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Wavelength Midlo Center for New Orleans Studies

11-1980

Wavelength (November 1980)

Connie Atkinson University of New Orleans

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NOVEMBER 1980

Bobby Mitchell Remembers New Orleans Music

Hot Local NewWaveEP's Ja.zzOub AtCAC Tim Lyman on the Radiators' Album The Alterman Audio .$73S Recommended System

As component systems go these days, $735 IS not good, we mean reproducing music so it sounds real. alot of money. After all, one company actually makes We mean not adding or subtracting anything from a set of speakers that sell for $20,000. At Alterman the original High Fidelity. We critically listen. We a-b Audio we try to put together well balanced, matched speakers. We even do live vs. recorded comparisons systems, that put your money wnere it does the most to make our judgements. to improve sound-reproduction. To drive the New Large Advent, we recommend The real key to the excellent, realistic sound the Sony STR-V35 Receiver. It has an excellent tuner quality of this component system is the NEW and 35 watts per channel with very low distortion. ADVENT LOUDSPEAKER. We have compared this Our turntable recommendation is the very popular speaker to other speakers. Some cost over $400. Sony PS- T22. It is semi-automatic, direct drive, and Some sounded as good, but none we listened to (and has Sony's unique MAGNEDISC SERVO SYSTEM we have listened to quite a few) sounded better. Yet and Sony's BRUSHLESS AND SLOTLESS motor the New Large Advent sells for only $205 each, in a for constant torque. Our system price also includes beautiful walnut veneer cabinet. the excellent AUDIO-TECHNICA PRO 12e dual When we at Alterman Audio talk about sounding magnet cartridge. The Turntable: Sony PS T22 What this means is that your ear, records a precision signal on this ring. A Two unique technologies make Sony averages out these speed variations special magnetic pick up head reads turntables better than other makes. because they happen so consistently this signal"from the platter. This signal The new SONY PS-T22 has these plus and regularly. So a 1000 cycle note on then is compared with a reference othe r new Sony technology which we the record actually is heard of as a signal. If they don't match, Sony servo feel make it one of the best turntables combination of notes of say 974 to 1024 circuitry speeds up or slows down the ' values available today. cycles per second (HeJtz). turntable motor, correcting the error. Push the platter on any direct drive Well, Sony who began designing Sony calls this the "magnedisc servo turntable, with the turntable off. After motors in 1949 when they made their control". The pick up head reads a sine­ awhile it slows down and stops. This is first tape recorder, developed an wave signal of 568 Hertz. Other due to friction. entirely new kind of motor. Sony calls it turntables have servos, but are fed only _If you were to take a c ross section of a "brushless and slotless" motor. It 48 or maybe 90 pulses per revolution. a typical direct drive turntable motor, it turns with a CONSTANT torque. The So the Sony magnedisc servo feeds could be represented by a wagon push of the platter is smooth and even, much more data for the servo circuitry wheel. At the spokes of the wagon virtually eliminating cogging and the to analyze. it thus can respond quicker. wheel the motor is given a push. distortion caused by it. You can test this yourself. Just watch lnbetween the spokes you have "slots" Another advanced technology the strobe on a turntable and lightly where there is no torque. If the motor is offered by Sony turntables is the speed slow down the platter. With the Sony, not given a push,friction slows it down. sensing system. Back in 1966 Sony the strobe almost instantly returns to This slowi119 and speeding up of a made the world's first servo controlled speed while other turntables overshoot motor is called "cogging". turntable. Today all direct drive and hunt for the right speed longer. Now if you listen to a quality direct turntables, and many quality belt drive · But Sony's concept of Total Syste m drive turntable you don't hear a speed mode ls incorporate this Sony Technology demands more. The PS­ variation, due to cogging. This is innovation. But today's Sony servo T22 base is made of a special anti­ because the momentum of the platter systems. are a lot more sophistocated resonance compound with a low "Q". and the precision bearings kee p than other makers. This "Sony Bulk Moulding Compound" cogging effects very minimal. But what Sony coats the bottom of the platter (SBMC) is made under 6000 pounds of you do hear is a sort of frequency with a ring of barrium ferrite. This is pressure and h~lps reduce external modulation distortion. very much like magnetic tape, and Sony vibrations from reaching the platter. The turntable drive and base material blessing in a m arket crowded Voices sound like people singing, and are only half a turntable. The other half with look-a-likes a nd this at the sound is spread into the room is the toneann system. The t iny little such a low price point. While evenly with good dispersion. On some stylus needs to have a support to let it our recent tests show that speakers voices sound like you cupped travel across the record, without surprisingly good gear can be your hand over your mouth. The friction or too much inertia h oldi ng bought at a bargain price these Advents don't. Horns and other brass back. days . We see Sony's instruments have detail and clarity. And New phono cartridges with h igher acheivement as above and the highs are also quite excellent. A compliances re quire less massive beyond the call of duty." cymbal sounds like a piece of metal toneanns. The mass of a toneann is not Sony attention to detail is eveident if vibrating, which it is. It has clarity and the tracking Ioree. You can have a high you consider Sony incorporation of a realism. Violins don't sound veiled as so mass tonearm and still hack with a "dual-transitor" differential input. many speakers do. These downward pressure of only 1 gram. The two transitors are made of the T HE NEW ADVENT LOUD· mass, or weight of the arm itself relates same semiconductor chip and are SPEAKER is a really excellent product. perfect to its inertia. Too much inertia is like too mirror images providing a very But how come its so good and sells for staple much friction and impedes the ability of circuit. only $205? First Advent believes in e nly The power the needle to move freely in the groove. amp provides a large producing a product which represents drain on power It· also will cause resonances which will supply. To prevent an excellent value. They have felt that interaction there's effect the sound you hear. an FET buffer stage, careful design and engineering of a two thus operating The PS-T22 tonearm is as short as current remains staple way design are better, or at least better possible-its a straight line. even during loud musical passages. It is in relation to price, than more ~Ia borate composed Another feature found of Duralumin alloy for high on'expensive and expensive three way designs. separate components resilieocy. This pennits a slender shaft, are polypropy· Three way speakers need first, three lene equilization again reducing mass and inertia. capacitors. A new drivers, each of which adds costs, they Sony integrated circuit At the back of the ann, Sony's long yields very low need a dividing network which splits the no1se in the phono span pivot reduces side play and preamplifier section. sound into three segments so it costs The tuner bearing friction. Unlike conventional on the STR-V35 is equally more, and must have more precision. arms, impressive. First , its easy to use. the shaft is supported at two As you And although there are advatages to tune a station, a points, in front and behind the pivot. red LED lights, if its to this type design, the economics of mass the left, This reduces resonance. you tune right (and vice versa) production and careful manufaciuring and then a green The Sony PS-T22 is truely a superb LED lights, and you make them hardly worth the price · at are turntable at a very affordable price. It's there, on frequency with low least according to Advent. distortion constant torque BSL motor, the and low noise. This Sony But we have to agree with them. We calls "acute Magnedisc Servo, SBMC Base and a servo lock." It keeps the have listened to many speakers station locked new SLM, straight low mass ann, offer on frequency. At the compared against T HE NEW same time the five segment audiophile perfonnance comparable to LED signal ADVENT LOUDSPEAKER. Some strength indicator the finest turntables of only a few years shows how strong cost several times more then the ago. the station is and helps you adjuist your Advent · some twice as much. And in antenna. The most overlooked component in many cases we couldn't say the speaker the hi·fi chain is the phono pickup This receiver has all your usual was better, and in some cases we cartridge. We don't skimp in our controls. But unlike most receivers of thought the Advent reproduced music system recommendation either. We this price range, the STR-V35 has two more accurately than the speakers recommend an AUDIO-TECHNICA tape monitor hookups, allowing costing much more. And these tests PRO 12E. Audio-technica utilizes an dubbing from one recorder to another. were done with critical A- B exclusive Dual magnet design wh1ch Also, typical of Sony attention to comparisons and with live vs. recorded has several advantages. First, they have detail, when you set your tone controls listening of the real instrument in the two TINY magnets instead of one large flat (as we at Alterman recommend), room vs. the recording we made of it. one. Thus the moving mass of the stylus the entire tone control circuit is The NEW ADVENT LOUDSPEAK· assembly is less the needles move easily completely disconnected from the ER utilizes a ten inch acoustic in the groove. They also have two coils. circuit, eliminating any distortion that suspension woofer and a special The result of all this is a cartridge with might be added by even a tone control, tweeter which has equal mass on both an unusually nat frequency response even set to flat. sides of the voice coil for less distortion. and excellent transient response. Sony receivers sound as good as they It has received many excellent and rave The Receiver: Sony look. They look different and are reviews. There are many people in the different. They are built with 25 years of audio business besides us who feel the STR-V35 transistor technology that no other hi-fi NEW ADVENT LOUDSPEAKER Sony never tries to be a follower , but maker has. The result is superior sound represents one of the best values a leaoer and an innovator. With the in hi·fi, quality, more detail in the highs, solid and in its walnut veneer introduction of Sony's current line of cabinet, looks clean bass, and a dynamic capability as receivers they certainly good as it sounds. have kept their that makes the music goals. sound like music. But these are only words, and most people buy a stereo system to listen In the audio world, where there are as The New Advent to music, not read music or words. many different opinions as there are Loudspeaker So the only way you can find out whether models, it is rare for almost an entire we Musical integrity. By that we mean are right or not about the industry to agree. But with the NEW accurate. We mean realistic . We mean ADVENT LOUDSPEAKER introduction of Sony's new receiver is for you that this system reproduces music with to listen to it yourself, line, Sony's competitors, hi-fi retailers and listen to this a high level of musical integrity. We $735 system which and customers alike all agree: the Sony includes it for how mean that the sound comming from the real it sounds. receiver line is the most unique on the speakers does not sound like its market. High fidelity magazine, in their comming from the speakers. July 1980 test report on the STR-V25 We mean that the bass is full , tight, (the model below our recommenda· and in proper level compared to the rest lions is this system) summed it up this of the audio spectrum. It is defined with way: "Looking back on Sony's ability to allow you to resolve the many acheivements in differences between a bass drum and a consumer electronics, the bass guitar. The speaker doesn't just excellence of the STR-V25 is have "bass." And it produces even the 7323 f\M-~ ~ ~-86~3579 really not surprising, yet its lowest notes of a pipe organ, about 32 freshness and originality are Hertz. 321317111 ~ b..-83(-1772 on Columbia Rec ords ~ I NOVEMBER 1980 VOL. 1 N0. 1 I

Features Bobby Mitchell R emembers New Orleans Music _____6 Fish Head Music On Wax ______, NOW Every Weekend! Departments Giant Warehouse Rhythm & Blues 10 Reggae 15 New Wave 16 Jazz 17 SALE! Rare R ecords 18 Reviews 9 Saturday & Sunday The Last Page 2 Noon to 6:00p.m. Calendar 3

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WAVELENGTH . NOVEMBER 1980 5 BOBBY MITCHELL

J WMRY

Bobby Mitchell at the piano remembers new orleans music ust 45 years old, Bobby Mitchell among the optimum examples ofNew career of teaching pathology! Bobby can reflect on a recording career Orleans R&B. He traveled the coun­ retold his story to WAVELENGTH that spans 28 years. His vocal try and worked with such stars as in his comfortable den in Algiers. group, The Toppers, was the Chuck Berry, Ray Charles, Joe Jfirst Doo Wop group to record Turner and a host of others. I was raised up on the river batch. I in New Orleans. He recorded no less Remarkably, Bobby managed to had eight brothers and eight sisters. than 20 singles in a ten-year period combine a recording career with rais­ Fishin' was our livin'. I use to cut between 1953 and 1963 that are ing a family of eight and incredibly, a wood and sell wood before I even

BY ALMOST SLIM

6 WAVELENGTH . NOVEMBER 1980 urm gonna be a wheel someday, rm gonna be somebody rm gonna be a real gone cat, then I won ,t want you.,, A Bobby Mitchell hit, 1957 went to school. I was the second Studio on Rampart Street. We really third record "My Baby's Gone" and oldest so I had to be one of the sup­ had a beautiful time recording; tell him that "I sent you," and he porters. My great-aunt helped to raise everything we had to do then had to said, "Let's make this a hit." So the me, and she told me "I want you to be created right in the studio. Me and black station caught on to it (WMRY) be a man, and a man completely. You the group managed to be out of and the only two white jocks that don't have to be out here stealing school about 12 every day and go were playing it were Jack the Cat and because you know how to work." So over to the studio for rehearsal. Poppa Stoppa. But they broke it na­ when I was about lO years old, I Everybody use to rehearse down tionally, and that's how I really got managed to get me another little job there, in fact, that's where I met known. They broke a lot of local after school delivering liquor, for ali­ Guitar Slim, he was sittin' under the records nationally. quor store. I used to sing around the piano! We thought that was part of I managed to get· the group to go liquor store and a lot of people use to his act. We use to laugh at him about out on the road with me once our give me nickles and dimes. Well, a lot this record "The Things I Use To records started moving. We spent of people said "Bobby, you great, Do", we thought he did it for kicks. about three or four years on the road, why don't you try and do We never thought it would be such a but after that they got fed up with it. something?" Well, at that time I was major hit. They decided they all wanted to go in­ strictly a religious kid; I just wanted You see, we were young guys who to the service. That left just me and to get along and make something out didn't really know the business. We Gabriel Fleming, the piano player. of myself. I didn't want to get into went into recording blindfolded. So We talked to Dave Bartholemew, music; I wanted to work and get away many things were stolen from us. If I and he said, "I like the idea. Now from there! wrote a tune and they changed one that you're by yourself we can work I started high school at L.B. Lan­ word they could put someone else's much mo' better." So I wrote "I Like dry and played football but I got name on it. They use to do it to peo­ to Know" and he liked it. We also hurt. I wound up having to change ple who didn't know the business. recut some old stuff that we did some of my classes so I said "I might Aladdin Records stole "I'm Gone", awhile back. as well take music." Ms. Margie and put it out by Shirley and Lee. I managed to do " I Try So Hard," Dickerson was the music teacher, and I made my first record for Imperial and I liked it very much. So Dave said she talked me into it 'cause I didn't in 1953. It wasn't Imperial at the I've got another one for you. You really know anything about music. time; it was Deluxe. They had Smiley see, at that time Theresa Brewer came We had a talent show and everybody Lewis, Tommy Ridgeley and Fatman out with the rockin' roll beat was enjoying themselves so some of Mathews. I didn't really care to be on "Rockin' Roll Waltz." Dave said, us decided to continue doing it. Mr that label but I felt this was my break, "Let's try Rock and Roll." The idea Neally, one of our teachers, taped On our contract we had 2 Y2 percent was to stay on the rock beat to get one of the shows and he played the royalty. That worked out to a penny a myself really established in the rock tape to Dr. Daddy-o, who was at a record. Some of our records were field because I didn't have a true black station on Dryades Street, local hits but a lot went state-wide. style. I did "Try Rock and Roll." WMRY. They suggested that we do Most of our stuff went local first, That brought me up to the public as a some recording. especially our first two records new and different artist. The members of the group then ("Rack 'Em Back," and "4-11 544"), Dave and I really worked hard. My were Lloyd Bellaire, Frank Bocage, we had lots to play on the jukebox. wife, too. She wrote "Send Me Your Gabriel Fleming and Joseph Butler. Disc jockeys were more heavy on Picture" and "I Wish I Knew." We went to school with Clarence local talent at that time. We had peo­ "Nothin' Sweet As You" is my "Frogman" Henry,too. ple like Ernie the Whip, Okie Dockie, favorite, always will be, 'cause I Around town I used to like Larry Dr. Daddy-o, Poppa Stoppa and wrote that one for my mother. I was Darnel and Annie Laurie; they were Jack the Cat. Those guys pushed a lot getting around to meet different with Paul Gayten's band. Matter of of records. Locally they all had their writers as well as artists. I began to fact, Mrs. Gayten was my homeroom favorites. At that time I had trouble, learn more about people and what teacher and she was the one that 'cause I was young, and a lot of peo­ they really liked. I started going to pushed me to do "I'm Gonna Be A ple didn't want to listen to a young nightclubs on my own just lookin', Wheel Someday." She said, "Why guy like me. So Poppa Stoppa use to not entertaining. The idea was to don't you try it? Maybe you'll be a advise me on all my records. He use learn what the public wanted, see how wheel someday." Well, it turned into to tell me what was gonna be a hit and they danced and what they listened a giant hit. what wasn't gonna be a hit. He told to. If you told me your problem I I cut all those sessions at Cosimo's me to go to Jack the Cat with my could sit down and write a song about

WAVELENGTH . NOVEMBER 1980 7 it. I really got to know the people and and the sickle cell program. I take my that's something I always liked to do, work very seriously. I work twelve 'cause people are the ones that make hours a day and I'm dedicated to it. and they're the ones that break you. Tommy Ridgley and Jonas (presi­ Truthfully, I wasn't really satisfied dent of the Swedish Mr. R&B with Imperial Records. I was satisfied Records) were together at a "Oldies with the work I was doin', but not But Goodies Show" that Gordon De with Imperial. I think I could have Sota put on. He said, " Tommy been better than any other artist out Ridgley told me how much old stuff there. I could have been recognized you had out. Would you like to work stronger and better known today. on a re-issue album?" I agreed to his They had Fats, Ricky Nelson and ideas and tried to help him out. One Slim Whitman; those guys got day Terry Pattison came over, and we recognition but us local artists, we made a list of all my records and didn't. People like Smiley Lewis and taped them so we could send it over to I, we worked so hard and other peo­ Sweden. ple got the credit. If Smiley was here, The album is selling pretty well he'd tell ya, the harder we worked the overseas, but the biggest problem is worse it got. trying to get it sold over here. On my Imperial didn't appreciate us, oldies shows I can sell between a hun­ maybe as a worker but not an artist. dred and two hundred copies. So far, Now Fats did " Blue Monday," from it's the biggest thing on the label. I Smiley and "I'm Gonna Be A just ordered 700 more copies. Wheel" of mine. It was a change of My biggest problem right now is ideas for Fats to do somebody else's getting on a record label. I would tunes. You see, we were all with the really like to get on a record label that Deco same company. would handle me, but handle me my I often wondered why Imperial way. I want to record and let the New Wave never came out with an album on me, public know I'm still here, because a but ever time I asked Lew Chudd or lot of people think I' m dead! I want Dave about it they said "Well, your to get back in the music business Avant Garde singles sell so well we don't need an because I haven't really done my best album." singing yet. I know I'm ten times bet­ I left Imperial in '59 and did some ter than some people they have out stuff for Ron records. I then went there today. I haven't even proven back to Imperial again ("I Don't myself yet. Want To Be A Wheel No More" in I love doin' the oldies shows, I love 1962). Then I went to Rip Records. I it. Oldies shows remind me of the cut my last record on Rip in 1969. Rip things that should have been did. Exotic Cards Roberts (owner of Rip, and Ron Everybody has a good time, they have records) is still my manager. fun. A lot of kids today don't believe Posters I always wanted to advance, I we had fun. They figure when they stayed in school all the while I was heard tbe blu~s it was hard times. making records. First I took up elec­ Yeah, it was hard times but we had Collectables tronics at Delgado, and I studied fun, people didn't show the world radio engineering at Tulane. After they had problems; they went out and Ceiling Fans that I decided to go into the field of had a good time. medicine. I hate it when people say New Right now I'm at the L.S.U. Orleans music was built off of jazz. Medical School. I'm over there as a You got more R&B singers and medical researcher. I'm in charge of rockin' roll singers here than you got the first and second year pathology jazz musicians. I estimated the other students. This year we've got about day you got over 500 R&B per­ 260 students. In the medical world it's formers. The book must be out on THEREDSTARCO. strictly education. You've really got New Orleans because the big record to buckle down. In my research we do companies won't touch us. That's a lot of electronic work because we why all the small companies are here have a television station here. We that really can't do anything. broadcast from the morgue when we I just entertain on weekends now. 4020 Magazine St. do autopsies. In fact, we can broad­ My careers are two different worlds. cast from the V .A. Hospital, the cor­ The medical world is tough and strict. 899-4010 onor's office and Charity. I'm in the The music world is enjoying people. Open Mon.-Sat. 11-6 heart study, I'm in the cancer study But I really, really enjoy both. 8 - WAVELENGTH . NOVEMBER 1980 Fish head

on wax with Bird

Work Done On Premises Radiators, Croaker 114 song's over, let's see what the natives so well with Volker's keyboards and are doing." It may be seen, then, as a rhythm, lending lyricism to the divi­ irst of all, what premises? studio album done on the first take sions of time, is what creates the fu­ Start with the premise of with lotsa people around. It's the sion of melody and rhythm that is the the album's cover photo­ spirit of the town. band's trademark. Fgra ph: Ed Volker's key­ And yet, it was also just another Lyricism in both senses of the board set up and ready to go at the gig. That's the Jaw of the fish. As word. Suffice it to say that Volker's Jazz Fest, and, seen underneath the such, one remembers it well. It was lyrics, always the definition of keyboard, an audience on its feet, better than most. The general feeling lagniappe to listeners, have never ready to rock. around the dance floor was that the been better than on the two newest The premise that the keyboard is band had risen to the occasion. compositions, "Hard To Tell" and surrounded by the tools of rhythm: A feeling that comes again upon "Screwloose" -the former with this drum, cowbell, bicycle horn, listening to these four sides. reviewer's personal favorite of a maracas, drumsticks, trophy. . . Rising highest are the Ed Volker line, "You say a ball gag is a piece of The trophy: armless figure on a vocals and Camile Baudoin guitar cake," and the latter, their wildest pedestal with a rubber fish head on its leads. Volker's voicings have never tune, with the wildest (and equally ef­ shoulders and -as only the accident of been more supple, delivered as always fective) rhythm, " If I had a pack of a camera shudder can produce- a real with a power beyond question. Bau­ dangerous firecrackers." bird emerging from the fish head's doin sounds more and more comfor­ Through all the changes of this left ear. This is perhaps a better table with the slide guitar, yet it's his album, and through many listenings, premise than any other. finger work that is regularly a couple of things stay with you,the For the Radiators play fish head astonishing. And his noteless right emotional breath and persistent music, music that is based on the hand rhythm riffs are a model of honesty of the tunes and the staying premise that there is at least a little tasteful use of that technique. power of the longer songs, "Red pond of a dance floor out front of David Malone, at the center of the Dress" and "Lowlife," both nearly them when they play, that listeners band with his driving rhythm guitar, anthems in their own way ... approach rhem not as ichthyologists also takes a quarter of the turns at the But what it really comes down to but as swimmers in a common school vocals and lead guitar, and has some for this listener is the way the album of thought where music is to move to. fine moments. His vocal on "Hard finishes up, the longest tune, Thus a self-produced live double To Tell," one of the two songs he co­ "Number Two Pencil," each member album recorded at one of their authored with Volker, simply make of the band really rising to the final haunts, Tipitina's, one Friday in the tune, and his chorded leads on occasion: The psychic turnaround of 1980. They recorded the following "Red Dress" and "Number Two the two lyric segments. The elevation night, too, but the first night had Pencil" light a fire under each of detail (it's not the pencil, it's the more adrenalin in it. number. Interestingly, he comes out kind of pencil). The long, blissful Technically, the recording is a of both solos into probably his segue from four time into three time. wonder. The mix is bottom-oriented tastiest grooves. The step by step ascension of tension without losing anything up top. Fish It's drummer Frank Bua and through all ten minutes. Tough and head with bird. And the mikes are on bassist Reggie Scanlon who are right tender, fish head with bird. Really, I the band, where they belong--the there at the music's foundation, put­ haven't heard an album finish like crowd noises are real, the ones that ting the tunes through their changes. this since--I can't help it--Abbey seep through; none of this, "Hey, the That they are so fluid , that they mix Road.

WAVELENGTH . NOVEMBER 1980 9 Rhythm & Blues

like you are a dime a dozen when you play it. It's not playing what you feel. Buckwheat Is But the blues has a meaning and you can stand out and really communicate Already A Legend with the audience." Shortly before Clifton Chenier first became ill, the legendary South Loui­ BY HAMMOND SCOTT siana record man, Jay Miller, ap­ proached Buckwheat. Miller is the Just as much as a we ll-kept secret man behind the many great records as the intriguing and beautiful culture released on Excello Records in the of the French speaking Cajun com­ late Fifties and all through the Sixties. munity of South Louisiana and Miller recorded, produced, and even Southeast Texas is Stanley named his swamp blues stars Slim "Buckwheat" Dural, a product of Harpo, Lazy Lester, Lightning Slim that rich heritage. and Lonesome Sundown. However, Buckwheat is no secret As Buck remembers, Jay Miller to the age-old Louisiana and Texas told him, "Why don't you get into dancehalls religiously attended by the blues thing? You're talented, and "fais-do-do" folks who have always there is money in blues because it will picked there own recording stars, always be there. Can we work anyway. together?" Buckwheat told Miller he Any Cajun worth his boudoin was willing to try anything. He cut a knows of Clifton Chenier, Rockin' single for Miller's Blues Unlimited Dopsie, Guitar Slim, Lonesome Sun­ label called " I Bought A Raccoon. " down, Little Bob and the Lollopops, " I couldn't believe it; they got to Clint West and the Boogie Kings, playing it on the radio in the South And now Buckwheat Zydeco and his Louisiana area and the record sold lis Sont Parti Band. quite well . KVOL really got the Buckwheat's story reads like many record off the ground and I started legends in the blues recording working. business who seem to spring out of ~ Well, the question had to be asked nowhere with hot records on small, ~ about how Buck ever came to write a independent labels. It may be a case ~ song about a raccoon. The answer is of good timing for this young, ~ as wierd as might be expected. It 33-year-old s inger, composer, seems Buckwheat had a pet raccoon organist, pianist, accordionist. With successful enough to tour with Bobby named Jack. Since Jack wasn't com­ his new twist to timeless music, he Womack, Betty Wright, Barbara pletely tamed, he often wandered enters the void left by the ailing Clif­ Lynn, Joe Tex and Joe Simon. from home, but he always returned a ton Chenier. However, by 1975, the band was hav­ day or so later. Buckwheat's story goes back to his ing a rough time and Buckwheat was One day, when no one was at youth in Lafayette, Louisiana, where debating whether to break up his home, Jack came back and climbed he first began to play organ and piano band and take an offer to be keyboar­ into a tree in the front yard. Well, around the age of ten years old. Buck dist for Bobby Brooks and Della two of Buckwheat's friends happened says his earliest idol was Clifton Reese, with the first gig to begin in by at the same time Jack returned Chenier and many of the fine musi­ Houston a few weeks away. home and spotted the raccoon in the cians who came through Clifton's In desperation, Buckwheat called tree. Their appetites whetted, they band, such as saxophonist John Hart Clifton Chenier in Austin, Texas, shot the raccoon, cleaned him, and guitarists Lonesome Sundown, where he was playing an engagement, and barbequed him. When Phillip Walker, Lonnie Brooks and to ask his advice. Chenier told him to Buckwheat come home, he got a Paul Senegal.Even Buckwheat had a hold tight until he returned to whiff of the tasty barbeque, not two-and-a-half year tenure with Lafayette. Next thing Buckwheat knowing it was his friend, and helped . Chenier as organist. Ironically, knew, he was playing organ for Clif­ eat Jack. When Buck began to worry Buck's present band features Paul ton Chenier. about Jack several days later, his Senegal on guitar as well as the flam­ Says Buck, "To be honest I met friends confessed that they had shot boyant guitarist heard on most of the great blues players the raccoon and told Buckwheat that Buckwheat's records, Russel Gordon. through Clifton, like Gatemouth he had helped eat his pet. Buckwheat Stanley claims that his first music (Brown) and B.B. King. I had always "broke down and cried and was very was rock and roll and soul music dug blues but the work with Clif real­ upset for a long time." His recording when he formed Buckwheat and the ly got me deep into it. Like disco ... I is a tribute to his old friend. Hitchhikers in 1969. This group was had to play it and it makes you feel Continued on page 18

I 0 WAVELENGTH . NOVEMBER 1980 We have just assembled what may be the sound. The taU-wid~nd-thin cabinet design finest component system we've ever sold for of the A100 results in clean stereo imaging less than $1,000. and a feeling of "spaciousness" that you won't find in a conventional bookshelf The key to the system is the new .Boston loudspeaker. Acoustics A100 speaker. The A100 is a two­ To complete our A100 system, we chose way, floor-standing• loudspeaker .with a the YAMAHA CR 640 receiver (40 watts wide frequency range (solid bass down to per channel from 20-20 kHz with no more 32Hz), incredibly smooth tonal balance and than 0.02% total harmonic distortion), very wide dispersion. the BANG OLUFSEN BEOGRAM 1600 turntable and the MMC 10E cartridge. We But what really makes the A100 stand out think it's the best combination $995.00 from the other speakers in (and above) its can buy. price range is the feeling of "bigness" to its • it can also be wall-mounted Ot placed on a Y8fY strong bookshelf.

A system with high-performance floor~standing speakers for $995.00

The key to our new system is the Boston Acoustics A 100 loudspeaker.

Available at Audioal£ 555 EEiEIVSpecialties Audio Specialties of New Orleans, Inc. 3535 Severn Ave. 4153 Canal St. Met, La. 455-0182 N.O., La. 482-5711 , .. 'e..

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A A CAt..L CAt..L WNOE FM STEREOOOUNTRY 101 . ., FIRSI' ANNUAL - ~ Sunday, Nov. 16 City Park (Marconi Drive) Gates Open at 10 a.m. Music Starts at Noon See the Live Bulls & Ride the Mechanical Bulls along with the Pros

Visit our Exhibit Area See the arts & crafts & Food Booths

*STARRING* Tickets are $12 in advance $15 day of the show On Sale Now at all Ticketmaster Locations, D. H. Holmes and the Superdome Box Office For Information Call 525-7677 or 821-3795

It'll Sl,ll'lllr PrdiCtlll

N.O. Marriott Hotel Official Festival Headquarters Reggae

Records (the label that brought us Professor Longhair's Crawfish Fiesta The Seed album), based in Chicago and formerly an all Blues label, recently Has Been Planted released Black Slate, an album by an English Reggae band of the same name. BY JERRY BROCK "It's too early to compare the sales of this record to our others," says Otis Taylor, promotion manager at Alligator, "but the record has just reached number one on Europe's Reggae chart. Most of the radio sta­ tions in our major areas feel that the Reggae craze has already passed, though WLIV in New York is playing it . . . Black Slate plans to tour America in the spring " With the exception of "Communi­ ty" and some college stations, most radio stations in America never knew Reggae meant anything more than a new Bob Marley album. Jimmy Cli ff, who wi ll be appearing also with Third World at Ole Man River's in A rarity within the realms of Rastafarian memorabilia: Members of the mystic November, has received acclaim in revelation of Rastafari travelled from Jamaica to visit with Haille Selassie, the America not for his work as a recor­ Lion of Judah, emperor of the lost tribe of Israel, Left, Bro Sam; third from ding artist but for his role as Ivan 0. left, Bro Phil/; and right.Bro Duggy of the Mystic Revelation of Rastafari with Martin in the movie The Harder They a young priest from the Orthodox Patriarch of Ethopia ... Abba Tekle Michael Come. Abbai. This movie is important because it accurately depicts the ghetto condi­ Last May, on the 16th floor ledge and the fact that most of this has oc­ tion in Jamaica that the "Reggae ar­ of the Federal Exchange Building in curred without the aid of mass com­ tist" must contend with. It has Memphis, Bro. Zewbwe and I and I munications but by word of mouth in become apparent that America is the and the Lion of Judah with some this day and age is a true country in which the Reggae recor­ sacred herb, pounded the rhythm and phenomenon. ding artist or "music messiah" can expounded words. Burning Spear, In New Orleans, live performances achieve financial stability in order to Ras Michael, Big Youth, Augustus of Reggae music have yet to find a help bring relief and social justice to Pablo . . . "Reggae" poured forth true home. However, we are for­ the depressed brethren in the from an inexpensive cassette player tunate to have WTUL's Reggae pro­ homeland. capturing our attention like a watch gram every Monday night hosted by Martyn-Gebre of Rootsan Produc­ swinging from the hand of the most Sheperd Samuels and an extensive tions, a Reggae booking agency in capable hypnotist.The Lion roared. selection of Reggae, Kaiso and Ska Boston, says, "We have many What tickles my psyche and jogs recordings are available in some superstars ready to tour but most club my memory most about this ex­ record stores. Mr. Leisure Landing, owners are hesitant to guarantee the perience is that this Bro had never Pat Berry, told me, "The sales of amount these people are asking." For been out of Memphis. But his grasp Reggae has increased over 500 per­ instance Burning Spear, currently on of Rastafarian literature , its cent in the last six months." Many of tour, is asking for $3,000 a perfor­ traditions and customs, far ex­ the best recordings of the " Reggae mance. Considering the amount for ceeded that of my own, being of Masters" are only available on travel and housing for five or six peo­ the type that gobbles down any­ Jamaican imports so keep in mind ple from New York to New Orleans, thing I can get on the subject. when you buy one that the sound this would not leave much of a profit. Something about being born a quality is often reminiscent of those We all know a good thing never "Rasta," and brothers and sis­ beautiful sandy beaches from where comes easy. So while we light up a ters sharing unselfishly when they they come. spleef and patiently await the perfor­ passed through town. Reggae is sprouting up everywhere. mance of Jimmy Cliff, STAY UP! "The seed has been planted, now There are now active "home grown" and remember the words of Marcus you just have to watch it grow . " bands in Atlanta, Chicago, Kansas Garvey, "What you do today that is Bro Zewbwe roared. City, Austin, and up and down the worthwhile, inspires others to act at Reggae has now spread worldwide east a nd west coasts. Alligator some future time."

WAVELENGTH . NOVEMBER 1980 I 5 New Wave Knockouts And Local, Too

BY CARLOS BOLL

There seems to be a million new I wasn't really crazy about them. the"tired old run of the mill" rock LP's out lately but few have made a Finally out this week, on second listen syndrome. The record should definte­ good impresion on me. It's unfor­ I find this record fabulous! It was ly be on your "have-to-get" list. tunate but it seems that many new recorded at Ultrasonic at the beginn­ albums, particularly those by new ing of the summer and is by far the Red Rockers bands, have achieved a very best produced of any local new wave Guns of Revolution (EP) homogenized sound. It's also getting record. Vinyl Collusion to the point where you can tell what a Suzie, who used to play with the band is going to sound like by the Neutral Mutes and the Ballistics Another item of interest is the Red kind of clothes they wear. before she moved to Boston, has Rockers EP, recorded in Austin dur­ All this, plus the increased cost of assembled a great cross-section of ing the beginning of the year. Their buying import albums, has con­ local rock musicians. Featured on the record features three fast moving tributed to the increased selectivity by five song EP are Ed Volker from the hard edged punk songs. Of all the many people when choosing records Radiators, Bunny Matthews and local bands, the Red Rockers are the to buy. Fortunately, there are new Spencer Livingston from the only ones who have jumped records that merit mention -- records Ballistics, Clark Vreeland, and Bruce wholeheartedly on the current that are total knockouts. The two Raeburn. political scene. The band is very, ac­ records reviewed this month are local The five self-penned tunes, with the cording to U.K. standards, very con­ productions as well. exception of one written by Clark temporary. I'm sure if th·e Red Vreeland and one by Bunny Mat­ Rockers were from England they Suzie Huete thews, showcase Susie's voice, which would have already gotten a major No MoreBoy!Girl(EP) is in great form. She flows through label contract. Produced by Suzie Huete the songs with a casual style not heard Next Month; Part One in the often on independently produced "History of New Wave in New Suzie Huete made this record with records. The songs really shouldn't be Orleans" -featuring stories on the an inheritance she got. When I first classified as new wave, but their in­ Backstabbers, the Normals, and the heard the tapes about six months ago, novativeness keeps them out of Skinnies.

I 6 WAVELENGTH . NOVEMBER 1980 Jazz J CACBegins Live Jazz Series

BY RHODA SHERWOOD

Two formidable forces in the New woodwinds (clarinets, flutes and sax­ quite simply, Orleans cultural community have ophones) instruments. However, the joined forces to bring to the com­ opening act was our own James we have the munity and the airwaves a series of Black, himself a distinguished com­ "live jazz" concerts originating from poser, arranger, educator and m usi­ best prices the Contemporary Arts Center ciao, performing his own composi­ (CAC) at 900 Camp Street, and tions. on broadcast on WWNO-FM, located at The artists scheduled for the University of New Orleans. Both November are: Kidd Jordan and musical organizations have been consistent Hamiet Bluiett on Nov. 7; Omnibus supporters of jazz, and New Orleans and John Baur on Nov. 14; Willie Tee equipment. .. artists' efforts to bring jazz to large and Friends on Nov. 21; and Alvin numbers of people. Batiste on Nov. 28. In December, In 1979, CAC director Don Mar­ look for Jimmy Robinson on Dec. 5; shall, and jazz coordinator Patrice Leigh Harris and Lady B.J. on Dec. Fisher, were interested in seeking sup­ 12; Ron Cuccia and the Jazz Poetry port for a series of concerts featuring Group on Dec. 19; and John anywhere. local and national artists at the CAC. Vidacovich Trio on Dec. 26. Some of In discussions with WWNO general the big names for 1981 are the Art magager Christopher Albright, who Ensemble of Chicago, Dr. Billy was also interested in promoting such Taylor and David Amram. a series, the two organizations joined The CAC hopes to convert a por­ /UDUIIQ forces to establish this daring {I sup­ tion of the downstairs area in to a pose anything that wi ll help local ar­ music club that could become a per­ tists in New Orleans is daring) con­ manent place for musical events sunn(e)) cept. Fortunately, interest a nd some there. As it is now, music and theatre badly needed financial support came events compete for the same space. from the National Endowment For The logical problems involved in the Arts (NEA) and the State of broadcasting the series are awesome. Louisiana-Division of the A rts So many hours go into preparation (DOA). and coordination that it would age Last year the series was held once a anyone not as dedicated to ac­ Fender J:f4s month. This year the program will be complishingthetasks successfully. held every Friday beginning at 10:45 Ask the program director for p .m. and be broadcast simultaneous­ WWNO, Louisia Walker, and chief [iil~ ly over WWNO-FM as well. Coril engineer, Steve Rush. Of course, they l41f1!t.)Wl ~I Joseph says it's a great opportunity, only had one a month last year, but not only for him but for the show, now that it's weekly ... well , need I say which will air on Fridays at 10 p.m., more? I .5/UuteUmul I then switch to the CAC for the live You could stay home and relax and segments and return with part two of enjoy the shows on radio this fall , but " Elements". In essence, you'll hear the real joy will certainly be in being sales • service • rentals two and one half hours of recorded in the audience to really experience and live jazz. the great music that will be offered. • In 1980 season kicked off last There is a modest admission to the 1945 Veterans Blvd. month with the contemporary com­ concerts to help defray production poser, arranger, educator and musi­ costs. Emcee Coril Joseph promises 888-6582 cian, Anthony Braxton. Braxton, to get the audience involved because who has played with the best as he says, "The artists feed off of the • American and European musicians, audiences. It's the audience as well as 215 N. Carrollton Ave. has several albums released on Clive the musicians that makes the music Davis's Arista label. Braxton plays all live." 482·3166

WAVELENGTH . NOVEMBER 1980 I 7 Rare Records Even Toussaint Doesn't Have One - BY ALMOST SLIM The Wild Sound of New Orleans Allen Tousan, RCA 1707 \'otmrl of.\ i ·~· Odt•rm.' Tousan, of course, is a thin guise for Allen Toussaint; I guess RCA b,1JOUSAN thought it would sound hipper. These are the first recordings by Allen Toussaint on his own and date from 1958. The session took place after RCA had run an ad for a talent show in the local paper, which produced hundreds of people in front of Cosmos' door wan~ing an audition. The man who most impressed Danny Kessler of RCA was the piano player that played for the audition­ Toussaint. So with Red Tyler's sax in This album is exceedingly rare; it is tow, twelve tracks were cut, all in­ probably valued at over $50 for a strumentals. clean copy. Purportedly eve·n Allen All twelve tracks are on the album, Toussaint doesn't own a copy of it. and the 21-year-old Toussaint really Note: This is a monthly column for does sound wild. The tunes were sent readers interested in collecting to New York untitled, where the RCA records and talking about it. PR men named the instrumentals. Hopefully we will have a number of One of the ones they titled was hard-to-find discs(45 's and 78's, too). "Java," which became a big hit for If you have something you think AI Hirt in the mid-Sixties. The in­ might be of interest to readers of this fluence of both Fess and Fats are im­ column, drop us a line. This is your mediately evident. magazine!

Continued from page 10 ficult except for the left hand on the With the success of the single, Jay bass side. The keyboard on the accor­ Miller suggested that Stanley do a dion was no problem to handle, but whole album. The results can be the pushing and the pulling to draw heard on Buckwheat Zydeco -, One air into the box, plus the 120 bass For The Road (Blues Unlimited LP keys that work counterclockwise, 5006) available at finer record shops took some getting used to." or directly from Blues Unlimited If Stanley "Buckwheat" Dural ap­ Records, Box 1345, Crowley, LA. pears in your area, he is not to be The album features Buckwheat's missed. Of course, Clifton Chenier's working band and is an exceptional stamp is inevitable in his music, yet record with mostly original material Buck throws in many originals that and Buckwheat featured on accor­ melodically are very much hi s own. dion, organ, piano and vocals. You might also expect to hear such Buckwheat has another album Louisiana classics as Guitar Slim's soon to be released. Although he was "The Things I Used to Do" as well as happy with the first record, he admits many intense soul numbers. In fact, "I think I've improved quite a bit. I just ask Buckwheat to do T yrone was still finding my sound and had Davis's "I've Reached the Turning only recently really started playing Point" and get ready to dance. the accordion. The change from As Buck would say, "lis soot par­ organ to accordion wasn't that dif- tis!"

I 8 WAVELENGTH . NOVEMBER 1980 Reviews

of the resulting live album:"There is Remain In Light nothing like a Grateful Dead con­ Talking Heads cert." That is as true now as it was then, Sire SRK 6095 and the elder statesmen of West Coast rock proved it here in two sold Talking Heads has done something out performances at the Saenger different and the result is well worth Theatre, October 18 and 19. It was living with for a while. Their previous the Dead's fi rst visit here in ten years, albums are each a collection of more dating back to an ill-fated two-night or less separate and distinct songs. stand at the Warehouse in 1970, when Their new release, Remain In Light, several band members were arrested is more of a concept album, with the on drug charges. same style of song construction used A wildly enthus iastic crowd throughout. Each song is a variation welcomed the band to the stage as of one overall approach, each one a they opened the proceedings both different result of the same process. nights with a 45-minute acoustic set. Together the songs make a si ngle Jerry Garcia and Bob Weir, as is their statement. This approach works well, custom, took turns on the lead allowing David Byrne to be more vocals. It took a couple of tunes to poetic, Brian Eno to become a more get the audience to settle into the low­ integral part of the group, and the key flavor of the acoustic picking and rhythm section to jam harder and with overtones of Armageddon and a soft vocal harmonies, but by that longer. collective lack of purpose. time the incredibly clean sound The songs on Remain In Light The lyrics and the styles of the system was adjusted into the don't go through any changes in the delivery are the main factors in subtleties of the playing. They chose sense of verse, chorus, bridge, etc. creating a mood that can be described the popular " Ripple" to close the The vocals and accompaniment move as religious: reminiscent of the music acoustical set each night, rekindling in broad sections over a rhythmic pat­ from pagan, Judaic and Christian the Deadheads' fervor right before tern that, once started, go on ceremonies as they were until the the fi rst intermission. unaltered throughout each song. This Renaissance. The constant and un­ In retrospect, the band showed a extended approach is well suited to changing rhythm section becomes the genuine confidence in their rapport both the rhythm section, generating pulsating drone for the congregation with their crazed fans in opening the some funky and infectious dance to dance to during the ritual. Defined show with such sensitive and delicate music, and the vocals, featuring by the changing vocal sections, the material. Not many rock bands displays of layering, with as many as songs become a series of chants, would even attempt such a laid back four different vocal parts occurring psalms, antiphons and responsories show opener. But then, not many simultaneously. with male and female choruses and rock bands on the big time circuit give Using a systematic approach in David Byrne as cantor and priest. Re­ concert-goers three sets of music. making an album is an idea common main In Light is "soul" music The second and third sets were elec­ in all of Brian Eno's work. Remain In because it's funky like Motown and tric, alternating hot rockers with tasty Light is as characteristic of a Eno solo disco, and because it is from and slower tempo numbers spiced by Gar­ project as it is a Talking Heads about the human soul. cia's intricate lead guitar. Weir's in­ record. His influence as producer is Remain In Light proves Talking spired rhythm playing seemed to push stronger and he is more active as a Heads' ability to be creative and in­ the band from one check point to the musician, where his work in the novative while remaining commer­ next, and the always innovative group has progressed from embellish­ cially acceptable. bassist, Phil Lesh, provided the ment to being a more integral part of --Steve Cunningham guitaristic highlights with some fancy the music. He co-wrote songs, ar­ licks of his own. ranged the vocals with David Byrne, It should be pointed out that Sun­ and his voice is recognizable in much Grateful Dead day night's two electric sets contained of the si nging. Saenger Theater not one song that had been played the In his subject matter, David Byrne previous night. To those attending continues to communicate his feelings October 18, 19 both shows, the weekend was like one and observations about the modern long concert containing about a ten­ human condition. He speaks as a per­ hour melting pot of musical styles sonal conscience about common pro­ Back in 1972, after an ambitious played by a band who, in fifteen years blems in society, like lack of purpose, tour of Europe and Great Britain together, has always shown a will­ lack of psychologic and emotional made Deadheads of many on the con­ ingness to experiment, to take visibility, and feelings of alienation. tinent, the Grateful Dead's P.R. chances with its audience, not only in He also speaks as a social conscience machine put it succinctly on the insert the selection of material, but within

WAVELENGTH . NOVEMBER 1980 I 9 the very structure and context of the da da" and "Hop Scop" still retain songs themselves. the Jelly Roll Morton's vocal man­ The last set on Sunday was an in­ nerisms that I've admired in his work tense and varied two-hour excursion previously. (Remember that Verne! that left the audience limp. The set has appeared on scene as Morton, Need a dnmuner? opened with a scorching medley of and Morton's vocals on the 1944 "Scarlet Begonias/Fire on the Moun­ Library of Congress recordings have Got ahom to seD? tain." Garcia and Weir streched out been hailed by many critics even both instrumentally and vocally as recently as jazz highpoints.) Topsy Looking lor that they led the band through "U.S. Chapman has made great strides as a Blues" and a beautiful version of singer since her original, shy outings rare45? "Terrapin Station." Drummers Bill on stage here; and Kuumba as Big Kreutzman and Mickey Hart drove Bertha makes "Kitchen Man" and Use the WAVELENGTH the fini sh of a "Sugar "Wrong Keyhole" her own with a CLASSIFIEDS. Only Magnolia/Good Lovin' " medley in­ bawdy style so well fitting the presen­ lOCaword. to some extended pounding on Hart's tation. collection of percussives, until Garcia However, one can't help but single ($1 minimum) took it back down with the haunting out three other members of the lead ad to Waveleagtb, vocal of "Wharf Rat." The finale troupe who haven't received as much Box 15667, New Or..._, LA. was a rousing version of "Truckin'," ink as the principals. Thais Clark's 70175 leaving the Deadheads in a frenzy. versions of "C.C. Rider" and "Mud­ For an encore the band chose the soft dy Water" evoke all the best of Ma and countrified "Brokedown Rainey and Bessie Smith from this Palace," and said goodnight to an powerful vocalist. She is a treasure, audience that lingered quietly in their and I am looking forward to some seats for several minutes after the enterprising record company produc­ Wm~e~ih houselights went up. ing an album of her doing traditional The band members seemed to en­ blues with a New Orleans band. She New Orleans' joy the crowd's enthusiatic response has to be the best blues singer I've Music Magazine and the Saenger's excellent concert heard in years. ambience-perhaps enough to return On the gentle side of the show, again soon. It is refreshing to know there's the charming vocal of Jabbo that after fifteen years the Dead re­ (Yes, the legend!) on his own "Love" main in touch with their huge follow­ (which I can envision them dancing to ing, and in touch with each other. at Luthjen's) and the blues "Louise." The music still has meaning inside Jabbo has often been compared to ~\\"tl\\\\ each of them, and one has only to Satchmo, and his vocal style is his watch them play to see that the unity, own and comes as close to Arm­ as well as the fire, is still there. strong's warmth as .can be imagined. ~l\\l\\.1. --Bill Cat With respect to his trumpet playing, Music Bar there's no doubt his lip is better than OneMo' Time it was when he turned up in New U Restaurant Verne/ Bagneris Orleans a couple of years ago with Freddie Kohlman. His remarkable Warner Bros. HS 3454 solo on "Love" skitters and scatters and slides and slips like quicksilver, Cold I've praised this grand musical pro­ though on the rideout he's punching Nov.1 duction in my previous reviews of the at the lead powerfully. He's worth New Orleans Jazz & Heritage hearing more than just as a curiosity. Festival. I've seen it at least six times Orange Kellin's clarinet in here ••••• in New Orleans since 1977 and have shows his Jimmy Noone roots. He, watched it evolve into its current ex­ too, is a greatly improved player since Radiators cellence. Verne! Bagneris's tribute to he was a teen sitting in at Preserva­ Nov.8 the T.O.B.A. vaudeville at the Lyric tionHall one week off the boat from Theater in New Orleans in 1926 con­ Sweden. Orange plays as fine a tradi­ ••••• tinues to improve. This is a live recor­ tional jazz clarinet as New York ding from its New York home, the players with more illustrious reputa­ Call us for the Village Gate, and comes off extreme­ tions. He's one to watch. ly well. It certifies the fact that these In fact, based on this album, I'd complete schedule! New Orleanians have lost nothing recommend anybody to go and watch despite being away from home for a this show "one mo' time" and now while. you can bring the record home and S34Frenchmen Bagneris as Papa Du is in better listen to it whenever you like. 944-6220•945·%880 voice here than ever before; "papa de --Rhodes Spedale

20 WAVELENGTH . NOVEMBER 1980 Musical Shapes All of the saxmen (Frank Foster,­ Carlene Carter Frank Wess, Zoot Sims) are in good Warner Bros. BSK 3465 form. It's been too long since the two Franks had solo space, and it's good to hear them again. Talk about Newlyweds Carlene Carter and absence making the heart grow Nick Lowe bring their marriage into fonder, J .J . Johnson's solo on the studio and come out with an "Solitude," I a ssure you, will garner album that represents the best of their him new admirers as well as rekindle 2125 Hwy.90 West Avondale 436-3000 musical backgrounds and abilities. the memories of his many fans. Located 2 Miles West of Huey P. Long Bridge Carlene is third generation Carter Sarah Vaughan has rarely family, who, along with Jimmy displayed her taste, range, and vocal B.B.K~n• Rodgers, virtually defined country prowess as effectively. She's a jazz Nov. -4 . S&6 • 8and II p.m. and folk music in the late Twenties. singer more comfortable working Opening: The best songs on this record are with jazzmen than tippytoeing U'l Queenie & Percolators those written by Carter, and they are through a cluttered Hal Mooney ar­ seewe Forllten delivered with a sense of confidence rangement. Recommended. Sat. Nov. 8 • I Op.m. and heritage which speaks well of her --Rhodes Spedale Special Guest Billy Burnette upbringi ng. The ease with which she g lides throu g h the material J~mmy CI~H lr. represented (some traditional, mostly Doc At The Radar Station t'h~rd World origi nal) makes Linda Ronstadt's Captain Bee/heart Thurs. Nov. I 3 • 8& II p.m. country rock posturings seem studied Virgin VA 13148 Zebra and li feless by comparison. Nov. l4 • 10p.m. Husband Nick Lowe's contribu­ tions go far beyond his credits as pro­ 188YPop Anybody who saw Captain Sat. • Nov. 22 ducer and session musician on the Magic Band per­ Special Guest Joan Jett Musical Shapes. Ten years ago, Beefheart and form at Tipitina's a couple of years Lowe's band, Brinsley Schwarz, t'heShe~ks ago probably realized at the time that brought country influenced rock to Nov. l2. 19. 26 • 10p.m. here was a man with an entirely dif­ England with thei r criti cally acclaim­ fe rent point of view . It was an excep­ ed second LP, Despite It A II . tional evening, with Beefheart and start to Side one is well paced from Company reeling through new and "Ap­ finish, with " Madness" a nd old material with a deft precision that s. Side palachian Eyes" the standout I thought impossible to achieve live. two suffers a bit from rather predic­ JIMMY'S For me, it was Professor Longhair and table readings of "Ring Of Fire" meets Anthony Braxton, a nd I l oved songs Live Music Club 0 "Foggy Mountain Top" (two every minute. Johnny Cash 8200 Willow • 866·9549 made famous by daddy Doc At The Radar Station, by the a nd the original Carter Family, same token, is not an album for the Friday & Saturday. Nov. 7 & 8 "That Very First Kiss," respectively). masses. It is a collection of striking, written by Carlene, gets things mov­ Neville Brothers high-energy compositions chock full ing once again in the proper direc­ of Beefheart's unique syncopated Thursday. Nov. 13 tion. rhythms and unruly vocal growl. The ­ This is an intriguing a nd unpreten new album picks up where 1978's tious album, Blue Ridge Mountain 1979 s w~~~l}~~~~ ~.~~~ st b~ the Shiny Beast left off, using most o f the Acarlemy of Country Mus1c -rock music by way of England's pub accomplished musicians who ap­ circuit. I' m already looking forward peared on that release, his first in Friday & Saturday. Nov. 14 & 15 to the next one. --Steve Graves years. Particularly strong are the The Sheiks back-to-back "Run Paint Run Run," Duke Ellington Songbook and "Sue Egypt," the latter sounding Thursday, Nov. 20 Sarah Vaughn like perverse horror-movie music. John Hammond The intensity of sides one and two is One of th~ best Blues s1ngers & Pablo 2312-111 broken up by two short instrumental players ,n A m~tJca today pieces, respectively "A Carrot Is As Close As A R abbit Gets To A Dia­ Friday. Nov. 21 Sarah Vaughan is exceptionally mond" and "Flavor Bud Living." The Cold well presented in two different for­ Don Van Vliet (A.K.A. Beefheart) mats on this album, and she works has a small but rabid following, and it Wednesday-Saturday. Nov. 26. 27. 28 & 29 equally well in each context. Billy is a credit to Virgin Record that they New Wave Cinema Event Byers conducts a large ensemble on support his bizarre and uncom­ Jo1n 1n th£) fllm,ng of a ma,or mot ton p1cture filmed rn Jtmmy·s on New WaveMustc Eveorr New Wave some tracks, and Sassy has a horn on­ promising music. Definitely not for Band tn the Ct ty tS part1ctpdt1ng In teres ted? ly plus rhythm in others. the weak of heart.--Steve Graves Cai/Jtmmy'

WAVELENGTH . NOVEMBER 1980 2 I The Last Page J Brown Bag concerts downtown and were, as expected, well received, Lit' Queenie too ... Tim Lyman is no longer booking bands at Tipitina's; Tim has left the job up to John Kelly, Tim hopes to work in management with Bill Cat ... Jon Foose and Jason Berry were recently in Washington D.C. to show their documentary "Up From The Cradle of Jazz," At the Smithsonian Film Festival. They also hope to sell it to PBS and some European broad­ casting networks .. . The Cartoons sounding better all the time, recently filled in at Tipitina's when Stevie Vaughn couldn't make the gig ... Etta James's newest album, just out, is produced Li'l Queenie a hit at Brown Bag Concerts. by Allen Toussaint and features the Sansu rhythm section ... Sansu has Johnny Vincent, Ace record Mel has shaved off his mustache and recently leased some material to King mogul, is set to reissue albums con­ can't seem to remember the words to Records in Japan for some reissues ... taining vintage New Orleans rock and the song ... Eddie Bo is back on the scene with roll material. He is set to open his Ironing Board Sam has moved to a new 45 on his Bo Sound label. .. New own club in Jackson, Miss., called the West Memphis. Sam is playing in Blues Unlimited magazine has ex­ "Bon Ton" where his old studio was Handy Park and has shaved his head cellent interviews with Tommy on Main Street. He hopes to open the and wears a flocked rug-like toupe to Ridgeley and Johnny Adams ...Living club soon with Huey "Piano" match his truck ... Blues is celebrating its tenth anniver­ Smith•.. Huey has moved to Baton Marshal Seaborn is going to release sary with a double issue. Included are Rouge recently ... a collection of oldies; it's going to be reviews of the 1980 Jazz Fest and Earl King has opened a book and only available by mail. Marshal is some live mus ic reports by record shop on Dryades Street. Cur­ planning on taking out ads on over Wavelength contributor Hammond rently he is working with Deacon 100 TV stations ... Walter Washington Scott. .. John under the guise "New Orleans and The Lastie Brothers have been John Broven, author of Walk in' Blues Review" ... Bobby Marchan, as working together again since their Tv New Orleans (retitled Histoty of vivacious as ever, is still emceeing trip to Holland. Walter, it seems, had Rhythm and Blue5 /11 New Orll:'ans), weekends at Prout's Club Alhambra a very famous uncle known as in America and in town recently. He and invites all to his Thursday Lightnin' Slim ... is doing further research for a new Night Gong Show ... Prout's recently Senator Jones plans to start a book on Swamp Pop, and has has featured Bobby "Blue" Bland, gospel label to record local gospel delivered the manuscript to Pelican Arthur Prystock, and Z.Z. groups ... Jeanie Knight should have a Press ... Copies of his "Walkin'To Hiii ...Bandy Records has recently new single out soon;she has been New Orleans" have turned up in the released Volume 2 of Ernie K-Doe's working on it up in Baton Rouge. discount bin of Martin's Wine Cellar, greatest hits and plans to reissue the The Saints' dismal record has of all places. old "Home of the Blues" gem on seemed to take the steam out of Ga­ Ron Cuccia, New Orleans' own Minit. Phoenix doing final touches boon's Gang's "Let Get jazz poet, whose album for Takoma on album at Seasaint. .. Fired Up" ... Johnny Adams has Records earned him national acclaim, Allen Fontenot has quit his radio recently been working some clubs in has a new album coming out in job at WSHO. Apparently there was Nashville ... Oiiver Morgan's "Who January for Oblique Records. With a disagreement in the programming Shot The La La" has been bootlegged Ron on this new venture will be John ~olicy. Allen's show will be sorely on a 45. So has Rollie McGill's Magnie on piano and vocals, Johnny missed. His new album should be on "There Goes That Train" ... Charlie Vidacovich on drums. Kenneth t,he market by the time you read this. Records has just released a collection Blevins on congas, Lise Cousineau on Allen and his grouR l}ave returned of early material by The Meters, Bet­ vocals and percussion, Larry Sieberth from a triumphant tour of Rhode ty Harris and Lee Dorsey. Covers are on piano and synthesizer, Jim l.slahd where they :·~ ere treated like great; watch for them ... Quint Davis Singleton on bass, and Tony DiGradi kings" ...Mel Lovely & The Milktones is back at his Ninth Ward abode after on sax,flute, and bass clarinet. Join­ are still in the studio trying to cut the working festivals in Memphis and ing this all-star cast will be the Youth flip side of "Purple People Eater." Europe ... Inspirational Choir, directed by Lois According to producer Carlos Boll, The Neville Brothers kicked off the Dejean.

22 WAVELENGTH . NOVEMBER 1980 ... _

by The Editors of Rolling Stone Magazine From The Wall Street Journal of Rock comes THE ROLLING STONE MAG­ AZINE ROCK REVUE ... the idea behind the most exciting concept in rock radio since the album-cut format. THE ROLLING STONE MAGAZINE ROCK REVUE is rock 'n roll news at its best - as only the bible of the Rock Music industry could bring to your listeners. Featuring behind-the-scene stories of concert tours, recording sessions, rock 'n roll parties, movies, benefits. record rev iews, interviews, the latest album music ... everything happening in Rock today. and tomorrow.

Listen for it Weeknights fm at 9:50p.m. ~ 10:50 p.m. Requests: 260-1100 100 Concert Info: 260-WRNO