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Wavelength Midlo Center for New Orleans Studies

3-1982

Wavelength (March 1982)

Connie Atkinson University of New Orleans

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Recommended Citation Wavelength (March 1982) 17 https://scholarworks.uno.edu/wavelength/17

This Book is brought to you for free and open access by the Midlo Center for New Orleans Studies at ScholarWorks@UNO. It has been accepted for inclusion in Wavelength by an authorized administrator of ScholarWorks@UNO. For more information, please contact [email protected]. MAR 2 1982 U\ttL K. LONG LIBRARY UNO DARE

R E C 0 R D S & T A P E S 1037 Broadway New Orleans, La. 70118 (504) 866-6065 ISSUE NO. 17 • MARCH 1982 Get your own "I'm not sure, but I'm almost positive, that a/1 music came from New Orleans." Ernie K-Doe, 1979 Wavelength! Features Guitarists ...... 12 Polopolus ...... 15 BourgeoisArt ...... 17 PaulMcGinley ...... 21 A-Train ...... 23 Winnie's ...... 25 Percy Stovall ...... 27 JVOMIF ...... 31 - Connection .... 34 Columns March ...... 4 Listings ...... 7 Books ...... 37 Clubs ...... 39 ...... 41 Caribbean ...... 43 Unpopular ...... 45 Sy111phony ...... 47 Reissues ...... 47 Zekespeak ...... 51 Reviews ...... 53 Cl~ij7ed ...... 61 Last Page ...... 62

DONN YOUNG SKUL OF THE GONERS AND VIRGINIA

Wavelength magazine is snapped up practically as fast as we can deliver them to your favorite record shop, bookstore, or newsstand. To be sure to get your own copy, subscribe - and enjoy interviews and stories on your favorite New Orleans musicians every month.

Cover illustration by Skip Bolen. ------~======,...... ,., Patrick Berry, Editor, Connie Atkiruon. Aoooct.te Editor, Don't miss a single issue Tim Lyman. Anll'llll.. Salot, Steve Gifford, Ellen Johruon. Art Dlndor, Skip Bolen. Cototrt.,.d., Artllll, Kathleen Perry, Rick Sp&in, Mike Stuts. Ololri.,.do•, Gene Scaramuzzo, Star Irvine. Co•· of New Orleans' own lri.,.ton, Steve Alleman, Carlos Boll, Bill Catalanello, Tanya Coyle, John Desplas, Zeke Fishhead, Steve Graves, Jerry Karp, Brad music magazine .. . Palmer, Kalarnu ya Salaam, She~rd Samuels, Gene S<:ararnuzzo, Hammond Scott, Almost Sllm, Rhodes Spedale, Keith Twitchell, Nancy Weldon, Stuart Wood. Yes, enter my subscription to WAVELENGTH, New Orleans Music Magazine, at the WaW'It"llh iJ published monthly in New Orleans. Telephone (504) 1195-2342. Mail subscriptioru, address chanaes to Wavtlt"tth, Bo• special rate of 12 Issues (one year) for only $10 ($8 off the newsstand price). U667, New Orlearu, La. 70175. Subscription rate, SIO per year. Foreian, SU per year. The entire contents of WaW'Itntth are 0 one year- $10 ($15 foreign) copyriaJ>ted o 1982 WaW'It"tlh. 0 two years - $18 ($23 foreign) Back issues are available by writina to Back Issues, P. 0. Bo• 15667, 0 three years - $25 ($30 foreign) New Orleans, La. 70175. Because of a limited supply, back issues are available for S4 each. Please allow a few weeks for processing and Name ______delivery of orders. New Subscribers: Please allow up to four weeks for receipt of first Address______issue due to our small, non-computerized subscription de~nment .

Foreian customers must ~Y only by l.M.O. or check drawn on a U.S. bank. Because of exorbitant bank processing charges, we cannot ac· City, State, Zip c:ept checks in Canadian dollars or other foreian currency, or checks drawn on a foreian bank. O Check here if this is a renewal order Subscribers must notify us immediately or any changes or address. If notirocation is not received, mapzines sent to incorrect old addresses wiU not be replaced. U. S. customers, please include your zip code.

WAVELENGTH/MARCH 1982 3 MARCH 'Hot Jazz Classic' ' Players,' At Jazz Fest Time A Documentary, While New Orleans awaits the Debuts return of this year's 1982 Jazz and Heritage Festival April 30-May 9, On March 12, a video-tape 1982, plans have been made for a documentary about Tuts "festival within a festival" of Washington, and traditional New Orleans jazz. will be shown The William Ransom Hogan on a large screen at the Hyatt Jazz Archives of Tulane University Regency Hotel. " Piano Players" and the New Orleans Jazz and was produced by Stevenson Palfi, Heritage Festival announced the former director of the New Orleans first "Tulane Hot Jazz Classic" Video Access Center. The show from May 6-May 9. Beginning on has been bought by CBS Cable of Thursday of the second week of New York, and will air there, in the festival, Tulane and the Jazz , and other CBS cable Fest have scheduled a potpourri of markets later this month. The local events embracing performances, screening, however, will be the on­ films and forums. ly chance New Orleans people will On Thursday, May 6 there will have to see the program for quite be a colloquium on the legendary some time. The city isn't wired for John Robichaux Orchestra, the cable yet. Palfi's contract with Creole dance band that entertained CBS precludes a PBS airdate for New Orleans audiences from 1894 more than a year. to 1927. There is, inevitably, an Friday, May 7 begins with a underground history in the produc­ morning symposium on " Jelly tion of any such program. "Piano Roll" Morton. In the afternoon Players" was three years in the the Jazz Picnic is revived at the Golden Moments In New Orleans making and the story behind it is Fair Grounds with a schedule of worth recounting. It opens a win­ twenty bands on stage playing a Rock 'N' Roll VII dow on the problems faced, not repertoire of classic jazz idioms. July 1960- Bobby Robinson, owner of Fire and Fury records, tracks down only by film makers, but musi­ Also included is a special in the depths of the Ninth Ward. While sitting on Lee's porch cians, whose careers could be ad­ Workshop Tent. Concluding the they overhear some kids on a swing chanting some nonsense words, "Sittin' vanced by more sustained treat­ day will be a concert on the Ia Ia." Both think the rhythm is catchy. Later uptown at the Miller ment from local visual artists. featuring the syncopated rhythms Bar after a few beers, they borrow a pen and paper from the bartender and Palfi began preliminary shooting of the early twentieth century. write out the lyrics to Dorsey's first hit, "Sittin In La La Waitin' For My Ya in 1979. It had taken him more Saturday, May 8, the music of Ya." than a year to raise funds for the the Roaring Twenties is production. The main grant came represented in concert by New No. And do not be surprised to you own some fairly sophisticated from the Rockefeller Foundation Orleans' own New Leviathan see more and better music on signal-splitting equipment, you can ($15,000), a source no other local Oriental Foxtrot Orchestra. television as more cable is laid in only listen to M-T.V. in mono producer has tapped. The total Winding up the program the music-hungry urban centers. now. It sounds much like the A.M. budget came to $36,500. evening of Sunday, May 9, is a M-T.V. (not to be confused with radio in your car. But soon a devise The documentary was conceived "Jazz Reunion and Testimonial the local Channel M, a movie will be offered for about two as a tribute to Washington, Dinner/ Dance" on the riverboat channel) originates in New York dollars a month which wiJJ bring Longhair, and Toussaint, none of President, an evening of live per­ and is a joint venture of Warner the channel into your home in whom had been individually formances, video, and narration Communications and the stereo. And if you can wait a bit featured as such before, but beginning at 6 p.m. American Express Co. The station, longer, television dealers say the beyond that, as a historical exer­ Ticket prices for the "Hot Jazz located at Channel 18 on Cox cable new line of T.V. sets, due next cise, showing the living influences Classic" range from free to $20. lines, runs a four-hour show daily. summer, will have two speakers in of the New Orleans piano tradition For more information call A "V-J" introduces theacts,usual­ the set wired for stereo. - how Tuts influenced Fess, and 504/522-4786 or write New Orleans ly recognizable performers, and But most of the musicians on Fess in tum influenced Allen. Jazz and Heritage Festival, P.O. sometimes fills the viewer in on M-T.V. could take a lesson from The heart of the show was to Box 2530, New Orleans, LA 70176. news/gossip of the rock industry. New Orleans artists in visuals and have been a rare concert with three Periodically a newsman will appear choreography. in 's, the three from location, such as the Super­ Most of M-T.V.'s programming mus1c1ans performing Next Step? dome during ' is mainstream rock'n'roll. There is simultaneously. Five days before record-setting show or Liverpool little of else, but jazz the concert, Professor Longhair M-TV! on the anniversary of John Len­ background music is used in what died. "It's just like the radio, only non's death. The four-hour show is called " bumpers," little fillers of Fortunately, Palfi had filmed a with pictures." That's what Dad repeats itself throughout the day. usually interesting visual material rehearsal session with the three said to Mom back in '48. With Evenings and on weekends the inserted between programs. This is men, and conducted interviews that, they decided to buy a televi­ channel features concerts, concert a small but heartening part of the with Longhair, on camera, prior to sion. movies, and other rock'n'roll programming, since musical video his death. But Fess' untimely With the advent of "music movies. Just filming a concert is of the nature presented on M-T.V. departure blew a hole in the pro­ Television," history repeats. "Just rarely enough. So, many per­ originated with "bumpers" bet­ duction. The whole concept behind like television, only with music." formers have gone to computer ween movies on Home Box Office. the film suddenly shifted. What In these days of the video revolu­ graphics (The Band's Last Waltz is As there is more to the radio began as a performance documen­ tion, should we be surprised to find a prime example), and sundry than just music, there is more than tary about three men now had to a cable television station featuring lenses and cameras for special ef­ musical video on M-T.V. Game-; deal with the death of a legendary all music with an alluring video fects. Some incorporate stories to and prizes, for instance. But it ~~ rhythm-and-bluesman. disc-jockey who plays a continuing provide interest, and concerts pro­ not the frrst five who call in who To his credit, Palfi saved the selection of hard-rock and pop vide their own stories. win. You have to be among the project and has produced a fme (money makers on the radio) with The channel, now in its infancy, flfSt two thousand. Good luck. program, intelligently edited, well­ state-of-the-art visuals? wants to grow up quickly. Unless - John Davis shot, with an underlying subtety to 4 WAVELENGTH/MARCH 1982 each man's personality that allows the reclusive Toussaint peek wide-shot or two, anything to con­ again, if just on tape, is a rare all three piano players to emerge through. Consider his reminiscence vey the breadth and sweep of the treat. - Jason Berry with distinct identities. The show of his first exposure to Fess: "I saw procession. The scenes of the shifts back and forth between in­ him one time at a record hop in wake, inside the funeral parlor, are terviews and performance earlier days, about 1958 or '59, powerful - but one still has to New Money episodes; the larger story, rising from a distance; didn't get a wonder whether cameras inside a through the musical passages, is chance to talk to him, just stood funeral parlor overstep the boun­ For The Arts not so much about the connections there dumbfounded for a while." daries between aggressive TV pro­ linking the three men (although Perhaps the most moving scene, ducing and simple courtesy to the There will be $450,000 made that theme is obvious) as a trio of an image that lingers in the mind, is friends and family of any person available to New Orleans organiza­ portraits. Toussaint at the organ at Fess' who has died. tions from the Municipal Endow­ Tuts emerges as a wizened, wake, tears running down his face, "Piano Players" was produced ment Funds for Arts, Humanities sometimes crusty fellow, indif­ playing a medley of Fess' standards in association with and Community Services. Accor­ ferent to tastes of the rock 'n' roll with such a gentle touch one wish­ ETV, in Jackson, primarily ding to city hall, the funds will go generation, sturdy boogie-woogie ed Allen would one day record the because Palfi was able to work an to provide fmancial support for keyboard man, mainly concerned medley, or produce some sort of for editing and use of projects and programming related about his own music. Midway proper tribute on wax. the station's remote camera unit. to video or audio community ser­ through the film, all three men are Piano Players is far from a WYES recently got a remote unit vice programming in New Orleans asked about the joint appearance perfect work, however. One scene of its own, and has already begun or for the arts, humanities and -the idea for which, apparently, is played backwards, a touch of some music productions, but the culture of New Orleans. Grant ap­ was sprung on them well into the television humor that fails badly. local PBS affiliate has nowhere plications to be considered as arts, production. "Unh-un" says Tuts, There is also the manner in which near the sophisticated editing humanities and culture must be shaking his head. "I never played Longhair's death is covered. facilities Jackson has, which means made to the chief administrative with those boys before." Jerry Wexler, who recorded Fess local producers intent on doing air­ office of the city and those opting The portrait of Fess is more for Atlantic, in the 1950s, delivered quality performance documen­ for programming will be accepted commanding. In the rehearsal ses­ a eulogy at the wake, part of which tairies still face problems of where by the office of telecommunica­ sions, Longhair is clearly in charge, Palfi includes in the documentary. to post-produce. tions. telling Washington when to cut In one sense, the sequence does Palfi's show was shot on one­ The money will be given to New out, advising Toussaint how he score the fact that Longhair had a inch and two-inch video-tape, as Orleans annually by Cox Cable, as should meld into the rhythmic career and was recorded. But he opposed to three-fourths-inch for­ agreed upon when Cox was award­ fabric. same night, rumblings surfaced in mat shows many others have pro­ ed the New Orleans cable contract. The portrait of Toussaint is very several conversations, to the effect duced. The technology is better There is no need to rush down to different. Palfi casts him as an ar­ that Wexler deserted Byrd, quit on suited to live performance produc­ city hall for application forms. City tist whose metier is the studio. We him before his career had a chance tions. He's charging $7 at the door, employees are still forging methods view sessions where new artists per­ to take off. and $6 advance sales (Ticket­ for distributing the good and many form the old hits, "Mother-in­ The funeral sequence is generally master) for the premier. It's a little application forms have yet to be Law," and "Workin' in a Coal solid, however most of the shots steep, but Tuts will play, and see­ designed. Mine." But other dimensions of are close-ups. Missing is a good ing Professor Longhair playing - Brad Palmer

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WAVELENGTH/MARCH 1982 5

LISTINGS

~ \. E I~ II I> .\ T PBISIBEIT Thurs.. March 4 SPECIAL ATTRACTION JOHN PRINE & STEVE GOODMAN Frl .. March 5 SPECIAL ATTRACTION GIL SCOTT-HERON Sat., March 13 IVY Andrew Hall Society , Faubourg, Wednesdays. Thurs.. March 25 SPECIAL ATTRACTION •Jimmy's, 8200 Willow, 861-8200. Mar. 3: CONCERTS Heartbeat. Mar. 5: Models. Mar. 6: Drapes, Blue Vipers. Mar. 11: Sheiks, Heartbeat. Mar. •March 2-14 12: Cold. Mar. 17: Time Zone. Mar. 19: Joseph & the Amazing Technicolor Radiators. Mar. 24: From England: UK Subs. Dreamcoat: Saenger Theatre. Anti-Nowhere League. Mar. 25: Asleep at the •Sunday, March 7 Wheel. Mar. 26: Models. Mar. 27: Neville Molly Hatchet: Warehouse, 8 p.m. Brothers. Mar. 31: Specimens. Opening: Sex­ •Friday, March 19: dogs. Police: Centroplex, Baton Rouge. •Luigi's, 6319 Elysian Fields, 282-9210. •Saturday, March 20 •Maple Leaf Bar, 8316 Oak, 866-9359. Sun­ Jacques Gauthe, Creole Rice Jazz Band days: John Rankin. Tuesdays: . and Dirty Dozen : Sponsored by WWOZ. Contemporary Arts Center Wednesdays: Louisiana Repertory Jazz Jazz Factory, II p.m. Ensemble. Thursdays: Bourre. Mar. 1: Blind, •March 26-29 Cripple and Crazy. Mar. 5: Oyster Legs. Mar. WTUL 12th Annual Survival 6: Li'l Queenie and the Percolators. Mar. 12: Marathon: The traditional fundraiser Radiators. Mar. 13: Beausoleil. Mar. 20: for Tulane's radio station, ending with a Rockin' Dopsie and the Cajun Twisters. Mar. TGIF on the university quad and an all 26: Li'l Queenie and the Percolators. Mar. 27: day musical event on Saturday with local Cush-Cush. and national recording acts. JERRY LEE LEWIS CLUBS Sat.. March 27 •Tbe Beat Exchange, 2300 Chartres, 948-6456. IVY •Tbe Blue Room, Fairmont Hotel, University Place, 529-4744. National acts. Call for listings. COMING • Saloon, 940 Conti, 523-9475. Tuesdays: The Nora Wixted Band. Wednesdays: The SPECIAL ATTRACTIONS Blues Rockers. Thursdays through Sundays: Friday, April 9 Bryan Lee with Groovemaker. •Bronco's, 1409 Romain, Gretna, 368-1000. BOBBY "BLUE" BLAND Country and Western music. Mondays: Bobby Saturday, April 17 Cupid. Tuesdays through Saturdays: The Louisiana Outlaws. •New Orleans Jazz HotUne, 482-7185. Call for DOC SEVERINSON 'n' current jazz listings across the city. •Cafe Conti, 729 Conti, 524-4701. Rock April 25 roll in the Quarter. Call for listings. •Old Absinthe Bar, 400 Bourbon, 561-9231. Sunday, •Dream Palace, 534 Frenchmen. Blue Mondays with the incomparable Absinthe THE MAMAS & •Faubourg, 626 Frenchmen, 944-0110. juke. Every other Monday: John Magnie at the •Germaine Wells Lounge, 833 Bienville, piano. Every Tuesday: John Magnie and Leigh THE PAPAS 523-9633. Wednesdays through Saturdays: Harris. Every Wednesday through Saturday: James Drew, Jim Singleton and Jeff Luther Kent and Trick bag. Sundays, March 7, Boudreaux. 14, 21: Chuck Easterling's . Musi­ For Further Information Call: •Hawgs, 3027 Jean Lafitte, Chalmette, cians are invited to sit in anytime. New Orleans Steamboat Co. 277-8245. C&W music, with dance lessons •Old Post Office, 4000 Downman Road, 586-8777 Mondays and Wednesdays 7-9 p.m. 242-9960. Rock 'n' roll.

WAVELENGTH/MARCH 1982 7

•Ole Man River's, 2125 Highway 90 West, Avondale, 436-3000. Mar. 5: Zebra. Mar.6: Full Contact. Mar. 10: The Sheiks. Mar. 12: The Convertibles and the T-Birds. Mar. 13: RZA, Mirrorz, Famous Monsters. Mar. 17: The Sheiks. Mar. 19, 20: The Sheiks. Mar. 24: The Sheiks. Mar. 26, 27: The Knights, Dean Darling and the Wanderers. . •Palace Saloon, 1928 West End Park, 282-9449. Rock 'n' roll. •'s Club, Hilton Hotel, Poydras at the River, 523-4374. New Orleans' own and world-renowned clarinetist performs one show nightly Tuesday through Saturday at 10 p.m.

Bobby Marchan at Prout's.

•Prout's Club Alhambra, 732 N. Claiborne. . Bobby Marchan, your • hostess. Centroplex-Baton Rouge •Quarter Note, 721 Hessmer in Fat City, 888-9088. Rock 'n' roll. Friday March 19th .-TIC- KETS-NOW-ON -SALE-AT --. • ALL PEACHES LOC ATIONS (BATON ROUGE1 • p 'm ' • CENTROPLEX BOX OFFICE 8• 00 • • Produced by BEAVER : ~~~gg~~~X~~6~~~~~A~<;_~~nEI BRING THIS TAPE BACK AND GET $1.00 OFF A REAL ONE!

Roky Erickson, theBeat Exchange March 26.

•711 Bourbon, at 711 Bourbon. Tuesday through Saturday, 9:30 ' til: Randy Hebert. Sunday and Monday, 9:30 ' til: Nora Wixted. Thursday through Tuesday 7:30-9:30: AI Broussard. •Showboat Lounge, Rock 'n' roll. •Steamer President, Canal Street Dock, 586-8777. Mar. 4: John Prine and Steve Good­ ,.Jt"'!'. Giwl "").!ifl aeeorCIBar man. Mar. 5: Gil Scott-Heron. Mar. 13: Ivy. •wofmu.... ic . Mar. 25: Jerry Lee Lewis. Mar. 27: Ivy. The Plaza In Lake Forest •Riehle's 3-D, 3501 Chateau Blvd., Kenner, 466-3333. Mar. 5,6: Tammy Wynette. Mar. 11 : All pre-recorded tapes are covered by a one year pro-rated guarantee good nationwide a/ 137 The Voltage Brothers from Atlanta. Mar. 12: locations. This special $1.00 off coupon is good for only pre-recorded 8-lrack or casselle tapes. Topcats. Mar. 13: Jerry Reed. Mar. 19: Dark

WAVELENGTH/MARCH 1982 9 ,.. .0 0 L ~ N stoC\( JBL sPEA~!~~!. Ylo"d \.OV'Iest p 0 Q0 'tar tor "''9~ . Gul hase at an'/ with the pureu\ar price. arnP at reg ru oH tor t 4 O7 0 i\ cases a hased at Anv board pure an'/ Ke'/ \ar price. regu . $2.so-2 .9S der stnn9 . prograrn, fen 25 6 vo1ce , ' \ Musical Instrument Mernor'I.M?~g;ch - eest oea 1n ,.. ,a WAREHOUSE 3941 Bienville St. 482-7894

One show nightly Tuesday through Saturday at 10:00. Dark Sunday and Monday. 3rd Level • The New Orleans H1lton • Poydras Street and the Mississippi • For reservations call )l 3-4 37 4 Star. Mar. 20: 24-K and Roulette. Mar. 24: (tentative). Mar. 2S: Purple Haze Experience, with Keystone, a tribute to Jirni Hendrix. Mar. 26: . Mar. 27: Persia. •Sir John's, 3232 Edenborn Ave., 887-98S8. Rock 'n' roll.

-:tpencer Bohren at Tipitina's, Mondays.

~Tipltlna's, SOl Naj>oleon, 899-9114. Mar. 1: Spencer Bohren and John Mooney. Mar. 2: RZA plus the Blue Vipers. Mar. 3: The . Mar. 4: Woodenhead with Angelle Trosclair. Mar.S: Taj Mahal plus James Booker. Mar. 6: The Cajun Two-Step Dance Finals with Zachary Richard. Mar. 7: Jasmine. Mar. 8: Doc Watson. Mar. 9: The Radiators. Mar. 10: The Dirty Dozen Brass Band. Mar. 11: MoonDog. Mar. 12: Maria Muldaur plus the Echos featuring Susie Malone. Mar. 13: Tracy Nelson plus Li'l Queenie and the Percolators. Mar. 14: Ramsay McLean and the Lifers. Mar. IS: Spencer Bohren and John Mooney. Mar. 16: The Up­ tights. Mar. 17: The Dirty Dozen Brass Band. Mar. 18: Sonny Landreth Blues Band. Mar. 19: Neville Brothers. Mar. 20: The Radiators. Mar. 21: Larry and Stephanie Sieberth. Mar. 22: Spencer Bohren and John Mooney. Mar. 23: The Rock-A-Byes. Mar. 24: The Dirty Dozen Brass Band. Mar. 2S: Li'l Queenie and the Percolators. Mar. 26: . Mar. 27: Clifton Chenier. Mar. 28: Woodenhead with Angelle Trosclair. Mar. 29: Spencer Bohren and John Mooney. Mar. 30: The Blue Vipers. Mar. 31: The Dirty Dozen Brass Band. •Tupelo's Tavern, 8301 Oak, 866-36S8 or 866-9494. Mar. 2: Pat Flory and the Sunbelt Bluegrass Band. Mar. 3: Time Zone. Mar. 4: Carolyn Odell and the Uptights. Mar. S: Cobras. Mar. 6: Radiators. Mar. 9: Pat Flory and Sunbelt Bluegrass Band. Mar. 10: Rockabyes, Blue Vipers. Mar. 11: .New Jazz Quintet. Mar. 12, 13: . Mar. 16: Larry Mott's F.Q. Revue. Mar. 17: St. Patrick's Day. Li'l Queenie and the Per­ colators. Mar. 18: RZA plus Stephie and the White Sox. Mar. 19: Joe Ely. Mar. 20: Neville Brothers. Mar. 23: Larry Mott's F.Q. Revue. Mar. 24: Radiators. Mar. 2S: Woodenhead with Angelle Trosclair. Mar. 26: . Mar. 27: A Train. Mar. 30: Larry Mott's F.Q. Revue. Mar. 31: The Drapes. •Tyler's, S234 Magazine, 891-4989. James Rivers Movement every Friday and Saturday night.Contemporary jazz every night. •'s Club, Poydras Plaza Mall in the Hyatt Regency Hotel, 601 Loyola, S22-8788 or S61 -1234. Woody and his Thundering Herd play big band jazz, Monday through Saturday 10 p.m.

Wavelength club and concert listings are available free of charge. Call 895-2342 for information. WAVELENGTH/MARCH 1982 11 ...•...• ~ t ' :

By Kathleen Austen

.. ..

.. .

New Orleans guitarists-immediately names like , Walter Washington, and spr­ ing to mind, but all-in-all, to the rest of the country, New Orleans has never been known as a city of ·: -r _.: \ ·. guitarists. .:·· . .• . .. ·. Those of us who live here and follow New Orleans . . . . music, however, know that there are many talented :,. . players here, if they do not get the high visibility ' . outside the city that they deserve. This month, Wavelength would like to give a little recognition to the guitar player in New Orleans, whether he or she play jazz, classical, rock, blues, or country, in the clubs, concert halls, garages, or studios, to thousands of peo­ ple or to a very personal ear. To choose representation of the hundreds of guitar players in the city, we asked over one hundred recording studio executives, guitar teachers, college music instructors, and musical equip­ :·····:.· ·. ·. ment shop people to each suggest ten talented guitarists that we might talk to. We got 124 suggestions-that's 124 guitarists considered very good by people who should know. Here are the ten guitarists mentioned most often by .•} : ·. ~·: our "experts., They play all different types of music, 1 ~: ;:.: ..< . · · • ~%~:;h~:.uIl'e~;,~e~h:~V:e''j~Z~J~~:na~~~~t~~;~~ ~~~ .... v: :: ·: ·. ~ ;:' ~,:~_· .;..· ..-:, .> ~· ...~ · :·:<,.>- ·: ,. .·:\~ .~ ..~ . ., ..,,,... _... ., ( ·.:· •i~ .. ~· '· ~ .> · ~ what they think about playing guitar in New Orleans. ' ... •·.' : .. ~ . ·. . , ... .. ~ .· :·. ' ...... · ,, . .:;,. . ·.. ··· ··.·. ':':..: ·>-.: :... :·: ..~ ... ~~~~!1!11!11~~111!1"~~~~!1!!1'~~.. ~--~~~~~r' .···. ':• ...... : \·.:. ··· ..:~"! : ~ - • • -·~ " ••• • .. Albert King, , Hank Mackie, Who most influenced your style? Joe Charlie Brent. What kind of music do you Pass, , , listen to for entertainment? Progressive . What kind of music do you jazz, rock 'n' roll, blues, classical. Who is listen to for entertainment? Classical. your favorite guitar player locally? Steve Who is your favorite guitar player local­ Masakowski, , Scott ly? Phil DeGruy, Hank Mackie, Jay Godeau. Nationally? Hendrix, George Griggs. Nationally? Pat Metheny, Pat Benson, Barney Kassel. What kind of in­ Martino, Ralph Towner, Christopher Age: 31. guitar: 21. strument do you use? Gibson Les Paul. Parkins. What kind of instrument do you Presently working with: Phil DeGruy and What other accessories or gadgets do you use? Gretsch 7 string. What other ac­ a band called Hotstrings, also teaches. Do use? Wa-Wa pedal. What's it like being a cessories or gadgets do you use? Mutron you read? Yes. guitarist in New Orleans in 1982? I'd say digital delay, Morley volume pedal, Who most influenced your style? in New Orleans there's not too many Mutron envelope generator, Voss . What kind of music do ready-made opportunities, but on the equalizer, Voss chorus emsemble, Moog you listen to for entertainment? Jazz. other hand - and I've worked for Opus 3. What's it like being a guitarist in Who is your favorite guitar player local­ everything from society bands to the Nor­ New Orleans in 1982? "l don't limit ly? Steve Masakowski. Nationally? Joe mals - there's the possibility of playing myself to just being a guitarist . . . I think Pass, Barney Kessel, Ronnie Eschete. as much as you like. Lots of people blame N.O. has a very stagnant atmosphere for What kind of instrument do you use? New Orleans for their lack of work when a progressive, evolving kind of music. It Gibson L5. What other accessories or in fact it's wide open if you'll take the op­ lacks the main ingredients that give gadgets do you use? None. What's it like portunity. There's always the chance to creative people incentive, like an au­ being a guitarist in New Orleans in 1982? experiment. All in all, New Orleans is a dience; it lacks an audience as far as pro­ "I'm not really out there making a living place to play. gressive jazz, the audiences don't support playing guitar, I'm making a living anything like that. There are very few teaching it. This is not a jazz-oriented. creators here. I think it's very important town." to have creative feedback from your peers ... N.O. is just not an international city. There's a handful of musicians here that are probably some of the best musicians in the world but because of the environ­ LEO ·~ ment they aren't allowed to get any recognition or express themselves or NOCENTELLI _, Age: ears playing guitar: 8. create things on a scale." Presenting working with: Hot Strings. Do Age: 35. Years I I ..' .. • I you read? Yes. Presenting working with: nn-.... .,. I I I Who most influenced your style? Chet read ?Yes. Atkins, Lenny Breau, Hank Mackie. Who most influenced your style? Ken­ What kind of music do you listen to for ny Burrell, Johnny Smith, Andre Segoria, entertainment? they say Barney Kessel. What kind of music do about food music and mood music ... you listen to for entertainment? Jazz, food music I don't listen to. As for mood rock 'n' roll, . Who is your favorite music, I like piano players, trios, solo guitar player locally? George Davis. Na­ guitars, a little classical. Who is your tionally? George Benson, Lee Redenour, favorite guitar player locally? Steve on Age: 44. Years playing guitar: 25-30. Pat Metheny. What kind of instrument do weekends, Hank on weekdays. National­ Presently working with: AI Hirt and you use? Fender Starcaster. What other ly? Ted Green, Lenny Breau. What kind teaching at Loyola. Do you read: Yes, accessories or gadgets do you use? None. of instrument do you use? Martin electric self-taught. What's it like being a guitarist in New solid body and a classical seven· string. Who most influenced your style? Roy Orleans in 1982? We could laugh about What other accessories or gadgets do you Montreaux who's dead now, used to be that. Honestly it's not quite good. New use? None- maybe a little reverb. Fat Domino's guitar player; Richard Orleans is not noted for guitar because What's it like being a guitarist in New McLean who left N.O. a long time ago. people tend to think of New Orleans as Orleans in 1982? What I want to do Both local musicians. Also Django traditional - , piano, drums, there's no market for - it isn't very ap­ Reinhardt, Charlie Christian, Jimmy and definitely horns - in terms of guitars pealing to mass audiences. I don't like to Raney. What kind of music do you listen you didn't hear them locally until hustle, but someday I'd like to have a trio to for entertainment? Listens to mostly amplification. I guess I'm considered a or do a solo job with a 7-string solid body mainstream modern jazz, , fusion, "senior citizen" in terms of years playing ! It's easy living here com­ classical. Who is your favorite guitar guitar in New Orleans. That's why there's pared to New York or L.A. -or player locally? Steve Masakowski. Na­ not that many cats getting recognition. Nashville, which is Bible Belt and totally tionally? , Pat Metheny, But there's some young cats coming up out of the question. As for playing, my George Benson. What kind of instrument now that want to change that. They're ideal would be to do little club do you use? 355 Gibson stereo and a good and thinking national. engagements with Hank or by myself. ES175 Gibson. What other accessories or gadgets do you use? A wa-wa pedal with the 355 but nothing with the ES175. What's it like being a guitarist in New cRANSTON ··::'<~.. Orleans in 1982? "This isn't a very good ' town for a . It's a good town for a rock guitar player, a blues guitar CLEMENTS ~ player, but if you've really centered your playing on being a jazz guitarist you Age: 30. ears playing guitar: 16. won't have much work. It's hard to find Presently playing with: Rock-A-Byes. Do Age: 21. Years playing guitar: 10. work in a Dixieland band. Guitar isn't you read? Yes. Presenting working with: Mars. Do you really a traditional Dixieland instrument, Who most influenced your style? read? Yes. and that's where most of your steady WAVELENGTH/MARCH 1982 13 work comes in. There's not that much guitarist in New Orleans in 1982? It's jazz to be played with the club date bands, nice- easy- slow. There's enough so it's pretty hard. I don't know of one work to keep a good guitarist jazz guitarist who's working on a steady afloat - not rich. The prospects of na­ basis, where you can go every night and tional recognition are there but the odds hear him play. I wish the climate for jazz of success are small for the amount of guitar players would get better in this good musicians here. New Orleans has its town; if people study the guitar more, not strong points - it's easy to survive only but classical, and learn here - not like L.A. with studio more about the instrument, I think they'd work, but as far as existing goes, it's fine. become more interested in hearing people that play jazz."

Age: 62. Years playing guitar: 52. Presenting working with: Pete Fountain. Age: ears Do you read? Yes. Presently working with: Penny Lane. Do Who most influenced your style? you read? Yes. Django Reinhardt. What kind of music Who most influenced your style? Jim­ do you listen to for entertainment? Jazz. my Page. What kind of music do you Who is your favorite guitar player local­ listen to for entertainment? Beatles, ly? "I don't really know anyone locally. I Queen, AC-DC. Who is your favorite don't go to places when I'm off; either guitar player locally? Buzzy Beano, Steve that or I'm out of town .. . Nationally? Masakowski, Hank Mackie. Nationally? Barney Kessel, , Bud Ellis. Queen's guitarist. What kind of instru­ What kind of instrument do you use? ment do you use? Ibanez Iceman, Gibson Johnny Smith Gibson. What other ac­ SG, '68. What other accessories or cessories or gadgets do you use? None. gadgets do you use? None. What's it like What's it like being a guitarist in New being a guitarist in New Orleans in 1982? Orleans in 1982? "For me, it's quite a New Orleans is not a "guitar city," it's pleasure, especially after 8 years in Vegas. true, but there's lots of good guitar I joined Pete 6 years ago .. . It's such a players. I can do everything Jimmy Page music mill there (Vegas) and here it's so can do and there's many people in the city relaxed . . . I love it here. I aim to stay. who can do more than me - I think our guitar players can hold their own with anybody. New Orleans is like Liverpool years ago - people said "a good rock 'n' roll band from Liverpool? Can't be!" I'm an optimistic person. I like playing in New Orleans, and it's fun being a guitar player here. I'm satisfied teaching and playing. My ideal would be to be able to sit in with the good players in the city more. Of Age: 43. Years course, if we make a record, I'll leave Presently working with: Wife at Le town and be a star. Pavillion and "show work." Do you read? Yes. Who most influenced your style? Johnny Smith, Howard Robert, Tal Farlow. What kind of music do you listen to for entertainment? Progressive jazz. Who is your favorite guitar player local­ ly? "I haven't heard anybody play! Working all the time, it's next to impossi­ ble.'' Age: 25. Years playing guitar: 14. Nationally? Pat Martino, . What Presenting working with: Freelance work, kind of instrument do you use? Modified sessions, shows. Do you read? Yes. Gibson with a Bill Larns pickup. What Who most influenced your style? John other accessories or gadgets do you use? McLaughlin, Albert Lee, James None. What's it like being a guitarist in "Honeyman" Scott (Pretenders), Duane New Orleans in 1982? "This is a rough ci­ Allman. What kind ofmusic do you listen ty. This is the toughest place to work there to for entertainment? My taste ranges is. N.O. is overrated for its reputation for from Phil Collins to . Who music as far as creative playing goes. I is your favorite guitar player locally? Bill know a bunch of guys that are trying to Huntington. Nationally? McLaughlin, work around town, some of them are Scott. What kind of instrument do you pretty good players, and they're in hillbil­ use? Fender Stratocaster. What other ac­ ly bands, hard rock bands, just to try and cessories or gadgets do you use? None make ends meet. It's a rough place. It's a unless required. What's it like being a hard city to work in."

14 WAVELENGTH/MARCH 1982 'Each instrument is designed specifically for the person that's going to play it. I carve the neck to fit their hand, I carve the body to match their body.'

By Tanya Coyle

agazine street - home Although the business existed entirely on ed by only four screws, and usually rather of junque shops, fried word-of-mouth advertising, its reputation loosely. What happens is that you get chicken franchises, a few was soon established. Here was a place you cancellations of some of the upper and a good bars, adn the usual could go with nothing but an abstract ver­ lot of the lower frequencies since you have sprinkling of New Orleans sion of your dream instrument in your two pieces of wood vibrating asym­ derelicts. There is no sign outside at 4130 head and walk out some months later with metrically. The second way to build one, to indicate that Polopolus Guitars is hous­ the real thing in your hand. The which is similar to the Gibson Les Paul, is ed here, but if you happen to have a par­ possibilities are almost endless, since to glue the neck to the body. Since the neck ticularly good olfactory organ and halfway Polopolus does not believe in limits. The is glued to the body there is more of a decent hearing, the smell of new wood and hardest part for the customer is the wait: it transmission from the vibrations produced the sound of machinery might give it away. takes from five months to a year to com­ at the neck by the strings and the fret to the Entering the shop is like stumbling onto plete a Polopolus guitar. Even though vibrations that are received and produced Santa's workshop. Five or six men are sit­ some machinery is used in the beginning at the bridge and the body of the instru­ ting around sanding nearly-finished for construction of the instrument, most of ment. This is very good, and usually a lot guitars, and a large desk is littered with the work is done by hand. of the lower frequencies will start happen­ everything from empty beer cans to "Everyone has his own idea of what a ing; you get more distinct notes, more Fiberglass resin. Michael Polopolus might perfect instrument is," Polopolus explains. notes true to form. be found on the phone with a customer, or "Each instrument that we make is design­ "The only method I've found that pro­ talking to a local musician who dropped in ed specifically for the person that's going duces a true sound of the string and the to see how the making of his instrument or to get it. Everything as far as their body longest amount of sustain is to have the p.a. system is going. size, their weight, how aggressive or soft neck running through the body. The string Polopolus, who is self-educated (or they play, the way they like their instru­ is attached at the peghead where the string "self-inflicted," as he puts it), started the ment to feel, is taken into consideration. I is tuned, at the neck where the instrument business about five or six years ago after carve the neck to fit their hand, I carve the is played. The bridge is embedded in the "seeing inadequacies in the instruments body to match their body. It's a very per­ neck, and the tailpiece, which receives the and equipment that everybody else was us­ sonal instrument." After getting a basic end of the strings, is also embedded in the ing." He worked at a local music store for idea of what a musician wants, he draws same solid mass of wood. When you have about a year and a half, and that, coupled sketches and makes a life-size mock up. that you've got a solid rigid mass that with years of experience as a musician, is These are shown and explained to the vibrates completely, symmetrically, on the where he learned the rudiments of sound customer and then the actual construction whole plane surface of the string, and this production. He opened his first shop on of the instrument begins. provides the purest tone and the most ex­ North Carrollton. "I got to see what peo­ "The neck can be bolted on, like a cellent sound quality. The sustain is much ple liked and I started realizing that there Fender Stratacaster, and it produces a tone greater and there are fewer cancellations in was no one set instrument that anyone lik­ unique to it. The fundamental function of frequencies since you don't have two ed. I talked to a lot musicians and found the neck being bolted onto the instrument pieces of wood that are disconnected or out what they would like an instrument to is that it causes the neck to vibrate slightly only connected by four screws." be." differently from the body since it's attach- Many different exotic-sounding woods

WAVELENGTH/MARCH 1982 15 are used, names that conjure up images of lush tropical paradises: African mahogany, bubinga (a type of rosewood), African ebony (the most expensive), all the way to Hawaiian koa and American birds­ eye. Although an instrument of similar quality can sell for as much as $3,500 elsewhere, your basic Polopolus guitar is in the neighborhood of $1,200. Why the lower prices when he could probably be raking in a lot more? "We love what we're doing. It's not like we're making boxes for money or making guitars for money. The $1,200 may seem like a lot of money but it's not when you consider that five months or more goes into it." The scope of Polopolus Guitars goes beyond making and repairing instruments. Almost every major sound company in the area gets its p.a. equipment from them. They did the sound, in conjunction with

Pyramid Productions, for the recent Roll­ ing Stones party on the President. They construct most of the stage equipment for the Neville Brothers, conduct sixteen track mobile recordings, and design recording studios. Record companies such as A&M, Atlantic and RCA frequently point their own musicians in Polopolus' direction. "We try to stay about five years ahead of what's on the market," say Polopolus. "We've been very lucky that people in this area and Texas and Los Angeles .have ac­ Peavey is Our Bag! cepted our new designs and our ideas." Jim Kane and Craig Courtney have been PEAVEY AMPS .... from $99.50 with Polopolus for four and two years,. respectively, and play a large role in the PEAVEY GUITARS .... from $199.50 production area. Kane is responsible for PEAVEY EL BASSES .... from $399.50 • most of the construction of sound rein­ PEAVEY P.A.'S .... from $425.00 forcement equipment, and Courtney's ·specialty is constructing flight cases. "I can't imagine working anywhere else," EASY TERMS- WE TAKE TRADE-INS. Courtney told me. The atmosphere of the WE GIVE LESSONS shop is certainly an appealing aspect of the AND SERVICE. business - a real sense of partnership, of working together to design and build everything to the best of their ability, seems to be the secret to the relaxed tempo of the place. Polopolus believes in keeping musician's hours: opening up at around one in the afternoon, and being accessible for practically 24 hours of the day to meet the needs of his customers. Being connected with just about every lAT / . aspect of the , from the in­ VVEitLEINS struments to p.a. equipment, is what Polopolus Guitars boils down to - that, fn mu4/c and the nearly lost art of creating com­ #"'- pletely functional and innovative designs 605·~ Canal: 524-7511/Lakeside: 831-2621/0akwood: 362-3131/The Plaza in Lake Forest: 24&-6830 that originate in someone's imagination, not on a corporate assembly line. 0 16 WAVELENGTH/MARCH 1982 PAINTJNG BY MUSIC Douglas Bourgeois from Gonzales is the new darling of the New Orleans art world, but he doesn't particularly care for all the bother. He'd rather be left alone with his two loves-art and music. By Bunny Matthews

ainters often never receive to receive a $15,000 through high school. I started painting on their due recognition until fellowship as part of the first annual my own when I was about 18 and when I well into middle-age. It is a "A wards in the Visual Arts, " ad­ was 19, I started taking classes at LSU. I notable achievement, then, ministered by the Southeastern Center for always made things rather than "official" that Douglas Bourgeois, at Contemporary Art. An exhibition of the paintings, I guess. Pthe tender age of 30, is already considered winning artists' works will open May 6 at What sort of things? one of the master painters ofNew Orleans. the National Museum of American Art. Like when you take a little rock or Actually, Bourgeois is a native and cur­ One of Bourgeois' paintings, "The something and you draw something on it. rent resident of Gonzales in Ascension Removal of Frances Farmer's Soul, " will Craft-oriented things. Or like bulletin Parish, where he lives with his parents, also be included in a show entitled "The boards at school. The nuns give you all several cows and a flock of chickens that Human Figure, " opening March 6 at the these colored pencils and say, "Go to lay blue eggs. Next to the chicken yard, in Contemporary Arts Center. work." I was always picked out to do pro­ a tool shed, is where Bourgeois paints. He Meanwhile, museums, banks and collec­ jects. So I'd have to say that I didn't really doesn't own an easel so he merely tacks his tors join the waiting list of those wishing to think of being a painter until I was 19 or canvases to the walls of the shed and for acquire Bourgeois' original works with 20. want of a fancy lighting apparatus, current prices starting at $1,000 per can­ I still don't draw. I draw onto a canvas Bourgeois utilizes the same sort ofportable vas. Bourgeois doesn't particularly care but I very seldom make drawings. This extension light used by automobile for all the bother and admits that he's hap­ drives some people crazy. mechanics the world over. His only other piest when left alone with his two loves: I'll take the canvas and I'll have an idea tools are a portable television set and a painting and music. in mind of what I want. I'll treat the can­ portable radio, both of which are usually When did you first start painting? vas like a drawing - that is, I'll erase and turned on while he paints. I started messing around with it when I erase and erase. It looks like a contour Bourgeois was recently selected as one of was a little kid in school. I'd paint with drawing when I'm finished. There's hardly ten artists from ten different regions of the tempera paints. I didn't take any art any shading.

WAVELENGTH/MARCH 1982 -

"Florence Ballard" 16" X 16" Oil 1981

"Elvis and Tuesday Weld Dream" 14" X 14" Oi/1981

PHOTOS COURTESY GALEAIE JULES LAFOAGUE

18 just sort of forces itself finished. Or I Do you work on several paintings at one know that I can finish it without waiting time? for this to dry or that to dry. I keep working on the drawing on the AU this past year I would try to work on Some oil colors take forever to dry - canvas because I think everything has to be at least four at one time. I think the most I like red or yellow. I don't know why it is. colored. The basic construction of it had going at one time was twelve - most Sometimes red paint will take two weeks to doesn't concern me as much as the color of them for the last show at the Academy dry. does. I consider myself more of a colorist. Gallery. I started twelve at one time and I I used to work with acrylics in school. I know I have to draw to get the painting don't think I'll do that again because it just We used acrylics as watercolors and I done. I think I'm a better painter than a seemed like forever before I could finish would thin them out until they were opa­ draftsman. My brother overheard them all. The reason I do that is because que. I couldn't control the color-blending. somebody saying at the last show I had, there's so much that has to dry on one I think when you mix acrylics they don't "Well, it's obvious he can't draw!" I painting. While I'm letting something dry, come out as pure as right out of the tube. know, but I can paint - that's my shtick. I'll work on another one. Acrylics right out of the tube are beautiful But I think I can draw a lot better than I I keep doing these steps over and over but they turn to mud when I try to mix used to. that I usually do in the first stages of a them. I decided to stay with oils. The closest I come to doing drawing is if painting. And then at a certain point, the You must use very tiny brushes ... I do a watercolor. That's about as spon­ painting sort of takes over me. I get on a Yeah. That's really the biggest expense I taneous as I get. I do everything slowly. I run and have to finish the painting. I feel have - buying brushes. The paint goes a paint slow; I read slow. like I'm on a hot streak and the painting long way - I use very little paint. I buy WAVELENGTH/MARCH 1982 19 Triple-000 Grumbacher brushes - I don't the executives with snakes wrap­ even know if they're oil or watercolor ped around their eyes . .. brushes. They're sable. I was going to call it "Flo, She Didn't When they're worn out to a certain Know" but that would've negated what I point is when you want to use them and was trying to say in the painting. It's like a then you try to use them for as long as you tribute to Florence Ballard instead of kick­ can. You try to get a progression of ing her in the chin when she's down. She's broken-down brushes going. A lot of times an unsung Supreme. They even let Mary when you go to buy those brushes, those Wilson make an later on but poor are the ones the store is out of. So now Flo ... when I buy them, I try to buy a slew of A lot of the paintings I do are about them. people who are underdogs. I like to cham­ Is it hard to concentrate when you're do­ pion the musical underdogs. ing so many different paintings? Who are your favorite underdogs? Not really. I think it used to be hard for [Pointing to an unfinished canvas] me but in the last year I've done it so much That's going to be called "Poet In Her Kit­ that when I pull one out to paint, I sort of chen." It's Sylvia Plath. She used to get up click into it. I get into the scenario of each at 4 or 5 in the morning to do a lot of one - what's going on in the painting - writing before the kids would wake up. and then it's easy. [Pointing to yet another unfinished can­ I know there's a certain amount of stuff vas] "This one's going to be Inger Stevens, I have to do on one painting at a time and one of my favorite television stars. It's in­ I'll work on that for two or three days and spired by an episode of The Twilight Zone then I'll put it aside and work two or three called "The Hitchhiker." In the episode, days on the next one. The hair and the eyes she's driving through the desert and this are usually the last things I do. guy keeps sticking his thumb out. She What about your fascination with Elvis won't pick him up and then she goes Presley - is he one of your favorite another hundred miles and there he is characters? again. I think in the end he's Death or Oh yeah- right now. I didn't have that something. She picks him up and she dies. many by Elvis before he died. One I wanted to make an analogy between her of the first 45's I got my aunt gave me and personal life and that episode. it was an e.p. with "Jailhouse Rock" on it. What about the painting of Elvis and She gave it to me the same time she gave Tuesday Weld? me the "Theme From Maverick." I had pictures from Wild In The Coun­ I remember when I was 5 years old being try, when they did a movie together. That's in the yard - my mother was hanging out one of my favorites. I like all the movies the clothes - and hearing "Hound Dog" before 1963. After that, you couldn't take on the radio. That was one of those primal him seriously. I think the picture of her is WOODEN HEAD moments. I can't erase that. It's the same from more like 1968 - "Pretty Poison." kind of feeling as when I was in sixth grade Is Elvis supposed to be dead in the paint­ hearing "I Want To Hold Your Hand"­ ing? it's real similar. There will never be any No, he was like taking a nap. I really moments like that again. wasn't thinking about what he was doing. I In the last two or three years, I've gone just thought of it as a swoon or she has a and bought lots of Elvis albums - even dream or the person looking at the painting some of the movie soundtracks. The only has a dream and that's what he sees. album by him I'd bought before he died You've never done any painting of New was the soundtrack from Girls, Girls, Orleans musical underdogs ... Girls. Everybody in our house knew the No. I was thinking at one time of doing words to all the - "Return To the Dixi-Kups. There are so many. I'd like Sender," "Girls, Girls, Girls," all of them. to see a picture of - I don't My favorite music is really . know what she looks like. She's got an Right now, I listen to WYLD-AM. I can album coming out. I had "Mr. Big Stuff" MARCH only get it in the daytime- I can't get it at and then I bought "Anything You Can night. I don't get WYLD-FM at night, Do, I Can Do As Well As You." I think Thurs. either. When I don't like what they're it's from the last year or two. I like the TIPITINAS playing on WYLD, I'll switch it to WXOK stuff she does that's just real funk. 4th in Baton Rouge. You're surprised Ricky Nelson - there's another guy I sometimes by what you hear on that sta­ like. He's not very serious. He doesn't get sat. DREAM tion- and the Tom-Tom Club. to me as much as Elvis does. I like him In the last year, I just haven't played as because he doesn't take himself very 2oth PALACE many records. I usually listen to music seriously. Thurs. while I paint and I don't have a stereo I get strange ideas about people that TUPELO'S where I paint so I listen to the radio. I've other people don't think warrant the time 25th been buying more singles. I read about or the bother. I get an idea and I want to music more than I listen to it now. Last do it. I don't know why I want to do them. sat. summer, I was in Austin and I found this Somebody was asking me one day, "Why C.A.C. store that had a lot of 's don't you pick on Queen Elizabeth?" They 27th records and I bought a bunch of them but were seeing my paintings as picking on sun. I've only listened to them once or twice. somebody. TIPITINAS I've got more interest than time right now. I said, "I'm not really picking on these 28th Your painting of Florence Ballard, the people. This is my way of bringing ex-Supreme, is one of my favorites. I like knowledge of them to the public." 0 20 WAVELENGTH/MARCH 1982 TAKING THE A TRAIN By Lucy Bighia

Fresh from Shreveport with a train-load of danceable, rocking music, the "A" Train Band wins fans wherever it goes.

Here come that train apropos label if you've ever heard the image. The group's music is an upbeat Things jusc don't be the same band - give yourself a pat. If not, get a mix of jazz, R&B, and rock 'n' roll, with There goes that train grip and read on; you just might want to just a dash of funk thrown in for flavor, Things just don't be the same catch the Train next time it steams into but labels seem moot when "A" Train I'm going back to Shreveport town. takes the stage. The band is irresistably Back in love again. Some four years after the group struck danceable, with sometimes tropical, - "That Train, by Buddy Flett its first chord on the bare wood stage of sometimes rocking rhythm. It's not often Shreveport's Humphrees in the Square, a group can woo mellow jazz lovers and "A" Train is pretty much of a fixture in hardcore rockers in the same set, but for 11 right, trivia buffs, how northwest Louisiana music and an the Train - Bruce Flett, bass and vocals; about a quick quiz to test emissary from the bayou into the eastern Buddy Flett, guitar and vocals; Micki your grasp of today's reaches of Texas. Honeycutt, vocals; John Howe, sax­ Louisiana music? What is The band hasn't done too badly in ophones and vocals; Pat "Jake" Jacobs, it that always packs. southern quadrants either, guaranteeing drums; and Chris McCaa, keyboards and Athem in as far away as ; belts out a packed houses whenever it plays Baton voals - crowd pleasing is a cinch. sizzling mix of jazz, R&B, and rock 'n' Rouge, commanding airplay on radio sta­ During a couple of recent interviews, roll; takes its name from the Duke Ell­ tions across the state, and watching its "A" Train members took time out to ington classic, "Take the 'A' Train"; and first of two albums roll into the black. share their feelings about the group's hails from the unlikely musical spawning These six homegrown musicians, wean­ snowballing success and devoted follow­ ground of Shreveport, Louisiana? ed on classical fugues and "white man's ing. If you answered "A" Train - an blues," continue to struggle for a cohesive Bruce: "We kept being called a jazz WAVELENGTH/MARCH 1982 21 band when we first started. Every time anybody labeled us, it was as a jazz band. We did some jazz, but I never really con­ sidered us a jazz band. Jazz can be a really broad term, jazz can encompass blues, and blues can be a form of jazz, I guess." TORTILLA "I think we're rhythm and blues, more than any other label. When I talk to a club owner who's never heard 'A' Train, I say we play rhythm and blues because rhythm FLATS and blues sells better in nightclubs than •••••••••••••••••••••••••••••••••••••••• jazz. It sells more drinks and people can dance to it." A California - Mexican Buddy: "Man, you can't make no money being a jazz band, you know, Adventure In Eateries unless you want to move to New • •••••••••••••••••••••••••••••••••••• Orleans.'' As a matter of fact, Buddy did move to 50 1 Esplanade New Orleans a few years back to hone his at Decatur skills on the guitar, but returned to Shreveport shortly before "A" Train 945-9212 formed. Chris: "Our repertoire is so versatile that when we go from to NOW OPEN or some of our own songs - some of our stuff is really weird - it 7 DAYS A WEEK keeps people interested, instead of hear­ ing the same thing all night." NOON-10:30 P.M. Chris, who does the novelty tunes for the group, affects a gravelly voice somewhere between a seasoned Louis The Rose In Spanish Harlem Armstrong and a youthful Tom Waits. Best known for his throaty renditions of "Caledonia" and "Mack the Knife," Chris won't go on stage without first set­ ting a small model shark - a gift from an adoring fan - atop his piano. "I'd get sick of playing if I had to play four hours of nothing but blues. But when EVERYONE WANTS... (ifl you throw in a little rock 'n' roll, a little tiny touch of jazz, and a little tiny touch of funk every once in a while, it spotches things up, it breaks any kind of monotony thing that would be going on." ANSOII FU!pERBUR Despite marked commercial success in cities like Dallas, Shreveport, Alexandria, Monroe, and Baton Rouge, "A" Train has yet to really crack the New Orleans tile ROCitET$ market. But that, band members say, is just a matter of time and timing. John: "It's more of a personal au­ dience in New Orleans than Shreveport." ''TIItl( TO 'IOU BY NIIHD'' John: "Dallas has a real open market as far as accepting people. They are open a new album on Black Top Records to say, 'Well, I like this band,' so they're real friendly. In New Orleans, it's been Now Breaking Out Nationally hard for us to break in . . . which is crazy." Chris: "New Orleans dance bands are all funky. They're the New Orleans funk sound, which we don't do all the time. We pick it up with a lot of different kinds of music, whereas down there, they're geared to funk all night long, and they'll dance, and we're doing swing or some Chicago thing, and they're doing New Orleans." John: "They might think we're real corny even, sometimes." Buddy: " You know, New Orleans is real cool and they're their own people." Chris: "And if you're not from New Orleans you ain't nothing but in Dallas, we get people with gray hair and coats and ties and shiny shoes!" 0 22 WAVELENGTH/MARCH 1982 On Sunday nights the clock rolls back twenty years and New Orleans rhythm and blues stars perform again.

innie's Bar & Restaurant is who come to sit in and see what their the early Fifties, and worked as a warmup located on A.P. Tureaud peers are up to. vocalist with early in his A venue (Formerly The band is lead by guitarist Irving career. Today he works a day job and Avenue). The Barq' s Bannister, a little-known but brilliant sings weekends. Sonny sticks to popular chalkboard and the defunct musician, who played on Danny White's bbtc-c; material, and "Driving Wheel" and WJax sign make it like any other hit, " Loan Me Your Handkerchief." The neighborhood bar in the Seventh Ward. band kicks off with a couple of jazzy in­ Inside is a long bar and lots of tables and strumentals. The sound is loose, ragged at chairs. A small bandstand is at the far times but right. After each number there end. Around 8 p.m. on Sundays, is a flurry of shouts and applause. Often a Winnie's starts to fill up, and by 9 no musician is dropped between numbers to seats are left. Sunday evenings mean good bring drinks back for the rest of the band. times at Winnie's, for then there are three Although Winnie's has no dance floor, hours of live rhythm and blues, the same the aisles do nicely. By the time the band's kind New Orleans was hearing twenty featured vocalist, Joe Francois, takes the years ago. bandstand, the volume of the group is R&B is still popular here, with the matched by the noise from the audience. young as well as the old. Drinks are inex- Francois's short, energetic set features " Something on Your Mind" brings a lots of modern fast-paced material. noisy applause, especially when Sonny However, he handles the slow ballads ad­ ventures into the audience to sing them. mirably, milking them for every ounce. Sonny's set brings forth shouts of ap­ Often singing on one knee to one of the proval from and Ernie ladies at a nearby table, Francois then K-Doe. The latter has become somewhat turns over the microphone to "one of the of a fixture around Winnie's. K-Doe celebrities in the house." Lee Dorsey, demands the lion's share of the attention Jr., Jessie Hill, , and time most evenings, but rightly so. Tommy Ridgley, Little Sonny Jones - Continually hyping himself, K-Doe they all like to sit in and do a few acknowledges all the other performers in numbers. Free from the compulsion to Winnie's. K-Doe of course is best play top-40 , they can really let remembered for his 1961 million seller loose. This is where the true sound of New "Mother-In-Law." It might have been Orleans is preserved, and thrives. Here two decades since he had a hit record, but you can experience the atmosphere, the Ernie K-Doe performes in Winnie's like r,.:!ling, or whatever you want to call it, he was auditioning for the Ed Sullivan pensive and the atmosphere is a lot looser that is as much a part of rhythm and blues show. His set runs through many of his and noisier than similar live music venues as the music is. hits - "Certain Girl," "Cried My Last in the city. The clientele consists of folks Little Sonny Jones is a Sunday night Tear," "Hello My Lover," and the in­ from the neighborhood and a number of Winnie's regular. Sonny recorded with evitable "Mother-In-Law." His voice has the city's best R&B singers and musicians Dave B2.rtholomew's band on Imperial in lost some of its smoothness but K-Doe re- WAVELENGTH/MARCH 1982 23 mains one of the most electrifying of all singers. He pushes the microphone stand down until it almost hits the floor, kicks it back with his foot while he does a spin, and then catches the mike behind his head! Most people in Winnie's have seen it done more times than they can recall, WAU TO WAUHEAT but it still brings forth howls of approval from behind the growing walls of empty Falstaff bottles. Although sweat is usually pouring off TIE IIA/JIAT(}/Il Irving Bannister and his group, it's not time to take a break yet. There is usually a younger musician, like James K-Nine or Guitar Slim Jr., who presses to "do just a couple of short numbers." Tommy Ridgley, who has been a musi­ cian and a recording artist for over three decades, comes by Winnie's Sunday night "jams" regularly. "I like to stop in when I'm passing through to see what's going on. It's really a fun thing 'cause I know there's no big money involved. Usually I like to watch, but I do a couple of numbers every now and then. Winnie's is the kind of place you go to get your act together. Really, there's no other place like Winnie's in the city. I wish they had more because musicians and singers can learn from each other, sort of like school.'' Winnie's proprietor is Winnie Lear, who got into the live music business quite by accident. "I been in the bar and restaurant business three years now," he related. "I was just trying to get the restaurant and the bar off the ground. The idea to have live music wasn't mine, it was Sidney Quezergue's. (Sidney's brother is , a noted New Orleans orchestra arranger.) We started the Sunday night thing two years ago, and it surprised me how many musi­ cians make it. , K-Doe, Little Sonny, Joe Johnson, and lots of those hungry cats." What nights are most memorable to Winnie? "Has to be the night Ernie K-Doe had his birthday. Seemed like every musician in New Orleans was in here. They was just about fightin' to get up to the microphone. Lee Dorsey brought his whole band in here. I didn't get out of here till real early in the morn­ ing." After a short break the musicians crowd back onto the bandstand. Quite h 5 Dream Palace often there'll be different horn players from the first set or perhaps a new bass Friday' Mar:ch S-Tupelo's T~vern player is added. Saturday, Ma March 9-Tipitlna s The time allotment for the featured Tuesday' h 12-Maple Leal Bar singers is kept short because there is always somebody waiting in the wings for Friday. Marc rch 13-Dreatn Palace a chance. Since the next day is a work day Saturday • Ma ch 19-JitntnY's the band usually closes around midnight. Friday • Mar Tipitlna's More often than not the final number is a 2o. rousing version of "." This Saturday. Ma~c;4-Tupelo's Tavern always brings everyone to their feet in a Wednesday' Marc hurry. The band packs up, and the last few patrons file out of Winnie's not long after the last notes are heard. But you can bet that they'll be right back in the same place come next Sunday evening. 0 -Almost Slim

24 WAVELENGTH/MARCH 1982 PAUL McGINLEY A NEWJ.I'ZZ TALENT By Brad Palmer

The latest reedman to join the ranks of the working New Orleans musi­ cians is too busy making decisions for the present to worry about the future. His cause-effect approach to life has worked.

n 1979, a saxophonist in his Even with his intensive sessions with "But you need the experience of playing mid-twenties came to New these jazzmen, McGinley still belongs in school now because there are not as Orleans from New Jersey to more to the recent generation of musicians many working situations where you can teach at Loyola who have received the bulk of their train­ make a living as a player as there were University. On his way, Paul ing from academic institutions and in years ago." McGinleyI picked up a B.A. in Music many cases, that training is heavily in the In addition to playing six nights a week Education from Glassboro State in New classical school. Of this recent trend, with Woody's band and teaching, Jersey and a Masters in Jazz and Contem­ McGinley says, "When you finally get into McGinley fronts a quartet porary Media from the Eastman School of jazz at a certain level, you have to realize with pianist James Drew, bassist Bill Hun­ Music. McGinley left after his first year at that it goes a lot further than school. The tington, and drummer John Vidacovich. It Loyola to go on the road with Woody Her­ best thing that can happen in school is that is the most dynamic group to emerge on man and the Young Thundering Herd. you can be put in situations where you can the scene lately and is a perfect home for Now Herman and the Herd, with sideman work out learning to play with other peo­ the very expressive alto and tenor work of McGinley, are getting settled in their new ple, and hopefully in some kind of en­ McGinley. McGinley says, "I've never home in the New Orleans Hyatt. vironment where you can just concentrate been in a group where everyone was so McGinley has also resumed his teaching on being creative for awhile. I never really positive about playing together. There is a post at Loyola. depended on school like some people who lot listening in this (group) and I'm not us­ But his practical schooling does not end think that all you have to do is go in and ed to the intensity of concentration that with the Herman band. McGinley sought do your lessons and then wonder why you happens on the bandstand sometimes." the benefits of associating with virtuoso can't be a player in four years. But that's The quartet can be heard most frequent­ reedmen Phil Woods and Eddie Daniels. not it at all. That's why I started studying ly these days at the Faubourg , "I had studied in Philadelphia with bassist with guys who are not affiliated with any but the guys are exploring new ideas for Al Stauffer. Al never went to a university schools, who are just working jazz players. playing their music before the people. but he had a great method of teaching With jazz, the kind of tradition it is, a lot When asked about particulars, McGinley scales and chords. By the time I went to of listening is involved. You take a lot grinned and said that he would prefer not Phil !Woods] I had a lot of the basic from what people have done before you. to divulge any details. The group has also groundwork down. Phil would try to get In school they've got to say 'this is what been practicing new material, some stan­ me into sitting down a little more with the you ought to be doing along the way.' dards and some compositions of pianist piano and learning a little more about "I don't think someone who is a real Drew, who is a prolific composer of jazz composition. I never used to spend a lot of jazz educator would say 'this is the way and new music. time writing. I still don't, but really that you should play jazz.' I think conser­ Does McGinley see the quartet as having can be an important step in the develop­ vatories can be wrong in thinking that's the long term possibilities? " I do. But then I ment of a jazz player. way they can do it with too. don't think of things too far in the future. "Then I went to Eddie !Daniels) because Much of what music is comes from the "We're not trying to do this five nights a I wasn't really happy with my sound and heart and you can't put that down on week. We're trying every time we play to that gave me some ideas." paper. make it something special." 0

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The one-time manager of just about every major R&B act that New Orleans ever had reminisces about some of the wilder times.

By Almost Slim

ercy Stovall can neither sing some extra money in 1949. I had The was sitting on the steps every night. He'd nor play an instrument. Pelican Lounge, over on South Claiborne, say, 'Stove, you can make as much money However, this man influ­ and had and his group in one night as you do now in a week.' So enced and shaped the face of working for me at the time. He had Otis after a couple of weeks I bought his bill of p with goods, and went back to working with rhythm and blues in New Ducker and playing Orleans the way no musician could have him. musicians." done. Stovall was to black music what Col­ "This was the time that Stovall liked to hire his own bands, and onel Tom Parker was to Elvis. But the Col­ and had big records out and augmented Guitar Slim's combo that had onel could have learned a few tricks from Larry Darnel, too. They needed a band, consisted of Huey Smith and Oscar this veteran huckster. and some place to play outside of New Moore. "I added three horns to get a fuller From the late 1940s until 1977, Stovall Orleans. So I sold the club, and started sound from Slim. See, Slim was a great was the top promoter, manager and hustler booking the band into the small country showman, but he weren't no musician. of live R&B in New Orleans and the Gulf towns from all the way over to Hell, I had trouble getting musicians to Coast. It has been said that Stovall was the Pensacola." work with him 'cause he was always drop­ first person to bring rock 'n' roll to New Stovall's review slowly grew, adding ping keys. Nobody ever knew what key Orleans in the Fifties. Virtually every black Roy Brown and Chubby Newsome. Slim was playing in. Slim couldn't even musician in the city has at one time or "Edgar and the group worked for a long play the guitar without a choker (capo). If another worked for Stovall. His approach time at 's Golden Peacock Club you took his choker away he couldn't play. to the business was indeed novel, but ex­ in Houston," recalls Stovall, "but then the I use to worry sometimes and hid it. He'd tremely successful. Though strict (he fined war started over in Korea, and it took be runnin' around sayin', 'Stove, where groups for being late, drinking and smok­ away a lot of my musicians, so I got me a my choker at? I can't find my choker.' I'd ing on the bandstand, and being sloppy), job in the post office, and forgot about say, 'I ain't seen it,' then I'd give it back to every musician knew if they wanted to booking musicians." him just before he would go on. work and make some money, they'd better After working at the post office for a •'The first time I booked Guitar Slim get tied in with Stovall. couple of years, Stovall was approached by was up in Nashville, Tennessee. I had him Now in his seventies, and nearly blind, blues guitarist Guitar Slim. and Little Eddie (Eddie Lang, a guitar Percy Stovall's mind is still keen enough to "I carne home one night and here was player from Slidell) on the same show. We recall even the most seemingly trivial piece this boy sitting on the front steps waiting went up to this club, really to audition. of information of his colorful career. for me. He had heard about me booking Now Fats Domino was playing his last "I started booking musicians to pick up musicians. I really wasn't interested but he night at the club and invited Slim up to do WAVELENGTH/MARCH 1982 27 a number. Well him and Little Eddie got up there and they both had 50 feet of wire on their guitar and started playing from all over the club. Then Little Eddie got on Slim's shoulders and they walked out the front door of the club!" Stovall admits he had his share ot headaches, though, with the unpredictable guitarist. "Man, he loved to drink his wine. I had to watch him all the time. If I didn't he'd miss jobs and be late. But he was a hell of an entertainer." CATCH One of his favorite stories about Guitar Slim took place in Monroe, Louisiana. "Fats and Slim played a Battle of the Blues HUIYLIWIS in the Monroe Civic Auditorium. Fats' APPIARINGON manager got drunk and I had to work the door. Man the place was packed. Slim had ..IDAYS told Fats, 'Fats, I'm gonna run you offa T.V. SHOW that stage tonight, boy. • MAIICit Sth "So Slim went on first 'cause Fats had all them hit records. Slim just tore 'em up. The place was going wild. Slim walked off the stage with his guitar and went out the back door of the auditorium and got in a car! Still playing! Everybody wondered where he went. "When it come time for Fats to come on, Fats just told the people, 'Ain't gonna be no battle tonight. You just saw it. • So Fats just played his regular show." Besides booking Slim throughout the area, he began handling some headliner groups from the rest of the country as his reputation as a promoter spread nation­ wide. During the Fifties Stovall had the en­ tire Gulf Coast sewed up when it came to booking any R&B attraction. Stovall ex­ plains how it was done. "I had a boy stayin' with me from Moss Point. We got the World Almanac, and found out the populations of all the cities and towns in the south. We would call information in the town and ask for the black taxi com­ pany. We'd call the taxi company and ask 'em for the name of the biggest black nightclub. So when we found that out, it was easy. "See I never worked on a percentage. When somebody wanted to work down here, I wouldn't buy 'em for one show, I get 'em for a dozen. I could get a price on that, 'cause most entertainers would jump at the chance to work 12 nights straight. "So I'd get on the phone and call up these joints and tell 'em, 'Look, I've got Little Walter, or , or , and this is how much I want.' I could book a dozen jobs on the telephone in two hours. That way, even if you lost something one night, you'd be sure to make it up the next night. "But I got to know when to book in cer­ tain towns. I'd always book blues up in those Mississippi towns like Clarkesdale, Greenwood, and Canton around cotton pickin' time 'cause that's when those peo­ ple had plenty money. They liked that low down guitar, and that harmonica. So we'd go through with Little Walter or Jimmy Reed and clean up.'' Bluesman Jimmy Reed turned out to be quite a character, according to Stovall. "I could sit and tell Jimmy Reed stories for

28 WAVELENGTH/MARCH 1982 two days!" laughs Stovall. "First time I seen Jimmy Reed, he come to my house with a guitar, an amplifier and one little old suitcase at my front door. He said, 'My name is Jimmy Reed.' "Before I could say, 'Pleased to meet 'cha,' he asked me if the bar room on the corner sold any gin. I told him, 'That's what they're in business for.' So Jimmy went over to the bar, and I got him a room at the Gladstone Hotel, over on Dryades Street. Well, we had a job in Lafayette that night, and I sent Jimmy over to the hotel when he got back from the bar. That night we came by to pick him up, and he was layin' on the bed with gin bottles all over the room, out cold. "The guys in the band asked me if he was dead. But I told them just to carry him into the car and get his guitar. Well, Jim­ my Reed didn't move till we got to the club in Lafayette. He woke up just before he was suppose to play. Man, he was sober as a judge!" Stovall concedes that his favorite type of music is rock 'n' roll, and he was the first to bring it to New Orleans. He recalls some of the originators of rock that he handled. "I knew from when he worked at the Kitty Cat, a club next to where we played, in Nashville. He was a wild kind of guy, but when it came to takin' care of business, he was all right. "Now , he was kind of con­ trary. If you didn't have diamond rings on your hand, he wanted all his money before he would play. "I worked with Chuck Berry, Gene Allison, Jesse Belvin, Gladys Knight and the Pips, Clyde McPhatter, lots of those people.'' When speaking of the late , Stovall's voice takes on a near reverent quality. "I met Sam Cooke," Stovall begins softly, "when he was staying at the same hotel as us, in Pensacola. He was still singing gospel with . That particular night they had passed the hat at the church where they was singing, and they couldn't make enough money to hardly eat. So I bought Sam his supper that night, and for the next few days too. See there weren't too many hotels where black people could stay at in them times, so if you found a decent place it was worth travelling a bit to get back to. "Sam was real thankful and told me, 'I sure appreciate this, Mr. Stovall. I'm gon­ na repay you some day. There's a man in New York that wants me to sing some blues and I'm gonna try it.' "So he did, and he was about the biggest star there ever was. Every time he came down here we worked together. He always drew a crowd. The night he died, his manager called me at 5 o'clock in the mor­ ning to tell me he got shot." Just about anybody that had a record out of New Orleans worked for Stovall, even Fats Domino. "I booked a few jobs for Fats, and he asked me to manage him. But I had Slim at the time, and I couldn't. "But now Earl King, Professor Longhair and was real big in WAVELENGTH/MARCH 1982 29 the Fifties - so was Frogman. I also work­ ed with Robert Parker and Chris Kenner. But Chris embarrassed me - he just couldn't sing, but he insisted on it. Lots of PRODUCE MASTER times the whole band would get flred after one night, 'cause he sounded so terrible." Stovall was involved in managing the early careers of Ernie K-Doe, Irma TAPES AT HOME! Thomas, Barbara George, Bobby Mitchell, , and Johnny Adams. His bands Just add your favorite microphones to the TEAC featured the likes of Allen Toussaint, A -3440 4-track 4 channel Recorder/Reproducer James Rivers, and Dave Douglas. and the M-2A 6 in/4 out mixing console and you In New Orleans, Stovall used The Dew of Drop, Lincoln Beach, the Auditorium, and have the.nucleus of a fine home studio capable The Blue Eagle for his package shows. He producing professional quality master tapes. recalls the famed Blue Eagle, which was located at 2026 Felicity Street: "People thought that was a big ~night 'club, but it wasn't nothing but a hole in the wall. It looked like the kind of place you'd come to change the oil in your car. But if B.B. King, Jr. Parker, or Bobby 'Blue' Bland was there, there'd be a line to get in all the way to Dryades Street (two blocks)." Promoting entertainment is a risky business, as Stovall is the flrst to admit. On more than one occasion Percy lost his shirt. He was especially leary of booking female singers. "See, it was tough to draw a crowd for a woman, 'cause the wives didn't want their husbands to go see them. I guess they was jealous. But now, if there was a man like Sam Cooke or Bobby 'Blue' Bland singing somewhere, man, they wouldn't let up on their husbands un­ til they got to go. But they wouldn't go see another woman sing." Throughout the Sixties Stovall booked all the big names in soul music. Sam & Dave, Jimmy Hughes, Joe Simon, , , , Joe Tex and a score of lesser known artists worked for Stovall. By constantly listening for new trends in TEJ\C ProfessiOnal Products Group the music business, Stovall was able to maintain a successful operation. "I used to read Billboard and Cashbox to keep on top of what the public wanted. The way I see it, the blues was real heavy in the Fifties, but when Fats and Elvis came along, they stopped people like dead in their tracks. But then when The Beatles and the soul music stuff came along, all the rock 'n' roll people were out of work." Stovall continued booking entertain­ •Integrated drive logic ment well into the Seventies until a cataract • Operation by computer­ condition forced him to slow up. Now in semi-retirement, Percy Stovall still books type pushpoint keys the occasional job for Johnny Adams, and • Cutter device to handles Joe Simon when he works in Loui­ facilitate tape editing siana. The wall of his small Garden District cottage, which doubles as his of­ flee, is still covered with photos of R&B stars both past and present. Stovall feels that promoters have a tougher row to hoe today than he ever had. "Back then people really knew how to go TULAtJE STE!lEO Iii Fl CO. out and have a good time. They looked 1 909 TULANE AVE 524-2343 forward to going out and having a good Convenient Storeside Parking time and spending some money. But today Open Daily 9-5- Ciosed Sunday it seems like everybody just wants to sit at Long-term Financing Available through GECC & CIT - Free Delivery a table with a beer, and smoke grass. How - MASTER CARD - MR BOL can anybody make any money with people VISA doin' that?" 0 30 WAVELENGTH/MARCH 1982 NOM IF*

DIXIANA, ET AL

she. "I can't talk baby talk." At that, Grear Day was put asunder forever, having already cost $280,000 in a time when precious few THE PICTURE dimes could be spared, brother. Release: August 1930 Never fear, vowed a third studio, Radio Running Time: 100 minutes Pictures Corporation, and brought forth Filmed in black and white, with color sequences. Dixiana, billed as a screen operetta, with Bebe Daniels ("glamorous star of and THE CREDITS great emotions") and Metropolitan Opera An RKO Picture, produced by William LeBaron baritone Everett Marshall in his movie and directed and adapted by Luther Reed. Photog­ debut. Together they provided the romance rapher, Roy Hunt. Art Director, Max Ree. Musical and the harmony, but a scarcity of magic. A Director, Victor Baravalle. Orchestral ter. couple of vaudeville comics proved that by Max Steiner. Dance Director, Pearl Eaton. Re­ Right off the bat that year, the boys at Fox stage humor, converted to screen humor, cording Engineer, Hugh McDowell. Assistant Direc­ smeared a thick layer of songs on a tired often suffers the fate of an idiom, losing tor, Frederick Fleck. Booth Tarkington tale that had been filmed both charm and effectiveness in translation. in silence, as it were, back in 1923. It was Biggest talent: Bill ("the world's greatest THE CAST Cameo Kirby, set in antebellum New tap dancer") Robinson. Biggest spectacle: A Bebe Daniels (Dixiana); Everett Marshall (Carl Orleans, and you could hardly hear the tunes scene in which Dixiana is crowned queen of Van Horn); Bert Wheeler (Peewee); Robert Woolsey above the rustle of Crescent City crinolines. the Mardi Gras, having pulled by her fragile (Ginger); Dorothy Lee (Poppy); Ralf Harolde (Royal Audiences from Walla Walla to Winona shoulders a 30-foot velvet and ermine train Montague); Edward Chandler (Blondell); George couldn't lap it up fast enough. while ascending the more than two dozen Herman (Contortionist); Raymond Maurel (Caye­ So by summer, Metro-Goldwyn-Mayer steps of a staircase steep enough to give tano); Bruce Covington (Company Porter); Bill Rob­ allowed as how it meant to deliver the real a body nosebleed. inson (Specialty Dancer); Eugene Jackson (Cupid). goods, meaning that its production of Great The last sequence is delivered in Techni­ Day, with songs by Vincent Youmans, color. It's mostly impressive, considerably THE SONGS would not only star Joan Crawford, if you more than can be said for the musical "Dixiana," by Benny Davis (lyrics) and Harry please, but would also be shot on location in numbers of the songs themselves, which Tierney (music); " Here's to the Old Days," "A Tear, New Orleans. When the story opened, the mercifully passed into oblivion. A , A Smile," "My One Ambition is You," "A public was told, Miss Crawford would play a And that - oblivion - was precisely Lady Loved A Soldier," "Mr. and Mrs. Sippi," 14-year-old girl, and before it was over, she'd what certain elitists in New Orleans wished "Guiding Star," by Anne Caldwell (lyrics) and Harry descend a winding staircase (while Mammy for Dixiana, the subject of much controversy Tierney (music). and old Uncle George smiled proudly) sing­ as "that picture which elevated a mere trol­ ing "More Than You Know" in a low, pleas­ lop from the gutter to the throne of a Carni­ THE STORY ing voice. val queen." Dixiana is a performer in a circus theatre in New For this town, the swelter of June pressed The wife of one highbrowed krewe cap­ Orleans, circa the 1840s. She's pursued by a hotshot oh, so much lighter when the director of the tain is reported to have remarked, after see­ gambler, Montague, but her heart favors the scion of movie, plus a whole camera crew and even ing the movie, "If I live forever I 'II never be a "Fine Old Family." She is invited to the plantation the latest star-to-be John Mack Brown, ar­ more disgusted." to meet that FOF by the son, Carl, who's smitten with rived and shooting began. Local hearts At the time, of course, she could not have her. Not smitten with her is his mother, particularly thumped in double-time as a mysterious guessed that four years later there'd be when Dixiana, who has sworn off show biz, arrives young lady (said to be "from here") rode another picture show about Mardi Gras, in with Peewee and Ginger, two of hertrusty circus bud­ veiled in a carriage through which Will Rogers stomped out into the dies. The big blc wout planned in her honor turns into streets while cameras whirred. She was Miss revered Comus tableaux and proceeded to exactly that. The circus trio, now jobless, are taken Crawford's stand-in, standing in until the perform- what else? - a lariat act. into Montague's employment at his casino. Dixiana is actress could get here. - Don Lee Keith made queen of the Mardi Gras but her boss abducts Alas, 10 days after production com­ her and is challenged to a duel by ever-loyal Carl. The menced, Miss Crawford informed MGM heroine detains Carl, gets done-up in drag, and goes * That's New Orleans Music in Film, the topic of a boss Louis B. Mayer in Hollywood that she to fight the duel herself. Ready, aim, splat. You gotta Wavelength series by Don Lee Keith dealing in­ wanted out of the deal, that she felt too old watch that bluebird of happiness. His is a deadly aim. dividually with the notable (and some not so) movie for the part. "I can't play an ingenue," said musicals set in New Orleans. Next: Mardi Gras.

WAVELENGTH/MARCH 1982 31 MARCH 1982

Saadap Mo•dap Taeadap ...... " Thandap Fddap Satanlap 1 2 3 4 5 6 THE CAJUN SPENCER THE WOODEN TWO STEP TIPITINA'S BOHREN RZA DIRTY HEAD TAJ DANCE FINALS NAPITOULAS & plus: DOZEN with MAHAL WITH: RESTAURANT THE BLUE ANGELLE plus: ZACHARY JOHN VIPERS BRASS TROSCLAIR JAMES MOONEY BAND BOOKER RICHARD I I I 1'"1 ,-, II 1"1 ,.. . .. ~- '~- •"" • • 'II.. -;.- ~ •.v c., ,,;< -=.- ~· ....~ ••• t-t: -· 8 9 ~ 10 ~ 11 12 13 7 ••~~~~ "' •• • • THE MARIA TRACY ••••• • THE DIRTY MULDAIR NELSON ••••• • DOC WATSON MOONDOG •••• JASMINE RADIATORS DOZEN plus: plus: ••• • THE ECHOES Ll1. QUEENIE • • BRASS •••••• featuring & ••• • BAND SUSIE MALONE THE •••• PERCOLATORS • • :·:·•• I t: ••• •• • ••• • 14 15 16 17 18 19 20 ~~~~ RAMSEY SPENCER THE SONNY McLEAN BOHREN THE DIRTY LANDRETH THE THE & & UPTIGHTS DOZEN BLUES NEVILLE RADIATORS ~j~j THE JOHN BRASS BROTHERS :::: BAND ••• • LIFERS MOONEY BAND ••• • •• • • •• • • T ,.. •• • • • •• •• • •• • • ••• • 21 22 23 24 25 26 27 •• • • ••••• • SPENCER THE ••• • LARRY THE ••• • BOHREN DIRTY LI1.. QUEENIE ••• • & ROCK AND THE CLIFTON CLIFTON STEPHANIE & A DOZEN PERCOLATORS JOHN BRASS CHENIER CHENIER ~~~~ SEIBERTH BYES ••• • MOONEY BAND :·:·•••• ••• • I r.·. 28 29 30 31 ilil ENJOY ••• • ••• • WOODEN SPENCER THE OPEN FOR SHEILA'S ••• • DAILY ••• • HEAD BOHREN THE DIRTY LUNCH SPECIALS FRESH ••• • COOKIES ••• • with & BLUE DOZEN MON.-FRI. TOGO ••• • ANGEllE VIPERS BRASS & ••• • JOHN 11:30 ON ... ••• • TROSCLAIR MOONEY BAND PASTRIES •••• t .• • • • t .• • • • ••• • ••• • :::: • • •• • • •• • • •• • • • • • • • • ••• • •• • • ••• • •• • • 501 Napoleon Ave, corner-Tchoupitoulas- Phone 899-9114 •• • • •• • • • •• • ••• • ••• • ••• • ~~~~~•••••••••••••••••••••••••••••••••••••••••• ~~·-·. .~· .. ~····-····-·-·-·-·-·~·~·~·-·-·-·-···-···-·-·-·-·-············-·-·-········································ •••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••- · - ··~~·-·-·-·-~· .•. •• ••••• =~=~ • • • f • • • I • • • I • • • • • • • • • • •.• •.•.•e•e•e•e•e•e•e•e•e•e•e•e•e•e•e•e•e•e•e•e•e•e•e• •.•.•.•.•.•.•.•.•.•.•.•.• •.•.•.•.•.•.•.•.•.•.•.•.•.• •.•.•.•.•.•.•.•.•.•.•.•.•.•.•.•.•.•.•.•.•.•.•.•.•.•.•.•.•.•.•• .• .• .• '.,• • 8 ...•••'• ..•...... ' • •••••••••••' ,• '•'•'• ..... ••••• ••.•...•.•.••••• •••• ·:·:·:·. •.•.....·:· •• ,•••• . ....•...... •...... •.•• •••••••t •••t •••••••••••••••••••••••••••·: ·: ·:·:· ··=·... · :·... ·:·.. '• ••••••••••••••••••••••• . .:· ...... •'•...... :, •••••••••••••••••• . ..•;. . ... :·...... • '•'•·: •••••••••••••••••••••••••••• · '·'·....."· •••• :· ...... ••." ••' • • • •••••••••••••••• •" .•...••.•....• ••• • • • • ' •• • ••• • , •• •• ••• It ••••••••••••••••• • •••••••••••••• • •••• ••••••••••• ••••• • •'•'• ••••••••••••••••••••••••••••••• ! •••• Hammond Scott

Records stated, "It's ------Byhave Iglauer of Alligator can of Texas and Louisiana southern boys who overly bands out blues really only those and t the risk of being carry the Louisiana-Texas sound real, not fake, that all begun to make the blues ." general, we can state to new audiences nationally for black southern artists in the Deep tradition most intense that goes basically the blues originated still retaining their Although the South was fact, recognizing though Texas ter­ and its unique South. In popularity in the Louisiana- source of blues and R&B exceptions, we can say prominent of these "blue it had limited impor­ some the ritory. The most and gifted artists, mostly arose from are the Fabulous Thunder­ area, at least blues music wave" groups and tance as a record-producing of River delta area of Mississippi, Cobras, Stevie Vaughan R&B years. (The emergence Mississippi Louisiana­ birds, the Anson during the in and Arkansas or the Trouble, the Cold Cuts, in Muscle Shoals, Alabama, Tennessee two distinct Double the Juke studios territory. These were the and the Rockets, Tennessee, and in Nashville, Texas most effect on rock Funderburgh Li'l Queenie and Memphis, Stax in Macon, blues·scenes that had the Jumpers, Marcia Ball, and the development of the jazzier Kansas City and Delbert McClinton. major record company, music (recognizing the Percolators, Georgia, as a of have a distinctly more so-called "soul" years blues scene.) of These groups came during the Pea- still serves as a source blues sound than the northern Apart from The South this day. In authentic . As Bruce the mid-Sixties.) blues and R&B bands to white blues bands great whites blues and English fact, some very fine young

34 WAVELENGTH/MARCH 1982 · accordionist with its chief star being was just like a . "Buckwheat Stone obituary: "He Stanley Dural, a.k.a in Houston and Sun and Dolls. He'd a veteran of the cock/ Duke Records character out of Guys ," Jay Miller is only two other guards around him scene. Jay Miller Records in Memphis, have a bunch of heavy Louisiana-Texas music were of consequence pistols and that kind producer and southern companies all the time, carrying was the discoverer, the R&B years: Excello a czar of the Negro under­ , Lightning nationally in of the of stuff, like purveyor of artists and Ace Records. Most Sundown, Katie Records remained in world." rhythm Slim, Lonesome Smith name blues artists who when times got tough for , Whispering bigger for these labels. Even and rock Webster, regional the deep south recorded blues during the psychedelic many others who had great include Clarence and early Seventies, and on Miller's This category would of the late Sixties and mostly in the Fifties, Earl King, Bobby era to go success, "Gatemouth" Brown, of Robey's artists continued label. Guitar Slim, one Bland. Between Excello Excello ar­ "Blue" Bland, Huey Smith, strong- Bobby "Blue" Much in the vein of those Slim, Lazy Lester, Records had at least turns down top Slim Harpo, Lightning 1956 and 1970, Duke tists, and scores of others. hits with Bland, dates for the bet­ Lonesome Sundown thirty-six national chart national showcase club R&B artists migrated Memphis. Bland now dependable circuit of Many blues and at who still lives in ter paying and more to find greener pastures as a result of Robey sell­ dancehalls in an area from the South major records for MCA well small clubs and doors of the nation's to MCA in 1973 for by New Orleans, Howton, the front Los ing his labels died in bordered much in centers like Chicago, million dollars. Robey and Lafayette - labels York, and over one Austin, Dallas, Clifton San Francisco, New the age of seventy-one. circuit his mentor, Angeles, such 1975 at unpublish- the same twenty-five This category includes Dr. John observed in an has ruled for the last Detroit. Waters, Howling As inter­ Chenier, Dopsie, luminaries as Muddy portion of his recent Wavelength Like Chenier and Rockin' Walker, Louis . ed B.B. King, years. the West Coast Wolf, Otis Rush, T-bone view, " Bobby 'Blue' Bland, Buckwheat also goes to , like the Count tours. In fact, Jordan, Lowell Fulson, and were makes European King, James with their hot and tour of Jamaica Junior Wells, Freddie Basies of the deep South Buckwheat even had a Pickett, and too many the addition of tough The thing that is Brown, Wilson horn sections and this past summer. is mention. guitars. Their influence Buckwheat is that he others to even when highly-amplified and remarkable about though, the days are gone music is undeniable fow: year old entertainer Sadly, a small on New Orleans a young thirty prov­ have a national hit on best musicians have worked band on a young label, you could liked many of our effect with a young tradi­ because the disc jockeys .'' An example of this whole Louisiana-Texas label just such for these guys love of ing that the alive . Those days produced roots acceptance and infused with new blood, your record who is the grass of tion is being of the record men as Don Robey, small music-starved pockets force to the people colorful and Bland in works and still a vital the Duke, Peacock, Backbeat and Texas. Bland still owned of artist Louisiana hard in home turf. is another labels. Robey's stable Texas territory very Orleans' Johnny Adams Songbird Bland, Junior the Louisiana- appearances. New coming included Bobby "Blue" to his international of an artist continually Thornton, Johnny addition guarantee him a example that get good Parker, Big Mama town is too small to out with excellent records Brown, and No allows Adams to Ace, Clarence "Gatemouth" packed house at top dollar. regional airplay. This artists such as James ofthe deep South his craft to appreciative less successful Buf­ The "chitlin' circuit" continue to ply Ernie K-Doe. Robey's Texas and many small black Booker and the still exists. In Louisiana, audiences at the Agency controlled and blues greats dot southern Louisiana falo Booking and Mississippi, the rhythm nightspots that of the major rhythm Even without national Gulf Coast. careers of many such are still big stars. and the Mississippi of the day, even artists to be popular and keep flfSt of this story, the blues artists James hits, they continue un­ As we stated at the Earl King, and Etta pretty well undiluted and up by many blues and as B.B. King, In add. their music con­ is being picked weren't recording for Robey. by present commercial blues oriented white bands who southern black compromised rhythm and laid by Robey controlled the same musical tire prints tion, the famed siderations. of our ter­ touring the future of radio airwaves and owned strong musical tastes and mentors. The Houston. The a number of their forebearers good, as Bronze Peacock Club in have given rise to Texas territory looks Don Robey to be ritory labels like the Louisiana- to have some Being black required small, territorially distributed is beginning once again to enter the record Jewel Records of it escaping our especially tough Stan Lewis' Ronn and national impact. With culture Successful he was, tough Jones' Hep' Me ways, it's reassuring business in 1949. he Shreveport, Senator environment in so many he was, and feared Orleans, and Jay Miller's Texas territory continues he was, respected as well Records of New that the Louisiana- of his aggressiveness label out of Crowley, rich musical and culinary was because Andrus, a Blues Unlimited to prize its 0 volcanic temper. Walter as his of his ses­ Louisiana. label heritage. engineer on many Blues Unlimited is a new recording for a Rolling Though sions, told Joe Nick Patoski

WAVELENGTH/MARCH 1982 35 ~'Is If any surprise that the umber One Group In town does their business with the Number One Music Store In town?" Persia and Metro Music a winning combination

1888 BARATARIA IIL.....,• ..,s~340-4883... T LAPALCO IIAIIMRO, LA. 70072

WAVELENGTH/MARCH 1982 BOOKS

THERE IS AUGHT Special Attractions Bob Marley: Soul Rebel­ Mon., March 1-Blind, Cripple & Crazy Fri., March S-Oyster legs Natural Mystic Sat., March 6-Li'l Queenie & By Adrian Boot and Vivien Goldman The Percolators St. Martin's Press Fri., March 12-The Radiators Sat., March 13-Beausoleil Sat., March 20-Rockin' Oopsie & his is essentially a picture book with beads contrasting against Rita's dark skin The Cajun Twisters T two essays, the first an appreciation and black hair. That shot is preceeded by a Fri., March 26-Li'l Queenie & of Bob Marley's career and the second a high contrast shot of Bob Marley and The The Percolators reporting on the Marley funeral. The Wailers from the Survival session and, on Sat., March 27-Cush-Cush photographs are by Adrian Boot, the of­ the overleaf, a two-page spread of The ficial tour photographer for Bob Marley. !-Threes- , and The two essays are by Vivien Goldman, a Marcia Griffiths. They are majestic, 8316 Oak Street staff writer for two of the major British Judy's right hand raised, conjuring a spell, music magazines. The photographs suc­ Rita's eyes half closed, entranced, her 866--9359 ceed wonderfully. The writing, although at fingers waist high ready to snap, and Mar­ times inspired, is not as insightful. cia, her head back shouting out song. However, at $6.95, the current cost of an And then there are all the Marley shots: album, this book is a good buy. A two-pager of him, his arms outstretched, Many of the black and white head high, far away look in his eye, right photographs are stunning, some of the hand outstretched, each finger visible, and more effective and evocative shots of left hand closed, clenched in a fist. Or, Marley that exist. Marley is shown in youthful and pensive, his dreadlocks just various moods (there are hardly any poses, beginning to grow out. And so many, and only a few publicity shots) and engag­ many more. ed in various activities. Moreover, there For the pictures alone, this book is are excellent tour shots, good funeral shots worth every penny of the price. But there is - the Bob Marley funeral was an event - more. and particularly sharp cameos of various Goldman's two essays offer interesting artists and Marley family members. and important information about Bob For example: a dreaded Bunny Waiter, Marley. The book also includes a detailed his locks thick as hemp ropes, stands with discography (without only running shorts, socks and sneakers numbers, however). That is another im­ on, the sinewy muscles of his torso subtly portant plus. bespeaking his healthy lifestyle. Sitting The funeral essay is a brief eye-witness beside the standing is Peter account which opens with: "The day Tosh, a spliff in hand and unmistakable before the funeral the body of Berhane love and admiration in his eyes as Tosh Selassie (meaning: Light of the Trinity - gazes at Bunny. The facing page features Marley had taken the new name when he Lee Perry and son. Lee Perry is a legen­ was accepted into the Ethiopian Orthodox dary reggae producer who helped Bob Church, in New York, shortly before he Marley early in Marley's career. Lee sits, a died), lay in state at the National Arena, a cap on his head, his hands appearing to huge concrete gymnasium originally built rest on an imaginary table before him, the for the British Commonwealth Games." It large vein in each arm running strongly closes with: "Rita said that after all the across well-formed biceps toward the pain, it was better that Bob should be at talented hands whose fingers caressed rest here in Nine Miles where he'd been many a control board in engineering a uni­ happy. One thing she was sure of. 'The que sound. works will continue."' One reads the text, For example: a close-up head shot of learns about Marley's rural birthplace, gets Rita Marley, a trace of a smile on her full, a description of the funeral service and though closed, lips, a braid and small gold procession, but, nonetheless, remains cap­ chain interwoven in her hair, and a beaded tivated by the photographs which say earring highlighted in sharp relief, its white much more than the words do about the WAVELENGTH/MARCH 1982 37 majesty and passion of the ocassion of Bob Marley's (in the words of the Rasta Man Chant song) "flying away home." The opening essay is much more substantial. Part of it is history. It retraces the beginning of Marley's career and re­ counts the twists and turns, the triumphs and disappointments, the pain of the cancer's eviscerating progress from a small toe injury to the dropping out of Marley's dreadlocks as a result of the chemotheraphy cancer treatment. Goldman shares with us the development of the various albums, which were an art unto themselves. The Wailers were the first group to record on high quality recording equipment. Also there are quotes from various inter­ Built as a home and an olllce ln 1832 by a famous New Orleans doctor, Joseph A. Trlcou, 711 Bourbon exists today as one of the finest examples of the architecture of that period. The ca"lageway. L·shaped courtyard, slave quarters, and stables re­ views and a recounting of the assassination main very close to their original state. attempt on Bob Marley. All of this is im­ portant information. But beyond presenting information, BOURBON when it comes to critical interpretation and 7ii STREET CLUB projections concerning the meaning and substance of Bob Marley's music from a RANDY HEBERT cultural perspective, Goldman is like a fish TUESDAY THRU SATURDAY-9:30 'TIL trying to fly. His natural habitat is the water, is reporting. Although fish may NORA WIXTED jump up out of the sea, and some species SUNDAY & MONDAY- 9:30 'TIL even hurl themselves for yards across the waves, eventually they all must reside in ALBROUSSARD the sea. Goldman is unable to move THURSDAY THRU TUESDAY-7:30-9:30 beyond his own watery limitations. Thus, he falters at crucial times. POPULAR DRINKS DANCING 'TIL DAWN One example: Speaking about Marley's political development, Goldman says, "With time, he grew more outspoken, if that were possible, openly scathing about the 'white man's shitstems' ... " and goes on to note, "He (Marley) is unconcerned Dedlc:aled to the about bending his music specifically to gratify foreign ears." Yet, on a different Preservation of Rock 'a' RoUI page earlier in the essay, Goldman states, "The process of Tues., 8 pm-10 pm: Drinks 2 for 1 Marley being accepted, Thursday - Ladies Night though never colonised, by the rock au­ Every other drink free all night dience begins with the eloquent rock guitar Bar Branda $1.25 • Draft Beer 75C all the time leads on Catch A Fire (overdubbed by American session man Wayne Perkins) Slr John's Kingdom ls Growing ... " Golden does not attempt to reconcile We're taking over the whole castle nor explain why "rock guitar leads" were Major Rock 'n' Roll news coming soon! added. The answer is obvious, so obvious that Goldman concluded the paragraph 3232 Edenbom Ave. containing the aforementioned sentence, "The Wailers' ' appeal' to the Metairie rock ear was generally based on the guitar 887-9858 work, and smooth production." A much more penetrating analysis of Marley's music was presented by reggae poet/ writer Linton Kwesi Johnson in the British-based magazine Race Today. Johnson referred to the internationaliza­ tion of reggae that Marley accomplished and dissected its various elements. That kind of analysis is what Goldman does not give. But that caveat aside, Goldman does provide a very good introduction to those who would like to know about Bob Marley. And this book of photographs and words is a moving and significant tribute to a man whose music embodied the best of his times, his culture, and his people's spirit. 0 - Kalamu ya Salaam

38 WAVELENGTH/MARCH 1982 CLUBS

Talent Dance-ability Sound Length of set Flash looks Originality Guitar Drums Keyboards Bass Vocals

natural fiber clothing 432 Barracks OUT-OF-TOWN ACTS: in the French Quarter A CONSUMER GUIDE 524-7370 The names are strange to you and your funds are too low to experiment. Which of the out-of-town acts are worth risking a cover charge for?

ocal music followers sometimes guaranteed successes: "Joe 'King' Car­ L complain of the lack of variety in rasco doesn't draw as well as he should. MOTHER'S the fare presented at their favorite clubs, and And you take Clifton Chenier - he's local club owners are often frustrated almost like Professor Longhair was. There by the lack of patrons turning up at their should be five hundred T~VERN people coming to a •••••••••••••••••••••••••••••••• clubs when they bring in new and out-of­ club to see him." Certainly Chenier is • • town acts. So Wavelength decided to ask worth the time of any serious music lover. • • several owners about some of the music • Anselmo says he hopes the situation im­ • MONDAY NIGHT they bring in, and we pass their recommen­ proves so that he can add more variety to • $2.50 Pitchers dations on to you. his schedule, but with people having to be • On the regular club scene, the bands so careful with their entertainment dollars, • LADIES NIGHT mentioned most often as deserving a larger to do so now would be a risky proposition. : Tuesday & Thursday audience are the Lotions, the Cold Cuts "Guitar bands tend not to make it so :wEDNESDAY NIGHT and the Cobras. Of the Lotions, who are well in New Orleans. Guitar work is just : Double Shot Bar Liquor out of Austin, Bud Whelan of Tupelo's not that well respected here," says John : $1.00 Tavern says "they have the stigma of being Kelley, manager of Tipitina's, discussing a white reggae band." He feels that Texas why the Cold Cuts and the Cobra's aren't : MONDAY-FRIDAY bands in general don't draw as well as they more popular. "Really, blues bands in : Happy Hour: 4:30 - 6:30 should in New Orleans - ''Austin is just general have a hard time." Both those : Hi-Balls $1.00 inundated with music of all sorts and bands play footpounding, rowdy blues, : Draft Beer 50¢ types, but people here just follow the same and the people who do go to see them • stuff around. The Lotions' new album is report having a great time. Kelly also men­ : SUNDAY very hot in Austin right now, but they have tioned and • the • $2.50 Pitchers a hard time getting people out here." Rockets and Charlie Musselwhite as acts • $1.00 Hi-Balls Another act Whelan recommends is people might want to check out. A band • A Train, "probably the best band in Loui­ who makes its New Orleans debut at Tip's • siana, bar none, for having a good time." on the 11th of this month is Moondog, • Jimmy Anselmo, owner of Jimmy's, from Oklahoma City. Currently on tour in • also mentioned the competition out-of­ Canada, they are an unusual and entertain­ • town bands face, going up against the ing group with several albums out. •••••••••••••••• Radiators and the Nevilles and so forth. The problem even reaches out as far as corner of "We've got a lot of tremendous talent here Kenner and Richie's 3-D, which recently Carrollton & Maple. in New Orleans," he says, and in fact he took the relatively bold step of presenting ''A step off has had to cut back some on the foreign on one night and the Neville the trolley ' ' acts he presents. Even "name" acts aren't Brothers on another, ''bringing uptown WAVELENGTH/MARCH 1982 39 music out to Kenner." Steve Scaffidi, manager at the club, says they are trying to broaden the spectrum of music there, but that it's very hard. "We recently had John Stewart, who toured with Stevie Nicks and is one of the most requested studio musi­ cians anywhere, but he doesn't have a following and drew very poorly." Never­ featuring our newly theless, he'd like to have Stewart return. Steve is also experimenting with having expanded new and out-of-town acts play two nights: keyboard section. "You can't do it too much, but sometimes it works out that the people come back and bring more people with them." Jerry Reed and Bo Diddley are two occasional visitors Exclusive Yamaha and Baldwin dealers to the 3-D that he recommends as well worth catching. The most glaring example of under­ Drums • Keyboards • Guitars attended performances by visiting musi­ cians has to be the Xenia Foundation series Fender Guitar Strings $3.00 I set of concerts at the Faubourg. The series has Save on name brands such as: brought in people like Eddie Harris, Nat Yamaha, Martin/Sigma, Adderly and Joanne Brackeen; yet the club is not filling up with jazz fans. The Xenia Gibson, Polytone, Alvarez, Rogers Foundation loses thousands of dollars a year on the project. Jonathan Rome, Director of Operations for the Founda­ tion, attributes this partly to the fact that "a lot of people we bring down here are musicians' musicians." He would like to see a greater response from the city, but drawing large crowds is only one objective of the program. "We want to establish jazz in the South, in New Orleans," he says determinedly. "The artists come in, do clinics, go to the schools, do workshops, play with the local musicians.'' They do not bring their normal sidemen with them, performing instead with the cream of our THE JAZZ talent; the potential benefits behind this WORLD'S BRIGHT kind of approach are numerous and ob­ vious. NEW STAR Dormant during the summer (aren't we all), the Xenia Foundation sponsors about IS fifteen different performers during the rest of the year. The spring series kicks off with NEW ORLEANS Mike Nock appearing March 25, 26 and OWN 27, followed by on April 1, 2, and 3. , John Scofield, and David Liebman and Richard Beirach are WYNTON also scheduled. All shows are at the Faubourg on Frenchmen Street and the MARSALIS cover is usually five dollars. Some extraor­ $5.99 LP/TAPE dinary music is offered at these perfor­ mances. There are of course many other acts deserving of mention here, and many other places in which to hear them. To provide a complete guide would be nigh impossible, not to mention tedious. Individuals can find out more about particular bands by asking friends, calling the clubs, checking the papers and so on. We suggest you give a few of these bands a listen - after all, your favorite local band will be around next weekend, too. If you really feel daring some night, pick a band you've never heard, preferably at a club you've never been to, and give it a shot. You may run in­ to something that sounds like a crowing rooster courting a tomcat duet, and you 202 W. STATE may also run into some new and very ex­ BATON ROUGE•389-0812 citing music. 0 -Keith Twitchell

40 WAVELENGTH/MARCH 1982 JAZZ

THE THREE GODFATHERS OF ONE MO' TlME

In the development of this popular jazz musical is the story of contemporary New Orleans jazz itself.

]though articles have appeared Orange followed a few months later in Oc­ A here and elsewhere about the tober 1966. Their personalities are definite­ smash musical One Mo' Time, authored ly "Old World industrious." They worked and conceived by Verne] Bagneris, the day jobs as roofers and carpenters and musicological roots of that production played music when and where they could; have been taken for granted, if not ignored Kellin resided in an apartment above completely. In that development is a story Preservation Hall upon his arrival. They of contemporary New Orleans Jazz itself, both joined AFM local 496 (the so-called with its often awesome appeal, and a "black musician's union" before its reverence for the past. merger with Local 174 over a decade ago) . Among the musical "godfathers," if as teenagers for reasons of expediency. you will, of OneMo' Time, several deserve Orange Kellin was recorded within weeks recognition for their role in the realization of his arrival on Center Records (the tapes of the musical production; two are still of which were recently re-released by alive and one has passed on. Biograph Records). These were three disparate godfathers, Lars and Orange did more than play much like the old John Wayne ftlm (Three jazz. With almost an archaeological in­ Godfathers): John Robichaux - old New terest, they delved into the roots of the Orleans Creole, now deceased, who led a music. Living in the French Quarter they popular orchestra in the Twenties; and got to know the omnipresent jazz historian Lars Edegran and Orange Kellin, both Jljchard Allen, who was then heading up foreign born, newcomers to America and the Hogan Jazz Archives at Tulane New Orleans, both very much alive and University. Dick Allen and Lars enjoyed well and in the New York pit band of One each other's substantial record collections Mo' Time. and Lars rummaged through the archives Orange and Lars personify the drawing and discovered the original John power of jazz. Both are Swedish and as Robichaux arrangements for his famous teenagers performed in traditional jazz orchestra that was a local legend in the for­ bands throughout Scandinavia. Their mative years of jazz in the early 1900s. recordings of that period reflect promise Just how did the John Robichaux Or­ and energy. They wanted to come to New chestra fit into the development of jazz Orleans to learn about and play this music. and its impact on OneMo' Time? In the Lars emigrated first, got established, and early 1900s, the halcyon era of Buddy

WAVELENGTHIMARCH 1982 41 Bolden, Buddy Petit, and the Tios, jazz in ANGELA BOFI LL New Orleans was divided into two domi­ nant methods of playing. There was the YOU LOVED HER uptown, rough-hewn style, epitomized by AT THE SAENGER the stomps and blues that NOW, and the Sam Morgan band played. Using today's terms, it could be called primeval TAKE HER HOME funk. In fact, Bolden himself was one of the first to use the term ''funky" if we can believe Professor Morton in I Thought I Heard Buddy Bolden Say. Few of the adherents of this musical philosophy could read music, and it is this group that looked towards sources such as the and sanctified gospel church music for musical development. It was a mostly undisciplined sound. On the other hand, downtown were the Creoles, those whose forebearers had been encouraged from the days of the Code Noire that the arts were a route to the status of FMC (Free Man of Color) and social and economic progress. These musi­ cians could read music. Lorenzo Tio taught all of the numerous fine jazz clarient players that sprung like weeds in the city: e.g. Picou, Bechet, Bacquet, and Bigard. Musical training and, yes, jazz training was rudimentarily institutionaliz­ ed. 'Fess Menetta taught scores of pianists. This group found its musical inspiration in 202 W. STATE ST. 5500 MAGAZINE ST. the European tradition, the Quadrilles, the BATON ROUGE, lA. NEW ORLEANS, lA. brass bands, ihe music played for dancing. 389-0812 895-8713 This is the domain of John Robichaux, whose orchestra played amusement parks on the Lakefront for years. There were ensembles with some solo opportunities, but musical discipline was uppermost. This is the milieu that produced the monumen­ tal Jelly Roll Morton. Lars Edegran studied this music. He contacted the grand European classical composer and violinist-turned-jazz musicologist William Russell and enlisted his aid in forming the New Orleans Ragtime Orchestra. This group performed -...... -XENIA FOUNDATION the Robichaux arrangements and recorded promoting for the first remake of the finest in contemporary jazz Scott Joplin's "The Entertainer" in years presents its Spring Series (long before the advent of The String), and enjoyed commercial success. In that band, besides Lars, Orange, and Russell, was a MIKE NOCK-MARCH 25-27 lead player who had worked with RANDY BRECKER-APRIL 1-3 the original Robichaux bands, Lionel Fer­ MOSE AlliSON- APRil 9 & 1 0 bos (who is currently with the New Orleans JOHN SCOFIELD-APRil 1 5-1 7 production of OneMo' Time.) Among the -RICHIE BEIRACH-APRil 21 & 22 numbers recorded for Arhoolie were "New Orleans Hop Scop Blues" and "Shake It." The rest of the story of the birth and TWO SHOWS NIGHTLY- 9:45 & 11:45, $5 COVER flowering of OneMo' Time has been well at the FAUBOURG RESTAURANT • 626 FRENCHMEN chronicled elsewhere. However, the con­ tribution of these three jazz godfathers has not received its due. Though Lars is billed TO ALWAYS BE KEPT UP TO DATE ON OUR ACTIVITIES , CLINICS , as musical director, and Orange as WORKSHOPS, SPECIAL SHOWS, INTERVIEWS, ETC .; ADD YOUR NAME TO clarinetist, that doesn't begin to cover the OUR MAILING LIST BY FILLING OUT THE INFORMATION BELOW. contribution these two have made to the NAME ______inception of the show; and above it all is ADDRESS ______the tremendous legacy of John Robichaux and his Orchestra, whose musical ar­ CITY, STATE, ZIP ______rangements in the Hogan Archives may PHONE well have been the causative factor in the musical's production. Gentlemen, SPECIAL INTERESTS ------­ our thanks! 0 MAIL TO: XEN IA FOUNDATION, 7613 PLUM , N.O., LA. 70118 OR PHONE (504) 861 -1789. -Rbodes Speciale

42 WAVELENGTH/MARCH 1982 CARIBBEAN

TAKING HEART

Jamaican music finds a brand new label, thanks to Rounder.

he unavailability of records by most finest dub to come out of England. The T Caribbean artists has kept some whole band, including LKJ, are Jamaican outstanding music away from the ears of emigrants, and they are tremendous musi­ the average American record buyer. Until cians, playing in a highly percussive dub recently, domestic labels like Mango, style. Island, Nonesuch and Charlie's have been the only companies to distribute and pro­ Beyond World War Ill mote island sounds, and contracts with Mikey Dread these labels partially account for the Heartbeat 02 American success of Third World, Jimmy Besides being the most accessible of Cliff and Bob Marley. This month, these three Heartbeat albums, this album however, , the domestic also has the distinction of containing a TIPITINA'S label that distributes such artists as James bountiful 58 minutes of music. Mikey Booker, Gatemouth Brown and John Dread's dub is hard. What sets it apart MARCH 11 Hammond, is strengthening a movement from other dub artists like Scientist, Prince begun last year by Shanachie Records to Jarnmy, etc., is its occasional touches of Four Men. Saxoohone. Guitar. Banjo. Bass. "answer the growing demand in the U .S. non-Jamaican influences such as piano Drums. An unusual Band. Don't miss them. for true Jamaican reggae and other Third solos. The nasal quality of Mikey Dread's World music." Their newly created Heart­ voice takes a while to get used to, but beat Records label will be repackaging (but you'll learn to love its flowing, behind-the­ hopefully not re-mixing) music previously beat phrasing. This is a great album. released only on Jamaican and British 400 Bourbon labels, for distribution to stores and radio Some Great Big Youth stations throughout the United States. Big Youth 561-9231 Like Shanachie Records, which is now Heartbeat 03 II..U,-,IIual distributing the great 's Although he started his career in the Blue Monday album East of the River Nile around the typical Jamaican deejay fashion of singing .... tile iacelaparaltle country, Heartbeat is featuring some of the over other artists' versions, Big Youth now AWatlle Jab. best, but not necessarily the most commer­ writes his own music. His recording career cial, Jamaican music, and for this they has included many songs of witty and ..,...... ,. should be applauded. Their first three serious social commentary, but he has also John Magnie releases are offshoot forms of reggae: dub, always had a penchant for crooning some attlleplue deejay and dubpoetry, by Mikey Dread, songs like a Las Vegas night club singer. Big Youth and Linton Kwesi Johnson, Unfortunately, the latter style is prominent respectively. I hope that Heartbeat will on this album, reaching the lowest depth continue to pick artists of this calibre, and with "We Can Work It Out." The album that they will soon include some other is a compilation of cuts from his last three "Third World sounds," especially from albums and a recent single, all original ex­ .....,.,...., Trinidad. cept for the Beatie song. John Maple& Dread Beat an Blood The Lotions Leigh Barris Linton Kwesi Johnson Stork Records Heartbeat 01 SK-2001 • ...,.w...... ,. This album, LKJ's first, originally ap­ And last but not least, those white boys tlnSaariar peared in England in 1978. As the liner from Austin, Texas, The Lotions, have Luther Kent notes accurately claim, the album " ... is recorded their first album, and it's &Trlekbq not pleasant, it's not sweetened ... it's ge­ available around town. Anyone who has seen the band's predominantly roots reggae nuinely threatening music." The vocals ....,.,...,..,,14611 consist of LKJ's poetry, chanted in a live shows will be surprised to find this monotone that rises and falls with passion, album sounding more like a cross between Chaek Easterllq'a describing people and events of Brixton the Clash (instrumentation) and the BiiBaad and other black communities of Great Bri­ Monkees (vocals). Whether or not it sells, tain. Song titles such as "Five Nights of it was courageous to record their own .....,,...,... Bleeding" and "All Wi Doin is Defendin" music rather than relying on their immense are indicative of the nature of this record. skill at reproducing Jamaican roots reggae. To Be Almouaeed Ac.:ompanying the poetry is some of the - Gene Scaramuzzo WAVELENGTH/MARCH 1982 43 DISCO

DISCO RAP RECORDS You may think they're funny, or you may think they're irritating, but the fact is, the're the hottest sale item to come along in the record industry in years.

he OJ looks over the sedate dance "Pillow Talk," and produced one of the T floor. He knows what will get first disco hits, "Shame, Shame, Shame," everybody up. Then from the columns of by Shirley and Company (New Orleans' own his disco machine, at a decibel level slightly Shirley Goodman). It was her record com­ in excess of your everyday pile diver, pany that staked the first Sugar Hill Gang ef­ comes: fort, pulling their record company out of "Get up, get up. Ya got to get on up. five years of obscurity. Since then they have You got to get up to get down. continued with a steady stream of similarly It ain't nothin' but a party constructed 12-inchers and created a com­ That makes ya shake your body, petitive national disco rap record business. When the Sugar Hill Gang's in town." One of the appeals of the 12-inch discs is The reaction is generally the same as the price. They list at $4.99, but usually sell pandemonium breaks out and the dance for as much as a dollar less than that. Buyers floor fills . feel this is a good bargain for as much as 12 Call it mindless drivel, or call it good minutes of continuous dance music. dance music. Either way you translate it, the The strength of the rap record market is in 12-inch disco rap record has become "ab­ Los Angeles, Miami, Washington, and most solutely the biggest sales item to come along importantly, New York. New York is fre­ in the record industry in years," according to quently used as a test market for this type of business manager Stewart record, often chalking up sales of as much as Madison. 100,000 in Manhattan alone. It is no wonder The trendsetters in the disco rap racket are that most companies specializing in the the Sugar Hill Gang, that pioneered the style 12-inch rap records are located in New York with "Rapper's Delight," released in Sep­ or nearby. tember 1979. Since then, a rash of clone raps Another lure of the 12-inch record is the have invaded both record stores and the rec­ instrumental B side that is often included. It ord charts. Currently they are the strongest serves as an invitation to imitate and even sellers with the 12- to 20-year-old Latin and make up your own rap to the disco back­ black record buyers. drop. It is the perfect accompaniment for the. "That first record by the Sugar Hill popular "humpin' contests" that many Gang," continued Madison, "sold more now feature. than any single or 12-inch ever.'' Jeff Fontz, " Rap records are the thing at discos," a record buyer in New Orleans All South says Dynamite Red, a New Orleans·disco Record Distributors, concurs. "We did OJ. "They get people up to jam and dance. 30,000 on that record, and that's unheard The people really get down when they hear of." 'em." The chief mover behind the Sugar Hill Because of their popularity in black and Gang phenomenon is Sylvia Robinson, a Latin nightspots, records that are often over­ real veteran when it comes to popular black looked and ignored by radio stations still music. Robinson was one half of the blues become good sellers. And even if you dislike duo Mickey and Sylvia, of "Love Is the rap records, you still have to admit t~ey Strange" fame. Later she and her husband, are infectious . .. The worst thing about the Joe, formed All Platinum and Vibration rap record is trying to get a rap tune out of Records in Englewood, New Jersey. Sylvia your mind. [ I had a bit hit with the sensuous, not so subtle, -Almost Slim

44 WAVELENGTH/MARCH 1982 UNPOPULAR MUSIC

A TRIBUTE TO TWO TOUGH COOKIES & RESTAURANT Now serves sandwiches, Ethel Waters and Mildred Bailey were seafood, salads and two legendary songstresses whose hot lunches daily talent surpassed their peers and continues to surpass their successors. ~

f lady singers were animals, to I stretch a Grandville-like conceit, Bessie Smith would be a cow rhinoceros sending forth a mating call, Gertrude Lawrence a sleek ocelot with a bit of Mildred Bailey respiratory trouble, a Mon-Thurs, 4-7 slightly adipose gazelle that nevertheless "" and "Hot and Bothered" outruns its pursuers to their continuous and "" -but as a tangi­ & Sat, 9 till . . . bafflement, Mabel Mercer some immobile, ble force in the ensemble. Waters' incredi­ 75¢ Bar brands majestic but vocally playful matriarchal ble swing and phrasing, some of which still sea lion, Cass Daley a hyena, Billie Holi­ sounds advanced, often made her backup Fri-FREE OYSTERS day a dying lioness hit by a stray bullet that groups sound fusty and archaic as they 25¢ draft at first maddens, then saddens her, and tried to play straight melodic lines behind Sun, 12-4 of course would be a hyrax her constant embellishments - Waters -small but noisy. brings a real touch of bel canto to material $1 Bloody Marys Ethel Waters and Mildred Bailey would as diverse as "Shake That Thing," "Please 4300 LAUREL be champion Percherons - big animals, Don't Talk About Me When I'm Gone," (Corner General Pershing) powerful but capable of great delicacy, "I Can't Give You Anything But Love," putting their immense hooves just so, and the almost lieder-like reading of Berlin's 895-9130 admired as much for their discipline as "Waiting At The End Of The Road," the their imposing stature. I Jove them both. wittily topical (for 1931) "You Can't Stop Both these ladies had legendary, diva-like Me From Lovin' You." tempers and both were portly (although A brilliant actress - one fake English Ethel Waters was so attenuated at the pronunciamento on an absurdity called beginning of her career that she was "You Can't Do What My Last Man Did" nicknamed Sweet Marna Stringbean - in is followed by the growling challenge, the days of such B.K.A . 's), and both end­ "Come get me, Ethel Barrymore!" - ed badly in different ways, sick and poor, Waters is really always herself on her and both were tough cookies professional­ records. It's easy to forget the unbeautiful ly speaking (Waters' righteous tantrums on woman with the radiant grin alternating the set of Cabin In The Sky plunged her in­ with the sullen mask of her photos when to nearly a decade of obscurity despite a one hears her kidding, something she did glorious performance while Bailey didn't superbly, on tunes like "Honey In The want any of 's junk on her Honeycomb" (one of the most marvelous sides and instead opted out for the more scenes of Cabin In The Sky has an elegant­ genteel Herschel Evans), and both are ly dressed Waters reprise the song first playful, humorous-dramatic vocalists who sung by Lena Home and then demonstrate ignore fashioning musical vehicles for the what hot-mamas are made of as this over­ pop lachrymatory - Waters and Bailey dressed, corpulent woman with an unflat­ both performed blues of a sort and any tering clamped-down processed hairdo cut number of maudlin stuff, routine or not, a jitterbug to end jitterbugging) or "Am I diamond or paste, but always treating it at Blue?" with it dexterous swooping a distance. transpositions. Waters had a technique Waters is the greater singer, I guess, and that any diva might envy and, combined possibly The Great Popular Singer Of The with her sense of humor and sex and her Century; as an influence on subsequent incomparable rhythm, she remains a singing styles, she is more insidiously titaness. widespread than anyone save perhaps Mildred Bailey is, next to Walters, vir­ Armstrong (Crosby and Ma Rainey and tually a case study - unhappy because she Connee Boswell ought to be included thought she was unattractive yet, on the too). But unlike any of these singers, evidence of those who knew her, singularly Ethel Waters is the rainbow bridge be­ vain; possessed of superb technique which tween blues and bawdy-house risques and almost seems, deceptively, like laziness Broadway and Tin Pan Alley - only (like Waters, she never seems to tax her Like Mildred Bailey later, Waters ex­ voice and one wonders after a bit if this is emplified the use of the voice as another because she simply isn't daring with instrument - not in the way that Duke material - not true when one looks at the Ellington had attempted with curios like enormous range of her records) and like

WAVELENGTH/MARCH 1982 45 Waters, with a crystalline childlike tone more attuned to humor than heavy drama. Bailey, described by Henry Pleasants as "a great and lonely artist," is a sort of best­ chum-oh-you're-really-a-brick-Millie kind of gal next to Waters' capability of a surfeit of hot-cha. Bailey's romantic laments are less affecting than her records wherein the promise of happiness seems assured - for instance, "Don't Be That Way" with its hair-raising final scatted roulades, "I Thought About You" (a ren­ dition as sadly, chillingly insouciant as Bailey's definitive rendering of "Thanks For The Memory'' delivered with a breath­ taking combination of cynicism and musi­ cianship), "All The Things You Are," "I Let A Song Go Out Of My Heart," "It's The Natural Thing To Do" (a summation of Bailey's attitudes about herself, only half-joking), and the underrated tearjerker "Don't Take Your Love From Me." Her great gift as a lyric interpreter was as a humorist - songs like "Weekend Of A Private Secretary," "Squeeze Me" (there's a wonderful live recording of this with La Bailey laughing as though she realizes it would be as easy to get your arms around Central Park), "Shoutin' In That Amen Corner" and "Is That Religion?" and "Don't Worry 'Bout Strangers," the exasperated reading of "Heaven Help This Heart Of Mine," Fats Waller's immortal bit of double-entendre combined with the domestic genre still-life "A Porter's Love Song To A Chamber­ maid" ("I will be your clothespin, be my pulley line, we'll hang out together, wouldn't that be fine?") and even that much-maligned bit of High Forties esoterica "Arthur Murray Taught Me Dancing In A Hurry" - made much fun­ nier by Bailey's breathless grip on the machine-gun lyrics, the mental pictures of ' Mildred spinning through the several dozen steps named, and the out-of­ nowhere burst of lyric coloratura at the end - Betty Hutton's original rendering, all rattling milkbottles and typewriter­ carriage-speeded nail chewing and howler­ monkey vocals, pales in comparison. What makes these women great singers? They both seem to me to tower above their & contemporaries and not simply because I Custom Finishes Repairs have been listening closely to them for fif­ The Only Complete teen years; I've been listening to others that long too; certain singers represent a Repair Shop in the South triumph of hard-sell-hard-shell style over both their own vocal limitations and their trivial material. Others blend with their material sometimes giving it so much per­ sonal, confessional weight and authority that it is almost too much to bear (you can hear Piaf and going into their final tailspins on their records if you want to . . . ). Ethel Waters and Mildred Substantial discounts on all Martin Guitars and Bailey keep a middle ground, almost im­ other name brand Instruments and equipment partially applying peerless technique to a Fender, Gibson, Elektra, Alvarez, Sigma, Crate Amps, etc. large range of music. This in itself is greatness - they simply sing good songs We Service What We Sell! well and bad songs well. And without be­ ing disdainful about it, it looks like they're Monday thru Friday 8:00 to 4:30 • 4840 Banks Street • 486-3673 going to outlast their competition. 0 -Jon NewUn

46 WAVELENGTH/MARCH 1982 CLASSICAL

7713 Maple New Orleans

Roaster .. fresh coffee plus exotic teas, cocoa, and all the equipment for the SYMPHONY TO MOVE rituals TO THE ORPHEUM of friendship This fall, the New Orleans Symphony will move into its new Open 8 am-6 pm headquarters at the Orpheum Theatre, a facility reputed to have acoustics to match those of Carnegie Hall. 866-9963

n February 8, in conjunction with the great visual contrast involved in sitting Iits announcement of the details of in darkness while looking at a brightly lit the 1982-1983 season, the New Orleans stage wearies the eyes, creating discomfort Philharmonic-Symphony Orchestra for­ in the audience, and also acts as a mally announced what we have known for soporific, making attention sometimes dif­ some time: that they will move permanent­ ficult. ly to the Orpheum Theater as of the first The Orpheum is designed much like Or­ concerts on September 21-22, 1982. chestra Hall in Chicago and the Academy This is wonderful news, for it means of Music Philadelphia, both excellent that orchestra and audience will no longer halls, in that it is relatively short and high. have to put up with the abysmal acoustics The Orpheum has two balconies above the and sloppy management of the New parquet. Acoustics are reputed to match Orleans Theater of the Performing Arts. those of Carnegie Hall, one of the finest Not only does this hall swallow the sound halls in the world. Since the Orpheum is produced by the orchestra like some enor­ smaller, there should be even greater clari­ mous sponge, leaving no sizzle for the au­ ty, though the reverberation time will like­ dience, but the management and ly be shorter, too, and it is this variable stagehands have been singularly unhelpful that gives warmth to sound. But the im­ in alleviating the acoustical problems. The provement over the Theater of the Perfor­ shell which is meant to reflect and focus ming Arts in liveliness of sound ought to sound from behind the orchestra and pro­ be dramatic. And the orchestra should ject it into the hall has never been adjusted finally be able to produce the volume of correctly, not through failure of the or­ sound called for in Mahler, Bruckner, and chestra to request it. Furthermore, it was Wagner. not unheard of for plaster to fall on musi­ For the opening season in the Orpheum, cians during performance, or rain, for that only the auditorium will be completed; matter. And then, the gaping holes above later, as more funds become available, a the players remained to channel the sound lounge and bar will be added, and addi­ away from the audience. For some reason tional interior decoration will be carried that is known only to those involved, the out. An appropriate facility for players, orchestra could never be moved forward soloists, and conductor will also eventually on the stage so that its sound would not be be prepared. The orchestra especially swallowed by the backstage area, leaving needs these latter facilities after so many the impression in the hall that they just years of asking visiting artists to abide the couldn't play loudly. Finally, the lights in cement-block backstage area. the hall are kept so low during perfor­ While they are at ft, they should add a mance that nobody can see, either to read a room which could be used as a recording score or a program, or to take notes; and control and playback room. The orchestra

WAVELENGTH/MARCH 1982 47 RARE RECORDS

GAYTENILAURIE DUO STARTED rrALL "Jump Steady" Paul Gayten and His Trio with Annie Laurie De Luxe 1117 Not enough credit can ever be given to the Gayten-Laurie duo. They were the first R&B artists to record in New Orleans, they helped open the floodgate of New Orleans talent. In the late 40s, when Gayten and Laurie worked local clubs like the Robin Laurie sings in a mellow, sexy style, even Hood and the Rainbow Room, they played interjecting a few bars of . to turn-away crowds seven days a week! Gayten answers Laurie's vocals with some De Luxe Records, out of New Jersey, classy runs on the ivories. Besides Gayten, was the first company to become interested the only other backup is a string bass and in New Orleans and was the first to record guitar. other people like "Smiling" Lewis, Dave In relation to "The New Orleans Bartholomew, The Johnson Brothers and Sound," these sides are practically Roy Brown. prehistoric. But this stuff was the genius of "Jump Steady,"is a suave, uptown city the whole full. 0 blues, where the tall, tan and terrific - Almost Slim

presently is at least the equal of several or­ Other season highlights include the chestras which have recording contracts, Bruckner Sixth Symphony, to be con­ and with Entremont's programming ducted by Andrew Massey (I understand genius, could have quite a fine recording that he wanted to do the Mahler Sixth, but career, I think. In particular, the Messiaen, was refused because of the cost of the extra Honegger, Lutoslawski, and Shostakovich players required, a sad turn of events); works already performed this season could Suites 1 and 2 from Ravel's Daphnis and T H E profitably be recorded, since they would Chloe conducted by Entremont (why not fill serious lacunae in the recorded reper­ the complete score, for goodness' sake?); PIZZA toire. (I know there are innumerable recor­ the Sibelius Fifth led by Raymond Lep­ dings of the Shostakovich Fifth, but only pard; Yehudi Menuhin playing the Bernstein's two match the stature of En­ Beethoven Violin Concerto with Entre­ PLACE tremont's conception.) mont; and the season blockbuster, I 2 2 • 9 The Orpheum will get a good test on Brahm's ineffably beautiful German Re­ 0 0 3 opening night, September 21, 1982, with quiem, to be led by Entremont on March 6 2 I S T. It H I L I It the Beethoven Seventh, which can become 15 and 16. hopelessly opaque in a poor environment. The season will conclude on May 17-18 If we are lucky, Maestro En tremont will with Entremont playing the-Beethoven Se­ separate the first and second violins so the cond Piano Concerto and leading the phrases they toss back and forth to each Berlioz Symphonie Fantastique. Let us all other will sound, and the seconds will not hope that the orchestra can procure the be swallowed by facing away from the au­ proper sort of deep bells for the finale, in­ dience because of the superior acoustics. In stead of the silly chimes commonly played addition, Concertmaster Frank Gullino during the "Witches' Sabbath," and that will play the Mendelssohn E-minor concer­ enough can be found so that the notes can to. be played in octaves, as Berlioz requested. The second program, not until The chilling effect thus created can be November 2 and 3 (what are they doing heard only on recordings by Colin Davis through all of October??) will again find and the Concertgebouw and Herbert von Entremont on the podium leading Pro­ Karajan's later account. Dimitri kofiev's ballet music Romeo and Juliet Mitropoulos and Bruno Walter added a (only a suite), " for Orchestra" piano to the part to get the octave effect. Pizza by Morton Gould, and Vivaldi's The Four Other conductors include Zdenek Pasta Seasons, with Associate Concertmaster Macal, Antonio de Almeida, and Jean Nachos Joseph Kim handling the violin solos. Pierre Penin. Pianists include Byron Janis, Cellist Lynn Harrell joins the Orchestra Santiago Rodriques, Boris Block, Emanuel for November 16-17 performances of Ax, and Yefim Bronfman. Other soloists We deliver after 6 PM Haydn's D-Major Cello Concerto and include violinist Nadia Salerno Son­ Tchaikovsky's Variations on a Rococo nenberg, baritone William Parker, 11:00 AM to 2:00AM Theme. Entremont will also lead a Rossini soprano Martina Arroyo, and guitarist 7 Days a Week overture and Capriccio Espagnol to show Carlos Bonnell. 0 off his orchestra. -Stuart Wood 48 WAVELENGTH/MARCH 1982 REISSUES

ENTERTAINMENT CONSULTANTS AMBER THE DARK STAR DESIRE ORIGINAL E.L.S. VERSION ODYSSEY OPUS Atlantic reissues raise memories of PARIS growing up to Clyde McPhatter, PENNY LANE Poppa Stoppa, and those wonderful come of record-buying age during the Fif­ 4Ss on the red and black label ties. Whenever I could scrape together SPARKLE with the large letter A. enough change, I'd buy a 45 or two. My STARS OF GOLD collection was pretty predictable stuff for that time: "The Great Pretender" by the T-BIRDS he Japanese are beating us at our Platters, Les Baxter and his orchestra's Town game. That has been the "Poor People of Paris," AI Alberts and numerous newspaper editorials, cover . the Four Aces' "Love is a Many­ were also For Information on these and stories in the glossy newsmagazines, and Splendored Thing." There a other groups: Segment Threes on the nightly news. Once goodly number of "covers" of what was synonymous with shoddy goods, "Made then euphemistically called "race (504) 488-0852 in Japan" today evokes the latest in records": Georgia Gibbs' version of P.O. Box 50842 technology, durable goods, and cost­ "Dance With Me, Henry," "Sh-Boom" New Orleans, LA. 70150 efficent management. Now rhythm and by the Crew Cuts. Several 45s are really (504) 346-8256 blues enthusiasts are also looking towards too private to mention: I believe in 4008 Hyacinth-Suite 105 the Orient for recordings either no longer discreet limits to confessional writing - Baton Rouge, La. 70808 available in the States - their port of I'm easily embarrassed. origin - or re-issued in sound distorting Perhaps my favorite group of that time re-channeled versions on poor quality was Bill Haley and the Comets - the very vinyl. first album I ever owned was Rock The initial releases in a series titled R&B Around the Clock. One day I was stand­ Forever are starting to trickle into this ing in line in the school yard to get a drink country. A major portion of this laudable of water talking to a classmate named undertaking is being devoted to re-issues Harold Thomas about how I couldn't of the earliest R&B releases on Atlantic wait to get a copy of Bill Haley and the Records. During the early mid-Fifties, Comets' "See You Later, Alligator." Atlantic was R&B for many radio Harold was someone you had to take listeners. Purists might object to that stat­ seriously - he had a flat top (not a crew ment, citing co-founders Ahmet Ertegun cut like the other rowdies) and actually and Herb Abramson as popularizers (hor­ wore blue suede shoes; in fact he was the rors!), not purveyors of R&B in its only person I've ever seen who wore blue crystalline form. That may indeed be the suede shoes. He was also a very bright kid case - my purpose here is not a scholarly - as he was quick to tell you - and the piece on the earliest manifestations of subject of copious notes confiscated by R&B form - but those first Atlantic the nuns from the clutches of fifth grade recordings of Joe Turner, , girls at Sacred Heart grammar school. LaVern Baker, Chuck Willis, Ruth When I mentioned Bill Haley and "See Brown, the Clovers, , the You Later Alligator," Harold gave me a Drifters, and of special interest this look of utter disgust and proceeded to in­ month, Clyde McPhatter, brought the form me that the original version by Bob­ music to a large audience, expanding its by Charles was the one to own. Fancying appeal to whites as well as blacks, but myself quite knowledgeable about the hit without diluting its peculiar flavor, parade, I felt crushed by this revelation. without destroying its essential character. With no little relish, Harold informed me I've always found myself impatient with that if I tuned in to W JMR and the Poppa fans who zealously guard their "dis­ Stoppa show I would know about these coveries," never missing a chance to com­ things. That evening - actually, late plain about the wider public's failure to afternoon, since W JMR was dawn to appreciate their genius, and then grousing dusk station - I dutifully searched the ad nauseaum when an artist's popularity dial for Poppa Stoppa, and when I found brings him or her fame, money, a comfor­ him, if I may paraphrase a Lou Reed table existence. The erstwhile apologists song, I couldn't believe what I heard at feel betrayed. all. Number one on the W JMR charts was My own introduction to R&B is pro­ "It's Too Late" by Chuck Willis. I had bably not very different from that of never heard it nor did I know who Chuck many white New Orleanians who had Willis was. I was shaken.

WAVELENGTH/MARCH 1982 49 The following Saturday, Harold took Richard and Ray Charles put out better me down to what he called a "one stop" records perhaps, but their style was on South where he bought already more rock 'n' roll than rhythm all his records. Harold always had a good and blues. And though there was no cash flow, and my eyes popped and my dearth of extraordinary black vocalists, jaw dropped as he blithely purchased half no one had as unique and distinctive a a dozen records. Most were on a red and voice as Clyde McPhatter. black label with a large letter A - Atlan­ Of the two reissues, the first, titled tic Records. simply Clyde (P-4584), serves as an ex­ Shortly afterwards, I became a regular plemplary introduction to those un­ listener of the Poppa Stoppa show and I familiar with McPhatter's style. Material started buying rhythm and blues records included ranges from a couple of ballads - most of them on the Atlantic label. recorded during his Drifters days, Even if I had never heard of a particular "Gone" and "Lucille," to his million artist, if he or she were on the red and seller, " A Lover's Question." There are a prothers black label, then I simply had to hear that large number of ballads, but it's McPhat­ record. To this day, I get a rush when I see ter's cutting-edge tenor that keeps these the original Atlantic label that is still used lovesick yearnings from having that thick, The Blue fipers on the company's singles. Groups like the syrupy consistency that even the best doo­ J. Geils Band, Firefall, the Manhattan wopping of the period found difficult to Transfer, and Chic have routinely avoid. Sometimes his squeals sound as if employed that original logo on their someone had just pinched him and his album product instead of the standard yelps evoke unspeakable erotic practices. orange and green label. McPhatter could cut through the mush One of the first groups to record for and find that raw bone of hurt and pain Atlantic was The Drifters; what the and ecstasy and delight. And it was Supremes were to later become for definitely more in his voice than in the Motown, The Drifters were to Atlantic songs. during the Fifties and into the early Six­ The second reissue takes its title from a ties. Originally formed by Clyde McPhat­ track that was McPhatter's first big ter after he left Billy Ward and the crossover to white radio stations, a song Dominoes, The Drifters would go that created panic at Sacred Heart school through a succession of personnel over dances of the period; yes, I'm talking the years. Yet with the exception of Ben about "Treasure of Love," a nothing E. King, Clyde McPhatter would remain special tune with lyrics like: their most widely acclaimed lead vocalist. The Treasure of Love is found on no He would record only a half dozen ses­ chart sions with The Drifters, but a few land­ To find where it is just look in your mark singles would mark that period. heart. "Money Honey" would burn up the R&B Until "A Lover's Question," it was charts in 1953, followed closely by probably McPhatter's most popular "Honey Love," the highly suggestive single. Its lush orchestration made it more "Such a Night," and a rendition of palatable to those who like their ballads "White Christmas" that still receives soothing, and there were no outrageous some airplay during the holiday season. whoops or cooing or vocal pyrotechnics. Shortly after this early success, Clyde McPhatter did it "straight." At this junc­ received Greetings from Uncle Sam. ture, one could conceivably make a case Upon his release from the army, Clyde that Atlantic had indeed begun to desert decided to pursue a solo career. He had its commitment to popularize genuine one "monster" hit in 1959, "A Lover's R&B by watering it down for the largest Question," after which he would leave possible audience. Except in most cases, Atlantic and sign with MGM, effectively the artists themselves were more than will­ ending his R&B period as he embarked on ing to assist in the process in order to ex­ a more "pop" style in search of that mass pand their base audience. audience that would elude him till the The Treasure of Love (P-6185) album time of his death in the early Seventies. provides the opportunity for the listener His last days were spent in relative to decide. "Money Honey" and "Such a obscurity, and according to most reports, Night" are juxtaposed with ballads like in a losing battle with the bottle. the title cut and "You Went Back On Those epoch-making sessions with The Your Word" and late Atlantic rockers Drifters have continued to be available in such as " Hot Ziggity" and "Go! Yes one collection or another over the years, Go." Whatever the style or tempo, there but McPhatter's solo recordings on remains that incredible tenor voice that Atlantic have been unavailable for quite was the young Clyde McPhatter. He some time. Now a Japanese firm has re­ could sing nonsense syllables and it would issued two of those albums, a cause for re­ probably have been just as deeply moving joicing among hardened R&B fanatics. and exciting. It has been said of the stars While it's always dangerous to make of the early days of the silver screen that sweeping generalizations, I think I could "they had faces ." That might be proclaim that McPhatter had the most in­ paraphrased to apply to the early rhythm teresting voice in R&B during the Fifties and blues artists, and most especially without too many death threats from par­ Clyde McPhatter, as "they had tisans of other legendary musicians of voices." 0 that period. Chuck Berry and Little -John Desplas

50 WAVELENGTH/MARCH 1982 ZEKESPEAK

MUSICAL A New Era WHIMSY In Live Entertainment {:l PRESENTS Zeke Fishhead takes us on a Fri. & Sat., March 5 & 6 whirlwind, serendipitous tour of local ~ and national happenings that have TA Y ETTE caught his fancy.

atching the Dirty Dozen Brass Band - the whole gang is great, right there in WWednesday, January 6, at Tip­ the same alley with Champion Jack. itina's, was like . catching the first fresh Champion Jack plays and sings like the most totalized wharf rat, barrelhouse ~1 ~ breeze of the new Carnival season. I hear -«-- ~ -- _I.J tell the Dozen have been together well into piano player of all time and space. The The First Lady of five years. Their music was both timeless material is way, way down there: "T.B. and contemporary. Bass drum, snare Blues," "Bad Blood," "Junker's Blues," ~ Thurs., March 11 drums, tuba, , , "Can't Kick the Habit," and don't forget THE baritone (or was that bass) sax, and alto "Nasty Boogie." Catch it 'fore it slip VOLTAGE BROTHERS sax. The Dozen play street music that has away. Super Hot Funk n' roll from Atlanta come full circle: parade through I finally latched on to the whole 73 through Perez Prado minute cassette of David Byrne's The Fri, March 12 through Professor Longhair to out-and­ Catherine Wheel (SIR M5S 3654~ which TOPCATS out funk like "Feets Don't Fail Me Now," contains about a half hour more of in­ which if they didn't write, they make whol­ strumentals not found on the LP, SRK Sat, March 13 ly their own - to the point of jumping in­ 3645. Stylistically, Wheel has elements of JERRY REED to the audience, rubbing bellies with young the Heads' Remain in Light and Byrne and thangs, and exhorting the audience to take Eno's Bush of Ghosts, but forges ahead in­ 'em all off - their shoes, that is. to landscapes of sound only hinted at Throughout all his films, Federico before. "Combat," written by Byrne and Fellini has used the extended metaphor of collaborator John Chernoff, lopes along in the circus to represent all life. The late an amazing funk, Byrne edging in some Nino Rota provided the musical shape to brittle, blue guitar, a piano chord (­ Country Superstar Fellini's vision-recapturing wonder in noff or Bernie Worrell) hovering nearby. everyday existence. Hal Willner commis­ "Dense Beasts" begins with organ (Jerry Frl, March 19 sioned a potpourri of jazz, semi-classical, Harrison) and all these deep-breathing, ~ DARK STAR cavernous beasts (David Byrne), and slow­ and pop musicians to arrange themes from Sat, March 20 Rota's Fellini scores. These arrangements ly turns into an almost prayer-like, singing are assembled on an LP, Amacord Nino processional. "Beasts" and "Combat" are 24·K and ROULETTE Rota, (Hannibal Records, HNBL 9301) on the cassette, but not on the LP. Wed, Marcn 24 which is both a wonderful invitation to "Wheel" was commissioned by a dancer, BRENDA LEE those unfamiliar with Rota's music, and a Twyla Tharp, and is vibrant, atmospheric All Time Favorite/Tentative refreshing, more intimate exploration of dance music. themes, more often than not giving heavy Garaldo Carneiro, in the liner notes to Thurs, March 25 ..tJ.. string orchestrations. Jaki Byard's here, Egberto Gismonti's double-album, San­ A Tribute to Jlml Hendrix solo. Steve Lacy's soprano sax and gong fona (ECM-2-1203), describes the record PURPLE render "Roma" in an unearthly light. as "a trip through Brazilian rhythms, HAZE EXPERIENCE Branford and are part of musical forms, and popular festivals." a sextet that blows warmly on some One LP is Egberta's quartet, with Egberto WI KEYSTONE familiar themes from not-so familiar blowing mostly piano; the other LP is Fri, March 26 Fellini films. Carla Bley does "81/z" and Egberto solo, mostly guitar. What comes Deborah Harry sings wordlessly during a through is all magic. As far as records go, THE segment of "La Dolce Vita Suite." Egberto is the foremost musical shaman in NEVILLE BROTHERS A special delight is the Japanese reissue the world right now. I keep scratching out " " of 's Blues in the all these sentences, trying to sum up, pin­ Sat, March 27 Gutter (Warner-Pioneer P-6183A). First point. It's useless. Read the liner notes: released in the late Fifties, this is one of the they're informative and illuminating. PERSIA gutsiest records ever From the free-form madness of the recorded. Champion Jack has a real quartet's "Frevo" to Egberta's 'poignant 3501 CHATEAU BLVD. "down" band on these sessions: when they singing in the closing solo piece, "Carta De AT WEST ESPLANADE IN KENNER lay it down, it stays down; and when they Amor," this here LP is one hell and 466-3333 heat it up it get hot. Drummer Willie Jones heaven of an exhilirating experience. CALL FOR CONCERT UPDATES and guitarist Ennis Lowery, alto saxist Amen. 0 Pete Brown and bassist - Zeke Fisbbead WAVELENGTH/MARCH 1982 51 walking• running • working • skating • bicycling • sunning • exercising • reading • studying • skiing • driving • writing • mowing • Walkman. It makes all these things of separate high fidelity components. more fun, more enjoyable. Why? Sony pioneered the transistor radio, Because now you can do them while tummy TV's, big portable radio­ listening to your favorite music - in cassettes, and of course, Betamax. Now stereo, with high fidelity sound quality. Sony brings you tiny personal stereos. What is it? It's a tiny stereo While other companies are just now cassette player. It has no speaker, but bringing out their copies of the comes with an ultra lightweight set of Walkman, Sony is introducing the sec­ headphones. They are so lightweight you ond generation - the Walkman 2. It's hardly feel them. You can listen for smaller and better than the original. It hours. has soft touch controls like an expen­ And what you hear is fantastic sive home component, and the batteries stereo sound. The bass is astonishing. last longer. It's even cheaper. The highs crystal clear. The stereo effect Sony, the one and only Sony excellent. The Sony Walkman weighs Walkman. It's incredible. less than a pound and sounds like a ton

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The New Tiny The FM Walkman The New Economy The Walkman Stereo Walkman WM2 Stereo Radio SRF·40w Walkman WM1 Recorder TCS·31 0

7323 Freret Street 3213 17th Street Uptown near Broadway Behind Lakeside 834-7772 866-3579 10-9:30 Mon-Thurs 10-7 Mon-Thurs, 10-6 Fri & Sat 10-6 Fri & Sat REVIEWS CATCH A RIDE ON same volume of sound. But the quality is THE "A" TRAIN unmistakably there. The Schumann overture began with great promise because of the rich tone, due, I suspect, to the use of Schumann's own orchestration instead of one which removes the wind and brass doublings. But the program booklet was silent on this point. Unfortunately, the allegro was slack, and Hoffman schlepped through the rest of the piece. This overture needs thrust and momentum, and sharp attacks on chords. It didn't get them. At the finale, the brass should blaze. Here, all they did was contribute weakly to the "warm Romantic glow." WEDNESDAY, MAR. 17-THE ROCK The less said about the Mozart concerto LAFAYETTE the better, for it was a superficial, som­ FRIDAY, MAR. 26-FACES nolent, and soporific run-through. The BATON ROUGE strings needed more bite, the winds and horns needed to be clearer, and chords SATURDAY, MAR. 27-TUPELO'S needed sharper attacks. There was much sensuous playing in the Mahler, but such glorious technique had THE SECOND ALBUM IS "OVERDUE" AVAILABLE AT LEISURE LANDING no art to serve. It is not enough merely to AND MUSHROOM RECORDS beat time for this music; it is more than a collection of pretty sounds. Mahler meant FOR FURTHER INFORMATION CONTACT New Orleans Philharmonic to move his audience to feel deeply in Symphony Orchestra response to his music, and despite his SOOTO RECORDS disavowal of programs, this symphony 205 E. KINGS HWY. At The Theatre does have extra-musical meaning "where SHREVEPORT. LA 71104 Of the Performing Arts the dark feelings hold sway, at the door (31 8) 865-5682 December 1&2, 1981 which leads to the other world . . . " A per­ formance must do justice to the emotional (318) 227-2682 dimension in order to be legitimate. Hoff­ Irwin Hoffman, guest conductor man's did not. Frances Veri and Michael Jamanis, Many details testified to this duo-pianists carelessness. The opening of the first Schumann: Overture to Genoveva movement was played about mf instead of SEE DICK SEE JANE Mozart: Concerto for Two Pianos in Mahler's pp!ppp, while when the develop­ Eb,K. 365 ment began, the orchestra showed they Mahler: Sympony No. 1 in D could sustain a true pianissimo. The trumpet fanfares, which Mahler asked to A most un-memorable-not to say be played offstage "in the distance," were boorish-evening. Irwin Hoffman seemed played from the stage. Although the choir a pleasant person, and he was a delight to balances throughout the frrst movement watch as he rose to Stokowskian heights of were superb, with winds properly batonless adroitness (conducting from dominating, the string entrances and cut memory except in the Mozart), but he also offs were uncharacterful, too smooth and seemed not to care especially for the music, without inflection, and the glissandi, while and he refused to become involved in it. attempted, were inaudible. Hoffman omit­ That went double for the duo-pianists, ted the exposition repeat, and while that is last-minute replacements for Gold and Fiz­ a tradition from Bruno Walter, it remains dale (Fizdale is suffering from bursitis), true that Mahler indicated only three THE SHOW who played the Mozart (admittedly one of repeats in all his work: he must have meant his less-inspired works) with all the anima­ them. The outburst near the end of the featuring tion of clockwork dolls. It hardly seems movement was weak and static: the tempo necessary to have preserved that particular needs to be quickened here to build excite­ TIME ZONE Mozart concerto after Gold and Fizdale ment, and the brass must be really loud. a rock performance piece became unavailable. Indeed, the entire performance was Such pedestrain conceptions from the characterized by far too much restraint of TIME ZONES ONLY MARCH APPEARANCES conductor and soloists are all the more the brass, particularly the lower-pitched in­ lamentable because of the beautiful play­ struments. (It may well be that the space WEDNESDAY, MARCH 3 ing of the orchestra, except for a horn above the orchestra robs the music of its TUPELO'S catastrophe at the climax of the Mahler. impact. We can look forward, therefore, Indeed, throughout the evening, the wood­ to the excellent acoustics of the Orpheum, WEDNESDAY,MARCH17 winds distinguished themselves with lovely where the orchestra takes up residency in tone and highly artistic expression, within September.) JIMMY'S the severe constraints established by the Again in the second movement, inflec­ conductor. Our winds qualify as a world­ tions were missing, especially where the BOOKING INFORMATION class section. Strings, too, sounded very flutes must toss off a figure by snapping up fine, both in tone and articulation. Of the end note. The repeat was observed CALL 861·1631 course, lacking the body of numbers of the here, but the very end did not open up or larger orchestras, they cannot give the accelerate as Mahler indicated. WAVELENGTH/MARCH 1982 53 The first tempo of the third movement was much too fast, precluding contrast with the macabre mocking by the animal band when they are alone deep in the forest. There was a bit too much discrepancy between the timbre of the solo bass and the solo bassoon at the start of the movement. And Hoffman rode unfeel­ ingly through the trio, failing to evoke the sadness of the hunter's family as they kneel about his bier in the clearing before the animals carry him off again to the Fire. The last movement is supposed to begin with "the sudden outburst of a deeply wounded heart." Not here: a very well­ behaved and restrained heart it was to Hoffman. The last movement continued from there: rockbound with clipped wings. All the haltings, retards, accelerations, and explosions Mahler indicated went unheed­ ed. The march which climaxes the symphony (taken from "and He shall reign for ever and ever" from Handel's Messiah) dissolved into nothingness as the standing horn players missed and cracked notes while they failed to articulate. Hoff­ man's tempo was also too fast for real HEAD EAST triumph, and he ignored the "triumphal - don't hurry" instruction at cue 56. And MARIA MULDAUR then he rushed through the coda. Why do people insist on programming works for POT LIQUOR which they have no special feeling or AVERAGE WHITE BAND understanding? -Stuart Wood RICK DERRINGER RARE EARTH Live ... HERMAN'S HERMITS Magic Delmark 643 IRMA THOMAS PERCY SLEDGE This is a tough review. I don't know where to start because it's going to be im­ possible not to sound like a babbling star­ struck teeny hopper. I've had this two-record set for three days and it hasn't left the turntable yet. Unreleased live Magic Sam material from the 1969 Ann Arbor blues festival and the Club Alex in 1963. This album I don't believe is possible, even though I'm play­ ing it rig~t now. Unsurpassable packaging, and twenty unissued cuts by a man I con­ sider the greatest guitarist who ever lived. - Almost SUm

Tokyo ... Live AI Green Vivid 426005

Since Reverend AI has boarded the gospel glory train, this might be the last taste of AI Green in a "worldly" vein for awhile. Although Green still gets stirred up (he recently proved this by leaping through BRINGING a glass alter in his Memphis chapel), his /TALL spiritual fire doesn't blaze like the infernos he ignited as a rose-toting soul stylist. TOGETHER This two-record set dates from a couple of years back, capturing AI in first-rate form. No surprises on this, really. Green strings together a decade of his greatest

54 WAVELENGTH/MARCH 1982 hits, teasing and pleasing the Japanese folks all the way. "I Feel Good" stands out and of course "Love and Happiness" is the show stopper, but where was "Take Me To The River"? There are one or two rough spots, and I'd have to say four sides of AI Green is a bit much in one sitting. The subtle sex ap­ peal that Green's original flaunted isn't as obvious. Trust me, though; most of today's con­ temporary black music can't hold a candle to this record. -Almost SUm

The Million Dollar Quartet Presley, Lewis, Perkins, Cash Sun 10006

If this sounds to you like a bunch of good old boys sitting around singing spirituals, it is! The Million Dollar Quartet consisted of Elvis Presley, Jerry Lee Lewis, Carl Perkins and Johnny Cash - although Cash is nowhere to be heard on this disc. Much controversy has surrounded this session since the boys from Sun sold Elvis's contract to RCA and one of the agreements of the sale was that Sun would issue no more of Elvis's material. Ap­ parently RCA has sued Sun and Charley (who leases Sun material in Europe) over the release of this album. Elvis fans will dig the "Quartet," because besides taking most of the leads, Elvis doubles on the piano. Perkins and Lewis manage some good licks; however, Carl's guitar is especially hot. Be forewarned: these recordings were Attitude Productions never intended to be released commercial­ Presents ly, so don't expect anything polished. They are valuable from an historic standpoint, and should be viewed as such. The studio banter between the songs is especially in­ teresting. For specialized collectors only. -Almost SUm

Rick Derringer At The Palace Saloon February 7, 1982

If you could withstand the $8 cover and the Sunday blahs, it was worth making 887-7068 your way out to the West End for this rock 'n' roll treat. The opening act was 24K, with guitarist Lance Bulen replacing Danny Duplantier while he's away getting educated in Boston. (Correction is due for my last ar­ ticle on these guys: Duplantier was guitarist, not drummer; Stute is the drum­ mer. High energy abounded as they paved Attitude is Complete Production - the way for a much anticipated set by that Rock Hero, that Legend of Hotel Rooms Sound Systems, Equipment Rental, Booking, etc. and Broken Hearts, Rick Derringer. "Leave ';e:J:ON to Us!" Still sporting the same boyish haircut J4 and still possessing the same boyish drive to lay down straight ahead one-four-five rock 'n' roll, Rick Derringer materialized on stage with his latest three piece touring WAVELENGTH/MARCH 1982 55 band to an enthusiastic crowd. The single set lasted about forty-five minutes, begin­ ning with the title cut from his 1979 solo LP, Guitars and Women, and moving on to less familiar though hardcore rockers with which he proved that he can still boogie-woogie, even if the All-American Boy is pushing 35. Although Derringer's style hasn't changed much in a lot of ways - he still insists upon lyrics like "motels and cute girls" - he has come far enough along to be able to play just about anything he damn well wants and have the audience eat it up. A new number, apparently writ­ ten for this tour, sounded autobiographical: "I play guitar, I play for keeps .. . , " starting off slow and picking up tempo, interspersed with a lot of heavy guitar leads and sporting a Big Ending. Most of the numbers had plenty of screaming and Big Endings, as might be expected from a veteran of such groups as Edgar Winter's White Trash. " Hootchie Coo" was the obvious favorite of his fans, and Der­ ringer didn't let them down. He juked and jumped his way through it with an ad­ mirable freshness, especially considering that he must have played this one thousands of times by now. I panicked a bit when the band reap­ peared for an encore and went into an in­ strumental-my own personal fave jam hadn't been performed; maybe he though the crowd was too young to remember it? But my fears were dashed when they lit in­ to "Hang On Sloopy," the real McCoy. The audience remembered. Still a rock 'n' roll hero after all these years. -Tanya Coyle

Tim Youngblood "I Don't Wanna Give Up"/ "Just Getting Along" Good News TY10001

Tim Youngblood, previously with the Mechanics, has released a 45 rpm single that illustrates how successful a self­ produced disc can be. Youngblood, who sings and plays keyboards, is backed up by Don Wightkin on drums and Kevin Mahoney and Buzzy Langford on bass. There is no lead guitar work, but Youngblood's keyboards are innovative and attractive, and on occasion he even ripples out guitar-like riffs, easily filling up 4 Faces-Ba ton Rouge any possible gaps in the sound. 6 Maple Leaf The two songs are both penned by the 11 Blues Saloon artist. "Don't Wanna Give Up" is a tight, 12 Grant Street Dance Hall-Lafayette well-constructed piece, interesting but not 13 Tipitina's overly distinctive. It is up-tempo, and :I: 17 Tupelo's Tavern Youngblood's voice seems a little taut on (.) 19 Drea m Palace occasion. "Just Getting Along" is more a: 25 Tipitina's ethereal, smoother, and the vocals are 26 Maple Leaf easier, somewhat reminiscent of Kraftwerk

56 WAVELENGTH/MARCH 1982 with the status quo is common to both, and Youngblood's response is to persevere, to search for another way. "I Don't Wanna Give Up" has the vocalist asking about other ways of doing things, and discusses a relationship that is difficult but worth pursuing. The chorus of "Just Getting Along" runs "Maybe a change will free us/ There's got to be more than just / Getting along," reflective of the ar­ tist's desire to push forward. The music here is impressively tight and fresh, well-recorded (by Buzzy Langford at BB Recording Studios) and eminently listenable. A highly promising first solo ef­ fort. - Keith Twitchell

Dreamland At The Prytania Theater LOUISIANA'S OWN February 5, 1982 : COPAS BROS. Dreamland is a feature film, based on For the Hottest. Honky-Tonldn'. Shit-Kickin' Dance Music Around the struggle of Lady B.J. to become a pop singer, which premiered at the Prytania in Tuesdays, Wednesdays. Thursdays-HIRED HAND SALOON early February. It was produced by Nancy lD the Elmwood Shopping Center and Jonathan Statkakis. Baker Saturdays, Sundays-BIG JIM'S SILVER DOLLAR SALOON film about a local artist Fridays, Any thoughtful at 327 Bourbon Str-t is most welcome, and Dreamland is, in parts, a sensitive and moving treatment. Friday, March 12-RIVERBOAT PRESIDENT The narrative follows her from roots in the Also available for private parties and conventions gospel community through nightclub ap­ pearances with pianist Henry Butler show­ 865-1100 or 861-0908 ing the difficulties she faces, including those with her mother, who tells her tore­ main true to the spirituals, and a scheming manager, well played by local lawyer Charles Elloie. Some of the most powerful images of New Orleans music take place in a church where B.J. performs with the magnificent Gospel Soul Children choir. Nevertheless, the film falls far short of an intelligent story-line. Before the show­ ing at the Prytania director Oz Scott told and audience that he was called in late on the project. Apparently, the producers had come to New Orleans unsure of what kind of film they had in mind, shot much footage of Mardi Gras and the French Quarter, and by the time they found B.J. and decided to structure the fllm around her as a docu-drama, money was running out. That's a pity, since B.J.' s story is con­ sistently interrupted by Mardi Gras scenes, parades, Pete Fountain's marching club, the general hoopla of Carnival. And these scenes make no sense whatsoever in the larger flow of pictures. The fllm suffers badly from a lack of focus. The Mardi Gras and street footage is extraneous, detracting from the real subject matter of a young singer making the transition from gospel to pop music. Certain scenes have a lasting quality, however, as when B.J. strolls through the Quarter talking with jazzmaster Harold Dejean about her plans and the older musi­ cian gives her fatherly advice. Late in the film, as she is pondering a move to New York under questionable circumstances,

WAVELENGTH/MARCH 1982 57 Dejean says, "Sign a contract before you go." Another solid episode occurs at Mason's Las Vegas Strip. con­ cludes a song in her inimitable fashion and turns the mike over to B.J. After the per­ formance the two women talk backstage. Again we find an older musician giving B.J. counsel, warning her of pitfalls ahead. Dreamland was shot without a script. Musicians and local people speak a natural dialogue that comes across in the best documentary fashion. In certain of these scenes the portrait of New Orleans is rare and supremely realistic. We see B.J. in the backyard of a neighborhood, far from the stereotypical environs of the Quarter, talk­ ing with other black women as they tend to their children. One woman says of New York, "They're not like us up there." A FRI.e..S-11'30 P.M. tropical ambience filters through certain SPANKY'S-GRETNA, LA. sequences, making it reminiscent of Black SAT., MARCH 6-10:00 P.M. Orpheus and scenes of Rio de Janeiro. HAMMOND SOCIAL CLUI HAMMOND, LA. Nevertheless, a film must be judged on SAT., MARCH 13-10:30 P.M. its final cut, and the larger product fails LITE'S FANTASTIC-CUT OFF, LA. badly. B.J. is an excellent singer well SAT., MARCH 20-2:00 P.M. showcased here. It's certainly a film worth AMITE OYSTER FESTIVAL seeing, but the footage which appears out AMITE, LA. of context illustrates problems faced by the FRI. & SAT., MARCH 26 & 27-10:00 P.M. producers. The editing is choppy in several IOJANGLES-GRETNA, LA. parts but Lady B.J. can be very proud. FOR FURTHER lAND INFO: CALL 340-9977 or 436-7482 -Jason Berry

ROCK & ROLL AT IT'S FINEST At The Faubourg Jazz Club January 29, 1982

Xenia Foundation has geared up for the Spring 1982 season by presenting tenor saxophonist Arnett Cobb, with pianist Ellis Marsalis, bassist Chris Severin and Julian Garcia, on drums. The group created a warm, relaxed atmosphere, eas­ ing through a list of standards of the caliber of "Take the A Train." "Closer Walk With Thee" and "Nearness of FRIDA!: MARCH 5 You." Z~:.BRA If you are tired of the standards SATURDAY, MARCH 6 regardless of delivery, then this show was FULL CONTACT not for you. But if you have a soft spot for WEDNESDA~MARCH10 the faithful chestnuts played with en­ THE SHEIKS thusiasm by four musicians having an ob­ FRIDAY, MARCH 12 vious affinity with the blues, then you will THE CONVERTIBLES definitely want to catch Cobb if he comes & THE T-BIRDS back to town. SATURDAY, MARCH 13 Friday 5 at the Showboat Arnett Cobb plays with the soulful RZA, MIRRORZ depth which is exhibited by so many other FAMOUS MONSTERS Saturday 6, WPRG marathon WEDNESDAY,MARCH17 Texas jazzmen. In the brotherhood of Ed­ THE SHEIKS at Mother's Mantle in Baton Rouge die Vinson, Fathead Newman, Cedar FRIDAY, SATURDAY, MARCH 19&20 Walton, T-Bone Walker, and BuddyTaten THE SHEIKS Friday 12 at Jimmy's with the Cold naming a very few, Cobb injected his WEDNESDAY, MARCH 24 special freshness and joy of playing into THE SHEIKS Thursday 18 at Jimmy's each selection. Each tune provided con­ FRIDAY, SATURDAY, MARCH 26&27 siderable improvising space for the show's THE KNIGHTS Thursday 25 at Mother's Mantle two stars, Cobb and Marsalis. DEAN DARLING & Cobb's breathy tone and light-hearted THE WANDERERS from more information melody treatment complimented the soft CAU. FOIIIW!llll'ED CONCERT ~liON call 282-1088 but decisive Marsalis touch. The fact that 2125 HIGHWAY 90 WEST Singles buttons now available all tunes were presented in a straight ahead Avondale, La. 436-3000 bop rhythm did not impair the interest 58 WAVELENGTH/MARCH 1982 level. Cobb's choice of material was not surprising since many of the tunes appear on his latest album, Funky Butt, with pianist Derik Smith. The group at the Faubourg had practiced together only briefly, so the familiar material allowed the players to ease through the show with the abovementioned relaxed feel. The ex­ ception here was drummer Julian Garcia who needed more practice with the group. Garcia was replaced on the second night of Cobb's engagement by John Vidacovich who has had more experience " sitting in" and who has a highly developed sense of listening to what the other guys are doing. Marsalis was in his usual good form. In­ deed, highlights of the evening were two trio numbers where Cobb let the rhythm section take the spotlight. Marsalis broke up the rhythm playfully on "I Got It 4 Bad." "Jitterbug Waltz" was slowed ~~~~;T M~:~~H 5;~=-~~8~Fo~J~X~~~N~ExAS somewhat from the way it is commonly WED., MARCH 10-JUNIC?R'S-HAMMOND , yet retained its sprightliness. Mar­ FRI MARCH 12-JIMMY S heard SAT' MARCH 13-VFW HALL, GRETNA, LA. salis dropped the melody notes around the TUES MARCH 16-LAMAR-JACKSON, MISS. beat on "Jitterbug" like a master. Hearing WED .,MARCH 17-FACES-BATON ROUGE, LA; Marsalis on the Faubourg's Yamaha is a FRI.SAT., MARCH 19 & 20-STEAMBOAT ANNIE S real treat. SHREVEPORT, LA. N LA Severin's playing was good. He had little THURS., MARCH 25-LA. TECH-RUSTO ' . difficulty following Cobb's directions while giving good support. I hope Xenia will continue to seek out new rhythm members. It would be too bad if the word got out that New Orleans has only one capable rhythm team. For further information call 861-0063 The Faubourg is establishing an ad­ ~ mirable reputation as a jazz club, but management is well advised to take steps to increase the seating capacity of the club area. Latecomers to the Cobb concert had One of the Most Complete 8 Track to stand in the back row. Recording Facilities in the South! ....__. WYES-TV taped Saturday's show and will be airing it as a one-hour special. No No Charge for Set-Up Time ~~\.f'. mention was made of a stereo simulcast , but let's keep our fingers crossed. For lnfonnation < ---.t\\~~V - Brad Palmer .,.... ¥ Call 24 Hrs. -~~~-" Jingles 504- 392-SJ93 ~"' .\., Bulk Rates Bayou Beat ...,..;-.tOf ~·· '"'" Copies Various Artists .,,... 0 ..~ Mastering Flyright 581 Arranging Rehearsal Rates what Mmmm. Don't really know just 900 Seventh Street Gretna, La. 70053 to say about this one. Covering the 1958- 1963 period, it's a quite fascinating mix­ ture of rock 'n' roll, doo wop, ballads and Musical Instruments cajun. J. D. Miller was really trying to Prufessional Sales Service Rentals g broaden his product at the time, releasin 900 Seventh Street, Gretna, La. 70 053 ;fv;~ both hits and misses, as this volume il­ lustrates. If you treat Miller's releases with - DISCOUNTS UP TO 50% - ~am HIIIJS the kind of awe usually reserved for early Imperials and Sun records, you better have I -JMM ~RLEY· l · it. vox 7 Doug Charles comes up with a real cat­ chy cover of •'This Should Go On " rocks the house (§) Forever, 392-5093 and ...... ~ ...... 1 with a blistering "Alligator Stomp" 12-6 P .M. Mon.-Sat. 'BilL ~tUtlllbiU "Teenager," while Sonny Martin and ODiManio Charles Morris both offer characteristic Group charge (i)'7\ff) ~ swampland ballads, with Guitar Gables' accounts ~ ® audio·technica. '' ~0 familiar backing. available The Boogie Kings manage to jump along 24 Hour Equipment Delivery 488-0111 • 392·5093 nicely while T. K. Hulin's " Send Me Back

WAVELENGTH/MARCH 1982 59 My True Love" is just a Miller production TIE REBELS classic. Leroy Castille' s version of "Lafayette" is an odd throw-in as Miller ARE BACK! tries to rock 'n' roll-ize the cajun standard. Once again A Flyright's notes and packaging are of high quality. The Legen­ dary Jay Miller Sessions remains a superior collector's anthology. -Almost SUm

Hello L I V E M U S I C Barbara Lewis THURSDAY, MAR. 4 THE HEART BEATS Solid Smoke 8014 FRIDAY, MAR. 5 THE MODELS SATURDAY, MAR. 6 THE DRAPES & THE BLUES VIPERS I'll be the first to admit I've taken Miss THURSDAY. MAR. 11 Lewis's talent for granted. Not because she THE SHEIKS opening: THE HEART BEATS isn't good; she has one of the smoothest, FRIDAY, MAR. 12 sweetest voices of any of the Sixties soul THE COLD WEDNESDAY, MAR. 17 singers. I guess I've been guilty of not TIME ZONE responding to music that didn't jump right FRI DAY, MAR. 19 THE RADIATORS out at me, and tended to overlook polished WEDNESDAY, MAR. 24 soul productions like Ms. Lewis's. But no FROM ENGLAND UK SUBS more! opening: ANTI-NOWHERE LEAGUE THURSDAY, MAR. 25 This is a fine release, collecting many of ASLEEP AT THE WHEEL Barbara's fine Atlantic sides. Besides the FRIDAY, MAR. 26 title track, I'm sure many will remember THE MODELS Listen for SATURDAY, MAR. 27 "Baby I'm Yours" and "Make Me Your THE NEVILLE BROTHERS WEDNESDAY, MA R. 31 Our New 45 Coming Soon Baby" (from the early Sixties) that this THE SPECIMENS 16-track album contains. FROM BOSTON "Nothing but Lies" b/w opening: SEX DOGS "Hit the Road" Being from Detroit, it's not surprising Call for Booking Information that Lewis leaves a trace of Motown in 8200 WILLOW ST. many of the arrangements. I can also 8 6 6 9 5 4 9 392-7638 discern a definite flavoring of Windy City soul, a Ia Major Lance and The Impres­ sions. Barbara Lewis remains an underground heroine with the Carolina scene, and her records remain popular in California's Latin community. I think Marcia Ball might have borrowed a few of Barbara's vocal licks, too. Another bang-up job from Solid Smoke. - Almost Slim

New Orleans Rhythm and Blues Record Label Listings By Ray Topping Wed. DRAFT BEER NIGHT 25C a Glass $2.00 Pitchers This interesting booklet recently came to my attention. Published by Flyright TUESDAYS Records in England, the book is a New TUES., MARCH 2 LADIES NIGHT 3 FREE! FACES-B.R., LA. Orleans discographer's miracle. Mr. Topp­ WED., MARCH 10 8- 12 ing lists the various labels both, large and TUPELO'S TAVERN Pool, Patio, Pinball small, of New Orleans record concerns and WITHE BLUE VIPERS 8t One Helluva jukebox their releases from the late 1950s until the FRh MARCH 12 plus... · ...... ) late 1970s. DREAM PALACE WITHE PLEASURE MASTERS The 68-page volume is crammed with TUES., MARCH 23 trivia and important data for R&B record TIPITINA'S collectors. Although by no means com­ WEDS., MARCH 31 plete (Imperial and Deluxe Records were THE ROCK q~ overlooked), it's lots of fun filling in the lAFAYETTE, LA. blanks and comparing notes with Topp­ WITHE BLUE VIPERS ing's data. Although the book is not available yet in San'\~f!!lvShop New Orleans, you can get one for $5 from CONTACT Hot Lunch Specials NEW ORLEANS Down Home Music, 10341 San Pablo BOOKING AGENCY Assorted Hot 8t Cold Sandwiches Ave., El Cerrito, California 94530. 488-6228 and Snacks - Almost Slim

60 WAVELENGTH/MARCH 1982 CLASSIFIEDS

EXPERIENCED lead vocalist R&B or show singer PROFESSIONAL PRICES New Orleans· only Old Wave Recording tape. Sennheiser, A.KG, Calrec looking for experienced musicians to put a show together. Call after 6 p.m. 835-7052. ~IJ1!5;;i'5~~~ accoustic music Mikes. H&H power amps. Auratone speakers. I emporium for Professional EXPERT BRASS AND WOODWIND REPAIR equipment rentals - for your traditional and recording needs ... Gulf South Recording Supp­ Free estimates, reasonable rates, fast quality service. Ron (fhe Doctor), Repairman. 949-5907. modern folk, ly 504/ 945-6335. bluegrass, STEREO REPAIR SERVICE , MUSIC goes beyond word. It speaks straight to our Specializing in stereo component servicing. Guzzardi heart and teaches the very core and root of soul. Electronics, Inc. 2709 Ridgelake Dr. Suite E, ~~3it;~~~· ragtime, and Music soothes us, stirs us up. It puts noble feelings in Metairie, La. 833..0594 the best in us. It melts us to tears at times. Yet, we know not how original homemade music. No cover. it works. It is the language that, by itself, is divine. PUBLICITY PHOTOS Serving international coffees and teas, For a taped message call ECKANKAR 899-5716. 500 b/w 8xl0 lithographs from original glossy. $80. fruit juices, and baked goods. For other quantities, color, write: Photos, P.O. Box 50842, NOLA 70150. Open 8to2 am fRI-SfiT. NATIONAL ACCREDITED photographer. By ap­ pointment only. Anthony M. Davis. 347-7876. EXPERT female lead vocalist R&B or show singer Open Mike: 8 til 1 2 looking for experienced musicians to put a show together. Call after 6 p.m. 835-7052. SO"· WED. THORS WANTED: 78 rpm record collector in need of a Dual 5110 Danneel Street, New Orleans turntable (or one similar) that still has the magic 78 speed. Jeff 899-7369. DO YOU hear the sound within? For a taped message on ECKANKAR call 899-5716. Musicians wanted for big band. Call 525-9940. CHATMAN & PIANO technician has special selection of ASSOCIATES reconditioned refinished uprights and grands. STAR ROAD CASE. 24x24x9$165. 945-6335. Gil Cash for you piano. 1-542-0716. INCOME TAX AND TAX PLANNING SERVICE CRAZED New Yorker lusts for a copy of the Wild Magnolias' album (the one reissued in Europe). Will pay for a new copy, a used one in good shape, or a cassette copy. Won't somebody please have mercy 1240 South Broad Street and give up some of that good music? Thank you. Suite Number One Steven Stein, 821 Union St., Brooklyn, N.Y. 11215. Write soon or I'll die. ELLA New Orleans, La. 70125 ~AIMASTER ROCK-BLUES TECHNICIAN (504) 821-5727 WANTED: Female lead guitarist for female new AND PROFESSOR OF wave band. Also doing some Sixties and originals. for artists, musicians and professionals 383-9925 (Baton Rouge). If no answer call 766-5711 GUITAR after 5 and on weekends. 6 STRING, 12 STRING AND FOR SALE, two acoustic guitars. Yamaha FG-345 LESSONS withcase$150. Alvarez 12-string5021 withcase$130. BEGINNERS, INTERMEDIATES, ADVANCED Johnny 947-7198 or 885-0997. - ALL STYLES - * IRMA THOMAS * GUITAR RENTALS AVAILABLE EARL KING * REHEARSAL SPACE available. Mixing board ENROLL NOW AT SOUND CITY , BRASS BAND DEACON P .A. supplied, $20 per hour.Afternoons 866-3658, 3941 BIENVILLE * 866-9494. 482-7894 or 488-5564 JOHN * OLIVER MORGAN STEREO REPAIR SERVICE * FROGMAN HENRY * Specializing in stereo component servicing. Guzzardi COLLECTOR'S ITEM •ALSO REPRESENTING A Electronics, Inc. 2709 Ridgelake Dr. Suite E, 1973 Gretsch drums belonging to Zig Modeliste VARIETY OF ROCK, JAZZ, Metairie, LA 833..0594. drummer for the Meters. Drums have long history of ATTENTION: P .A.-less bands. Book jobs at your national hits in the studio as well as four national COUNTRY, BLUES & POP convenience knowiug you have a P.A. available. tours. Good shape. For information, call 895-0248. ARTISTS. Comes with a souhdman. Roadies optional. Call Make an offer. Kevin 288-4281. 2-MONTH-OLD Silverbur DIANNA CHENEVERT st Les Paul with new case, GUITAR player and female vocalist from Vegas $675 . Yamaha G50-112 amp, $350- 1977 ivory Les (504) 366-2785 24 hours needs pickers. Keyboards, bass, and drums for Paul, $500. Black 2-month-old Fender P-bass, $500. country, country-rock and originals. Mark or Gela Tom, 865-1825. 738-6957 after 5 p.m.

Experience e ED PERKINS e RED TYLER e WILLIE WEST e DIRTY DOZEN BRASS TBE BAND e HOLLYGROVE BICIIAIID COX (Vocal Group) e •••••••••••••••••••••••••••• Booked Exclusively by EXPERIENCE PIE PRODUCTIONS Agent Junius A. Sanden Original 3327 Mistletoe St. N.O., La. 70118 School for commercial art, Booking Info: Frank DiBetta (504) 283-47.S graphics, design, life sketching 504-271-6466 and fashion. (504) 482-2472

WAVELENGTH/MARCH 1982 61 LAST PAGE

Bonnlngton-Truce, which describes its music as "pock-rock," is a Hattiesburg band with ambitions of taking New Orleans by storm. They'll be at Jimmy's March 9 with Hot Buttered Pock, their three-piece horn section ... Joe Ely, the hottest rock star to come out of Lubbock, Texas, since Buddy Holly, will be at Tupelo's Tavern March 19. Blues Rockers are getting rave reviews at the 522 Club on . .. Dr. John's final show at Tipitina's Carnival week turned out to be a real Mardi Gras treat when he hit the bandstand resplen­ dent in glitter, feathers and plumes a Ia the Dr. John of the past...Les Gautreaux has moved to the Crescent City from Baton Rouge and is currently vocalizing with the AFB band ... Little Junior One Hand sat in with the Blue Vipers at the Rose Tattoo during the Cold Cuts' last swing through town ... Speaking of the Tattoo, they certainly have been featuring a wide range of entertainment. Everything from Johnny Adams to the Sluts. Walter Washington recently taped an Old English Lager radio spot. .. Joe Tex was in town at Mason's during Mardi SpeUmen? ..• WWOZ auction was a great Rodrigue. The film will be shot in Gras week ...The new Las Vegas Connec­ success. Thanks to all those who contributed Lafayette and aired on PBS nationwide tion single should be in the shops by the time and money ... Live music back at ... Daddy Sawbucks, on the West Bank time you read this ... Mason's Las Vegas Strip, including Earl Expressway just over the bridge, has live Sad to her about the death of Lighnin' King and The Del-Mons with the City News music with the accent on rock 'n' roll ... Hopkins; he was a great bluesman and will Band. . The Drapes, Uptights and RZA are all be sadly missed by all ... and Former nightclub owner Jed Palmer headed back into the studio shortly (in­ Lee Allen have been seen playing in the or­ and his sidekick Bullet Bob Durel have dividually, not collectively, although chestra of The Tonight Show . .. Mr. nixed a deal on a Baton Rouge bar and in­ that's a wild idea). Hollygrove (formerly Google Eyes has been offered a tour of stead have acquired the old F&M bar on the Lyrics) went to Philadelphia for a Europe for the summer . .. Earl King and Tchoupitoulas Street, which was briefly week last month . . . The Lotions, fre­ B.B. Daddy have been working with called Darryl's and will now be the quent visitors to New Orleans from Roland Cook and his orchestra . Original F&M. Two blocks uptown from Austin, Texas, have a mini-LP out con­ Blues News: Check out the Blues Rockers, the old Rosy's site, the F&M features a taining four songs: "Pushin Too Hard," a regular group performing at the 544 Club Sixties juke box and an outdoor patio "Groovin Song," "Get Up Don't Get on Bourbon Street ... Tabby's Blues Box at (not, like the old days, across the street) Down," "Just like a King." 1314 North Blvd. in Baton Rouge features for tipping a few under the stars. Island Records' Black Uhuru has a live Silas Hogan and The Tabby Thomas Blues Blues better John Mooney has been album coming out soon, and another this Review Saturdays and Cleveland and The having such a good time on his extended summer ... Adrian Belew, guitarist on Roclolos on Fridays. winter visit this year that he has decided to tour with King Crimson, also has a new Senator Jones busy out at Seasaint make Bend City his home and travel out album out on Island ...Debbie Krantz, recently recording albums with Walter of here. Mooney, besides playing once a better known as Tomato, of Creole Cook­ "Wolfman" Washington and Bobby week or so at Tipitina's, has done the ing that had a hot Mardi Gras song out Powell ... Expect something new from Lee tracks for his second album (his first was this year, reports that her band is working Dorsey in the not too distant on Blind Pig) and is currently negotiating on a Dixie Beer commercial ... also hav­ future ... Alex Spearman, that sensational a deal. He was last seen warming up the ing commercials out are Dr. John for doing guest spots vocalizing Mardi Gras throngs at Tip's with old Popeye's, and a Pop Rouge ad jingle with 's big friend Jim Thackeray of the Nighthawks. recorded at First Take Studios ... The band ... Where were you when Little Mandeville Mike has put a new band Topcats report that they're still trying to Milton was in town??? Johnny Copeland, together called The Feeling, with drum­ get someone to listen to their tape. Big the Texas guitar sensation, will be at mer Rick Cantin, formerly of the Hollywood agents, where are you? ... Tupelo's March 12 and 13; don't miss D-Fektors, bassist Steve Walkup, former­ Zebra's equipment and truck were stolen him. ly of the Fugitives, and a guitarist from in Houston on their last trip there. Becky WWOZ's benefit show shaping up to be Texas named Rob Stennett. Look for Kury recovered her stolen equipment with a giant gala affair, mark April 16th on them to be playing around town within Becky's typical flair. Congratulations . .. your calendar. the next couple of months ... Godot has The Richard Cox Experience, which has The Joel Simpson Quartet, with Simpson changed its name to the Heartbeats ... been two years in the making, has on piano, Dennis Taylor on saxophone, Jeff The Palace Saloon has been sold. Mac debuted. Look for it ... Boudreaux on drums, Eric Glaser on bass, "Dr. John" Rebennack did some fine The Uptown Youth Center will open plays forgotten bebop ballads and originals work on the soundtrack to the movie Can­ Saturday, March 6, at 1 p.m. at 4877 - otherwise it's a mainstream jazz quartet. nery Row .. . Bourre' has taped a seg­ Laurel. The mayor will be there, as will Sorry to hear of the recent death of Big ment of the series "En Francais" in Baton the Nevilles and the Dirty Dozen ... Walter Horton. Horton was the last in the Rouge. The show will be aired statewide Nevilles, who have parted ways with line of outstanding old time blues harmonica on PBS March 28 and April 3. Members A&M Records, are doing a demo at First players. of the band will also be featured in a Take. Bobby Reno recorded his Mardi Lost and Found Dept.: Where is Benny documentary on the Cajun artist George Gras song at the same studio.

62 WAVELENGTH/MARCH 1982 "THE PRO ROCK SHOP RUN BY MUSICIANS FOR MUSICIANS." METRO MUSIC - McALLISTER'S QUARTER - AND PERSIA WOULD LIKE TO THANK THE THOUSANDS OF PEOPLE WHO ATTENDED OUR MARDI GRAS DAY CONCERT IN FAT CITY­ WATCH UPCOMING ISSUES OF WAVELENGTH FOR DETAILS ON OUR SUMMERTIME JAM - FEATURING A VERY SPECIAL SURPRISE GUEST!!!

MUSICIANS WANTE D BASS PLAYERS FUNK-ROCK , DRUMMER / BASSIST LOOK· LEAD GUITARIST LOOKING FORWO RKINGB AND - INTO lNG FOR WORKING BAND- SERIOU SO NLY- CONTACT HARD ROCK & ORIG - HAVE STUDIO EX P ALSOSIN GS WAYNE AT 347-1659 AFTER 5:00PM. LEAD VOCALS - NEW IN TOWN - CALL CORY AT EXPERIENCED DRUMMER & BASS PLAYER LOOKING PLAYER LOOKING FOR SPOT GIGS CALL 897-6961 - ASK FOR JIM . 456-8011 BETWEEN NOON & 6:00PM . FOR SERIOUS MUSICIANS. CONTACT CARL AT DRUMMER LOOKING FOR SERIOUS GROUP - INTO 887·7681 AFTER 5:00PM. HEAVY METAL - OTHER STYLES ALSO OESIREABLE BASS PLAYER WITH TOURING & STUDIO EXPERIENCE CALL RAYNARD - B35-6554. MISC . LOOKING FOR WORKING HARD ROCK BAND INTO GUITARIST & BASS PLAYER LOOKING TO MAKE IT - ORIGINALS & COPIES - PROS ONLY - HAVE EX· DEEP SOUTH PUBLISHERS WANTS ARTISTS WITH NEED DRUMMER CALL CHRIS 522-6976. CELLENT RIG AND SOME P.A DRUMMER AVAILABLE -INTO JAZZ, R&B . ROCK CALL .- CALL ERIC 9434842. DAVID 861-3416. ORIGINAL SONGS TO HELP THEM PROMOTE THEIR MATERIAL. CALL943-8842- P.C. WELL ESTABLISHED TOP 40 9-PIECE GROUP LOOKING JAZZ·R&B BASS PLAYER SEEKS BAND OR SERIOUS HELP - NEED A BAND FOR FRONT MAN / SINGER WITH NO HANG UPS - INTO MINDED MUSICIANS TO FORM BAND CALL KERRY -HAVE EQUIPMENT- READY WHATEVER SELLS - PLENTY WORK - CALL BILL 865-9501 ANYTIME. NOW - HAVE SMALL P.A. - CALL MARK 242-1937. VOCALISTS 817-1172. BASS PLAYER LOOKING ROCK DRUMMER LOOKING TO GIG CALL GREG - FOR BAND - PREFER TOP 40 1-682-7820. FEMALE VOCALIST SEEKS WORK, EXP VERSATILE - ROCK GROUP SEEKS KEYBOAROIST - GROUP IS OR VARIETY - CALL BILL AFTER 6:00 AT 899-6239. MUSIC FROM 20 'S40'S- BLUES , JAll., CO NT. CALL TOGETHER & HAS EQUIPMENT - CAll RONNIE BONNIE AT 288-4574. BASS PLAYER WANTS TO FORM FUNK-ROCK , JAZZ FUSION DRUMMER / BASSIST LOOK· DAY·5B6-7437 NIGHT-482-6327. OR JOIN SOUTHERN lNG FOR WORKING BAND ROCK BAND - OTHER TYPE MUSIC CONSIDERED CALL - SERIOUS ONLY - CONTACT FEMALE VOCALIST AVAILABLE FOR ANY TYPE MUSIC TOMMY 733-3020 AFTER WAYNE AT 347-1659 AFTER 5:00PM. REGGAE ROCK BAND FORMING - NEEDS GUITAR, 3:00 M·F. - SERIOUS WORKING BANOS ONLY - CALL TRACEY BASS, PERCUSSION - SERIOUS ONLY - CALL JIMMY 895·2618. - B99-4136. EXPERIENCED BASS PLAYER LOOKING TO JOIN GUITAR PLAYERS SERIOUS MINDED WORKING BAND - PREFER FUNK­ FEMALE VOCALIST SEEKING KEYBOARDIST DR WORK· JAZZ FUSION -CALL FRANK 945·1059. LEAO OR RHYTHM GUITARIST SEEKING ROCK OR NEW lNG BAND INTERESTED IN CONTEMPORARY MUSIC - BAND SEEKING VERSATILE VOCALIST ABLETO DO WIDE WAVE GROUP WORKING OR FORMING. CAN DO BACK UP FULL OR PT TIME - CALL JEANNE AFTER 6:00 ON RANGE OF R&R . HAVE EQUIPMENT AND READY TO YOUNG BASS PLAYER LOOKING TO JAM - ROCK-NEW VOCALS AND HAVE EQUIPMENT- CALL BILLY AFTER WEEKENDS AT 1-764-6555. WORK - CALL BOBBY - 466-7849 DR RANDY - WAVE- CALL PAUL833-5907. 6:00 AT 737-2098. 466-9930. VOCALI ST/ LYRICIST AVAILABLE FOR SPOT GIGS OR EXPERIENCED BASS PLAYER LOOKING FOR ROCK BAND SERIOUS LEAD GUITARIST LOOKING TO FORM DR JOIN BAND - NEW WAVE , SOUL, ROCK CALL JO HN - EXP NEW WAVE ROCK BAND DOING 60 'S & 70 'S LOOK· -CALL RON AT 367-0422. BAND - ROCK , BLUES, ORIGINAL MUSIC PREFERRED 486·2931 AFTER 5:00PM. lNG FOR BASS PLAYER - ORIG ALSO . CALL LILLY & CALL PETER - 944-5750 OR 254-2317. THE KILLERS 486-0590/ 835·5745. BASS PLAYER LOOKING FOR BAND SI NGER GUITARIST INTERESTED IN BAND DR THAT WANTS TO GO PLACES - CONTACT DWAYNE AT GUITARIST EXP IN ROCK , BLUES, FUNK LOOKING FORA KEYBOARD PLAYER - PRE PARED TO WORK - CALL SERIOUS R&R , NW, GROUP SEEKS EXP VOCALIST WITH 456-1527. GIG - SERIOUS ON LY - CONTACT NEAL AT 948-7913. SANDRA AT 881-1145. EQUIPMENT - GROUP HAS REHEARSAL STUDIO - CONTACT JOHN 282-2720 AFTER 6:00. BASS PLAYER SEEKS WORKING BAND- FULL OR PART ROCK GUITARIST SEEKS GROUP - CALL STEVE AT EXPERIENCED VOCALIST SE EKS WORK INGGROU P- 26 TIME - All STYLES CALL JOHN - 368-1105. 241 -7663. YRS OLD - CALL MIEK 288·2900. BRITISH ROCK BAND SEEKS DRUMMER- CALL MIKE AT 833-0621 . BASSIST W/ CREDITS - NEW IN TOWN SEEKS WORK­ GUITARIST INTO All STYLES SEEKS BAND CALL SINGER GUITARIST SEEKS GROUP INTO TOP 40, POP, ING SITUATION - ALSO DOUBLES ON GUITAR - ROBERT AT 943-7774. ETC. CALL PAUL 738-3895. GROUP SEEKING SERIOUS KEYBOARD TO DO ORIG . PREFERS FUNK, JAZZ. FUSION , SOUL- CALL OON AT CALL DAY OR NIGHT 529-5954 ASK FOR GREG . B21·3005. GUITARIST/ VOCALIST SEEKS GROUP INTO ORIG . CALL ROBERT 392-2441 . BRASS EARLY 60'S SOUL MUSIC GROUP SEEKING KEYBOAR· BASS PLAYER INTO ORIG SEEKS BAND - CALL NOR· EXP SAX PLAYER (SOP OIST AND SINGER - CONTACT GERRY MAYER AFTER 6 MAN AT 34S.2137. GUITARIST INTO ROCK, PUNK SEEKS GROUP CALL RUS­ , ALTO , TENOR) WITH CREDITS PM AT 455-0097. TY 392-0492. LOOKING FOR BAND IN WORKING SITUATION - CALL TIME AT 895·5768. WORKING ROCK BAND SEEKS KEYBOARD PLAYER - DRUM MERS R&R , BLUES PLAYER WANTS GROUP- NEW IN TOWN CONTACT ALLEN 733-6780. CALL KENNY 340-3816. KEYBOARD PLAYERS DRUMMER FORMALLY W/ INTERPOL SEEKS GIG - WANTED - FEMALE LEAD GUITARIST FOR All FEMALE CALL LENNY 456-2561. LEAD GUITARIST SEEKING GROUP, LOOKING TO WORK KEYBOARD PLAYER AVAILABLE FOR WORK DR REHEAR· NEW WAVE BAND. WILL ALSO DO EARLY 60'S & ORIG WITH ROCK, R&B , OR TOP 40 ROCK GROUPS CALL SAL- CONTACT STEVE 367·5890. MUSIC. CALL CATHY IN BATON ROUGE 1-383·9925 OR SERIOUS DRUMMER SEEKING WORKING SITUATION­ ELLIOT AT 279-7068. NOVA 1·766-5711 AFTER 5 PM . CALL RICHARD 455-38471468·2192. SYNTHESIST AVAILABLE FOR STUDIO SESSIONS & GUITAR PLAYER . INTO R&B , R&R , COUNTRY AND WORKING BANOS -HAVE OWN EQUIP. CALL RANDY BASS & DRUMMER NEEDED FOR PROGRESSIVE NEW YOUNG DRUMMER / GUITARIST AVAILABLE FOR GIGS­ OLDIES, LOOKING FOR BAND READY AND WILLING TO 279-7901. WAVE·ROCK BAND~Nl Y CALL TOM OR DENISE AT CALL OARYL341 -3151 . WORK CALL WILLIE AT 831-3067. 468-8978 OR 464·0656. ROADIES DRUMMER-PERCUSSIONIST W/ ROAD & STUDIO EXP GUITARIST INTO JAll., ROCK, OLDIES , ORIG LOOKING HEAVY METAL ROCK BAND LOOKING FOR DRUMMER & LOOKING FOR WORK CALL JOHN - BB74127 OR FOR GROUP OR WORK- CALL N~El AT 488-3775 OR TWO EXP ROADIES SEEK PARTTIME WORK- CALL UJIE LEAD VOCALIST CALL JOE AT 865-6127. 1-626·5409. 282-1849. AT 436·0629 OR 436·9711 . FOR INFORMATION ON OUR FREE REFERRAL SERVICE CALL 504·340·4983, METRO MUSIC, 1995 BARATARIA BLVD. AT LAPALCO MARRERO, LA. 70072 PAT FLORY' &THE SUNBELT BLUEGRASS BAND 9PM

ST. PATRICK'S RZA DAY U 'L QUEENIE THE PERCOLATORS GREENIE NITE 75¢ HEINEKIN

LARRY MOTT'S "F.Q. REVUE" CURTAIN TIME 8:30PM A WOSTLT MUSICAL UVUJ OPTHI ruNCH OUARTill