partaking of the more Some of the more indelible numbers instructions from his head honchos (#7192). Although neither disk sold lucrative white pop realm, Vincent to emerge on Ace under Matassa’s to round up all the talent that wasn’t substantially well and that both would begin recruiting singers like direction would be Huey Smith’s contractually bound to the inde- remain today collector’s items, at Baton Rouge brothers, Jimmy and “Don’t You Just Know It” (#545) in pendent labels. So a massive, rather least Heller fulfilled an obligation to Ike Clanton, Scotty McKay, and 1958 and “Pop-eye” (#649), a dance chaotic “cattle call” was organized his superiors. “Let’s just say that my (Guzzo). During its craze novelty in 1961 (Smith’s first at Gov. Nicholls which must have boys bailed him out and probably almost decade-long presence in the big hit, “Rockin’ Pneumonia and been along the lines of the lat- saved his skin,” said Mr. Matassa with Crescent City (roughly mid-fifties the Boogie Woogie Flu” [#530] was ter day auditions for the television a chuckle. to mid-sixties), and, aside from Fats recorded in Jackson). Another coun- program, American Idol. However, Nonetheless, after having to deal Domino, practically any performer try-wide blockbuster was Frankie unlike the popular network broad- with the independent “interlopers,” of any stature made an appearance on Ford’s “” (#554) in 1959. cast, wherein a handful of aspiring who, for over a dozen years, were this imprint---pianist , And teen idol, Jimmy Clanton, con- candidates are actually selected, this filling their coffers at the expense of James “Sugar Boy” Crawford, Alvin tributed million sellers to the exten- mind numbing process more resem- both the fruit of his and the labors “Red” Tyler, Big Boy Miles, Benny sive Ace catalogue in “Just A Dream” bled its predecessor, the Gong Show. of local artists, Mr. Matassa decided Spellman, , Chuck (#546), co-written by Matassa, in At the end of a long day, maybe one to take the leap and at last found his Carbo, Mac Rebennack (Dr. John)- 1958 and “Go Jimmy Go” (#575) act was deemed worthy of record- own label. --the list is endless. It was said that in 1959. Matassa not only recorded ing by everyone involved, Roland Vincent could smell a hit maker a guitarist Clanton but managed him Cook (as Cookie), who actually NEXT ISSUE: PART II: mile away and no one could ever and the Spiders for a spell until made his debut on Ace the year NEW ORLEANS’ HOME GROWN LABELS

14 | BLUESRAG | DECEMBER 2014-JANUARY 2015 | MOJOWORKIN.COM