The Historic New Orleans Collection Quarterly
Total Page：16
File Type：pdf, Size：1020Kb
Volume XXVII, Number 2 Spring 2010 Unfinished Blues: Memories of a New Orleans Music Man Harold Battiste Jr. The Historic New Orleans Collection Quarterly 1 Unfinished Blues: Memories of a New Orleans Music Man uring an eclectic career span- nessman, Battiste founded All for One ning half a century, Harold Records (AFO), the nation’s first record DBattiste Jr. has shared his label owned and operated by African passion for music with millions. As an American musicians, and recorded the educator, Battiste used his experience as first wave of contemporary jazz artists in a high-school bandleader and worked New Orleans, including clarinetist Alvin alongside Ellis Marsalis to build the jazz Batiste, drummers Ed Blackwell and studies program at the University of James Black, saxophonists Nat Perrilliat New Orleans. He can count among his and Alvin “Red” Tyler, and pianist Ellis protégés many of today’s leading young Marsalis. As a community leader, Bat- jazz musicians—a “next generation” of tiste served on the Louisiana State Music artists keeping the New Orleans sound Commission, the New Orleans Jazz & alive. As a producer, Battiste helped to Heritage Foundation School of Music, Harold Battiste’s grammar-school graduation launch the careers of Dr. John, Sonny the Louisiana Jazz Federation, and the photo, 1944. All photographs in this article are & Cher, and Barbara George. As a busi- Congo Square Cultural Collective. from the Harold Battiste Papers (2008.0225), In 2008 Battiste donated his dia- gift of Harold R. Battiste Jr. ries, photo albums, and other music- industry memorabilia to The Historic drums. Most of the popular music of New Orleans Collection. This June The the day—all of it, really—was by White Collection releases his heartbreakingly singers and bands. I knew their names frank memoir, Unfinished Blues, Memo- and their music, but I didn’t know ries of a New Orleans Music Man—the they were White. In fact, the question first publication in The Collection’s new never came up. Glenn Miller, Artie Louisiana Musicians Biography Series. Shaw, Harry James, Benny Goodman, Exploring the struggle between art and and Woody Herman were the names I commerce, work life and home life, heard. Rarely, if ever, did I hear about Battiste’s story is set against a fascinat- Count Basie, Duke Ellington, Lionel ing backdrop: the world of mid-20th- Hampton, Fletcher Henderson—any of century jazz and pop music in two of the Black big bands. My mother’s cedar the country’s great music cities, New chest (which I held on to for 50 years) Orleans and Los Angeles. The book was peppered with little fork holes from showcases materials from the Harold my drumming sessions. Battiste Papers at The Collection, as well Unfinished Blues: Memories of as images from the Amistad Research First Gig (1940s) a New Orleans Music Man Center, the Hogan Jazz Archive, and My first real gig was in 1949. Joe Jones, a By Harold Battiste Jr. Dillard University. Unfinished Blues guy from the 7th Ward who played piano with Karen Celestan begins as Battiste’s story but ends as a in the 333rd [the U.S. Army Reserve Published by communal story of struggle, strength, Band Battiste played with while at Dil- The Historic New Orleans Collection and renewal. lard University], had a big dance band Louisiana Musicians Biography Series that featured several of the cats from June 2010 Release The following excerpts are from the memoir. the army band. I was invited to rehearse with the band playing the third alto sax. Cloth • 8 x 10 • 198 pages singing and Playing (1930s) . Joe got a gig for the band to play a 113 images: 63 color, 70 black and white When I was younger I showed an inter- Sunday-evening dance at the Pentagon, a $28.95 est in music that no one seemed to rec- club in the 7th Ward. This was to be my Order from The Shop at The Collection ognize. Whenever “Midday Serenade” maiden voyage, and I was scared. Fortu- (504) 598-7147, www.hnoc.org came on the radio, I’d get two nice nately, I didn’t have to take any solos so I bouncy forks from the kitchen and play made it through the gig unexposed. 2 Volume XXVII, Number 2 — Spring 2010 Battiste on tour with Sonny & Cher during a stint at the Blue Room in the Fairmont Hotel, New Orleans, 1970, photo by Porter News Service sonny & Cher (1960s) One day in late May or early June 1965, AFO party for music industry players at Vernon’s Supper Club, 1961, photo by Sonny [Bono] called and came over to Porter News Service. Left to right: Henry Hildebrand, [?] Schafer, Cannonball my house on Mansfield [in Los Angeles]. Adderley, George Trueheart, Nat Adderley, Harold Battiste, Mel Lastie, Hoss He was really excited, wearing his jack- Allen, Peter Badie, Cosimo Matassa, Alvin Tyler pot smile. He knew that this was it— he’d come up with the song that would Outside, after the gig, all the cats American music industry. In the three define a place in history for Sonny & seemed to be in little huddles, laughing years I’d worked for Specialty Records Cher! He went to my piano and plunked and talking. Joe came over to me and [a Los Angeles–based record company], out his new song with those soon-to-be put six bucks in my hand. I asked him, I’d become familiar with how the music famous three chords: “It’s like a waltz,” “What was that for?” He sort of laughed business worked. I thought, This ain’t as he said. I got to the piano and he sang and said that was my pay for the gig. I complicated as I thought. We can do this! while we played with it a while, until he did not understand how or why he was With the plan I had in mind, I felt comfortable. I agreed that the lyrics giving me all that money for having so would need Melvin Lastie, the union were cute and catchy, but I wasn’t too much fun and feeling so good—and for rep for the local 496 [the African Ameri- sure about the waltz thing. He kept sing- just four hours! . Years later, I learned can musician’s union]. Melvin and I ing the “oompah-pah, oompah-pah,” that Joe had paid all the other cats twice started by identifying the studio musi- like a tuba and trombone thing. as much as me for the gig! cians with the best track records in He wanted to go into the studio town. We needed a foundation of basic quickly—like tomorrow. As I thought all for one (1950s) instrumentation for the company. We about how to make this come off like he For some time, I had been thinking approached each musician individually wanted, I figured out how to change the about the economic state of Black peo- and laid out the plan. John Boudreaux waltz feeling to a 6/8, with a little brighter ple in America and, more specifically, would play drums; Peter “Chuck” tempo, and to soften the “oompah-pah” Black people in New Orleans. I’d been Badie, bass; Allen Toussaint, piano; Roy with woodwinds—bassoon and oboe— listening to speeches from the Honor- Montrell, guitar; Alvin “Red” Tyler, in place of brass. able Elijah Muhammad, messages that saxophone; with Melvin on cornet. I The musicians we assembled for often spoke to the need for our people was elated and surprised that this dream that day came to the studio routinely— to create wealth through ownership. team of studio players—a first-call cache they just did what they do all the It seemed that every ethnic group was of musicians who were known for their time. Sonny managed the orches- identified with a product or service experience, professionalism, and abil- tra, and I served as arranger, copyist, that they owned and controlled, and it ity to make hits happen—were anxious and bandleader. For the studio guys, it seemed that the product generally attrib- to be a part of our experiment. On was just a day’s work; for Salvatore and uted to us was music: jazz, blues, R&B, May 29, 1961, at twelve o’clock noon, Cherilyn, a new life. Although I didn’t gospel. We should be working toward the state of Louisiana acknowledged get it at the time, “I Got You Babe” was collective ownership and control of the the legal birth of AFO Records, Inc. changing my life, too. The Historic New Orleans Collection Quarterly 3 his vocals could pass as Black; he was a He was one of those cats who was so well performer like Tom Jones. But he had a known in the music community that no manager who thought that the Dr. John one ever asked for his full name. character would not be good for his Looking back at this mixed bag of career. I felt that Mac’s sound was right characters, it seems amazing that we got for the part, but he was reluctant too. anything done. The studio was like a He didn’t see himself as an upfront art- Mardi Gras reunion, everybody laugh- ist. I saw the whole concept as a tongue- ing and talking, telling stories all at the Battiste and Mac Rebennack (a.k.a. Dr. John) at in-cheek thing. same time. But once we got settled, the Gold Star Recording Studios, Los Angeles, photo In late summer 1967 I booked stu- vibe was there and the music just flowed.