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Wavelength Midlo Center for New Orleans Studies

1-1981

Wavelength (January 1981)

Connie Atkinson University of New Orleans

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What Makes THE COLD So Hot?

JANUARY 1981 VOLUME 1 NUMBER 3 by The Editors of .Rolling Stone Magazine From The Wall Street Journal of Rock comes THE ROLLING STONE MAG- AZINE ROCK REVUE .. . the idea behind the most exciti ng concepr in rock radio si nce the album-cut format. THE ROLLING STONE MAGAZINE ROCK REVUE is rock ·n roll news at its best-as onlv the bible of the Rock Music industry could bring to your listeners. Featuring behind-the-scene stories of concert tours. recording sessions. rock ·n roll parties. movies. benefits. record reviews. interviews. the latest album music ... everything happening in Rock today. and tomorrow.

Listen for it Weeknights fm at 9:50p.m . B? 10:50p .m . Requests: 260-1100 100 Concert Info:260- WRNO JANUARY 1981 VOLUME 1 NUMBER 3 Features What Makes The Cold So Hot?______,._ 6 Patrice Fisher _ 10 Cajun Bandstands 12 Salt Creek Band 14 Departments January_ 4 Jazz ______19 Rare Records _20 Pop ___21 ~~ n Rock _ 3 Reviews _.25 Open 2 p.m. Tues.-Sat Last Page 30 Showtime: 9:30 weeknights Cover photo by Julia Nead 10:30 weekends Publi.shtr, Patrick Berry. Editor. Connie Atkinson. Contract Advtrtillng Saks, Kath~en Bishop, Steve Gifford. Line Conlribullng Arllsts, Skip Bolen, Julia Nead, Kathleen Perry. Clrtulatlon, Laverne Kelly. Contributor>, Carlos 24-Hour Concert Boll, Jerry Brock, Bill Cat, Yorke Corbin, Ron Cuccia, Steve Cunningham, Ztke Fishhead, Steve Graves, 8301 Oak 861-2585 Gilbert Hetherwick, Coril Joseph. Andy Kaslow, Tim Lyman, Bunny Mauhews, Hammond Scou, Jim Scheurich, Almost Slim, Rhodes Spedalc.

IVovelenglh is published monthly in New Orleans. Telephone (504) 529-5962. Mail subscriptions, address changes to IVavelenglh Box 15667, New O rleans, La. 70175. Subscription rate, S5 per year. Foreign, SIO per year. The entire contents or Wo\'tltngth are copyright © 1980 Wavtltngth. l PBIVI!B SBOWIII OP YOUR PIVOBI!B •oviBS POl OILY $4! (11100 OWl LIVIBI BOO.!) Join our VIDEO CASSETTE TRADING CLUB and have access to hundreds of video tapes in VHS or Beta format. Major motion pictures such as Superman, '10', The Rose, etc. can be kept for up to 4 days for only $4.00, or pay $6.00 and keep them as long as you like! Sport features and Cartoons are also available. Call 8914213 or come in and see us for membership details.

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the New York Philharmonic, plans to making powers. And, in the case of Musical Scholars play some Middle Eastern music as community-owned WWOZ, if you well as his own compositions. Subject don't like what you hear, you can, Take Note to final confirmation as Wavelength quite literally, change the station. The Metropolitan College of The goes to press, saxophonist Sam Rivers University of New Orleans will offer plans to fly in from New York on a course on New World music during January 30 to play with his former N. 0. Songwriters' the upcoming spring semester. student Ramsey McLean, who will Association Taught by Andrew Kaslow, an augment his band, The Lifers, by ad- ethnomusicologist who played sax- ding a second drummer. The New Orleans musical heritage ophone with the late Professor has long been recognized as a rich Longhair, the course will examine the labyrinth of influences, having given esthetics and cultural context of the WWOZ-FM definition to nearly every phase of musical forms that have arisen in the American music since the begininning United States, the Caribbean and On The Air of this century. As musicians here Latin America since the period of well know, a significant aspect of this European contact. For information WWOZ FM-90.7 is on the air and history has been the almost on registration, call the UNO Metro that, as regards New Orleans music, systematic theft of both compostions College at 283-0665; Kaslow can be may be the single most important fact and playing styles New Orleans' great reached during registration at of 1980. artists. The list of influencial com- 283-0294. Since November 28, founding posers and stylistic innovators stret- brothers Walter and Jerry Brock, and ches back beyond Basin Street and in- a staff of volunteers, have been doing to the incomprehensible isolation of interference testing. the bayous. The rip-off has become a Musical Year Opens As of this writing, all the music is tradition, carried on today with un- With Flourish pre-taped and they are broadcasting precedented zeal as the next genera- from the tower itself, on the banks of tion of musicians takes the stage. The 1981 musical year opens with a the Mississippi. They expect by early It is no secret that local musicians flourish as WYES-TV presents three January to be operating from 10 a.m. have a reputation with national more "Jazz Now" programs to 10 p.m. daily, and, later the same record companies for ignorance to spotlighting contemporary New month, to move into their temporary the ways of business and finance. Orleans jazz. The half-hour shows home above Tipitina's. They have Fierce regional feelings and reluc- will run at 10:30 p.m. on the first ordered enough equipment for a tance to move north or west to work three Thursdays in January, beginn- ''rather modest but complete on-air have fostered the animosities, as have ing with a performance by the Astral and production studio," and hope to the devastating effects of inept Project on January 8. The second be broadcasting live by February. management, from which many New

program, January1 15, pairs Ramsey WWOZ is non-commercial com- Orleans bands have suffered. The McLean and The Lifers with jazz munity radio. Walter Brock explains situation is so well established that poet Ron Cuccia, who performs two it like this:"Rather than sell the com- young musicians are raised on horror numbers from his new album. The munity to advertisers, we offer our tales about the outsiders from na- final show, January 22, features services to the community. WWOZ is tional firms, the failures of national Alvin Batiste and the Kidd Jordan membership sponsored, but in a uni- concert tours, the losses incurred Ensemble. Produced in collaboration que way. Each membership con- through fraudulent recording con- with the Contemporary Arts Center stitutes a share in the corporation: tracts. It is no surprise that ennui and Musicians For Music, " Jazz each member is a stockholder; each among local musicians has also Now" looks to be a real step forward stockholder has a vote." become a tradition. in music programming on local televi- WWOZ is committed to playing There has been some particularly sion. primarily the music that reflects the angry talk among music people lately; The CAC and Musicians For Music tradition and culture of New Orleans, many anticipate new episodes of are working with WWNO as well, and secondarily that of the Western usurpation with the renewal of R&B, producing the "Contemporary Music Hemisphere. In a city whose commer- its growing influence on New Wave, On Air" radio series at 10:30 on Fri- cial stations are far more eager to and with preparations for the next day nights, and bringing in outstand- break a single by Elton John rather World's Fair. Strong evidence is ing musicians from around the coun- than by Deacon John, that committ- emerging to show that New Orleans is try to play with local jazz ensembles. ment has resounding significance. moving into another period of On January 16, avante-garde com- Another threat to commercial radio is musical renaissance and ostensibly, poser and conductor David Amram is the fact that WWOZ is located smack another round of rip-offs. scheduled to play with Patrice in the middle of WWNO and WTUL. A group of New Orleans musicians Fisher's new group, Jasmine. So if you have a triumvirate of good and songwriters have taken the talk a Amram, who has recently conducted taste that may test your decision- step further. The New Orleans

4 WAVELENGTH/ JANUARY 1981 Songwriters Association, a recently organized, non-profit collaboration of composers, lyricists, musicians and skilled advisors, has been formed to take on the task of reversing this age- old trend. Though still at an em- bryonic stage, NOSA has attracted an THE initial membership of nearly 50 and held its first seminar on the business of songwriting and the potential hazards of making demonstration tapes, taught by experts John Ber- thelot and Jay Gallagher. Organizer Bud Tower is responsible for nursing the association from an idea to reali- Fri./Sat. 1/2,1/3 • Jimmy's ty, and plans to hold more seminars and, eventually, showcases of Fri./Sat. 1/9,1/1 0 • Jed's original material by local composers. Tues. 1/13 • Tipitina's The goals of NOSA are to educate Wed. 1/14 ·Iron Horse, local writers and musicians to business and legal practice, and with Thibodeaux, La. the help of attorney Brad Smolkin, to Fri./Sat. 1/16, 1/17 ·Jimmy's make the essential dont's of contrac- Thurs. 1/22 ·Mother's Mantle, ting known to people unaccustomed Baton Rouge, La. to reading fine print. NOSA is also intended as a forum for composers . r 5041866-4754 and lyricists to find each other, a h aruce Sptze place where non-performing exc\us\ve\V throu9 songwriters can contact musicians to aooked tape or score their material, where The hit 45 "You" b/w "Three-Chord City" available at fine musicians will soon be able to obatain record stores throughout the area. printed matter relating to music business and legalities. NOSA is currently meeting at the Penny Post, 5110 Danneel, but hopes to outgrow the coffeehouse in the coming year. The organization has not attracted exclusively folk artists, as one might associate with the Penny Post; the total range of musical forms is represented in NOSA's member- ship, from rock to Cajun. Protecting musicians' rights through securing copyright and per- formance royalties has been a major problem here for years and is first on NOSA's agenda for artist education. The inherent problem of communica- tion among artists can also be ad- dressed, as meetings are held on alter- nating Mondays, when many musi- cians are not working. Organization has always seemed foreign in the milieu of New Orleans music. Whether or not NOSA is able to find some answers depends on the players and the writers, if they are ready to talk business as smartly as they can riff. Those interested in meeting with NOSA can contact Bud Tower at 949-9400, after 6PM, or write him at 2643 Desoto St. NOLA 70115.

WAVELENGTH/ JANUARY 1981 5 by Bill Cat I

rhythm, men who helped make the black music of the streets popular At the corner bar, of course. among white listeners. As one era New Orleans, in simpler days a ends, someone once said, another hat's right, Jackson. And concert stop for national recording begins. getting colder all the time. acts, has, in the absence of larger The year also saw the emergence At a time when many ar- promotions, turned to its nightclubs of a large number of white pop bands tists in the hierarchy of and its local bands. Following a na- on the club scene, bands with fresh pop's mainstream sound tional trend toward smaller venues energy and new songs. Harsh Tisolated and confused, when the ma- brought on by worsening economic economic realities demanded that jor record companies speak only the conditions, the improving club scene these bands simply draw people into languages of Wall Street and Madison has drawn talented young local musi- bars and make them feel good, move A venue, and when commercial radio cians out and put them on stages. with the music, and most importantly, plays only what a handful of promo- The year 1980 saw the deaths of drink. Those able to accomplish this tion men tell them to, where do you Professor Longhair and Big Chief Jol- found steady work in the clubs, and find interesting music? ly, progenitors of the second line some gathered large and loyal follow-

PhOtos by Ju~a Nead Layout des~gn by Skop Bolen

6 ings from among the dancers and whether singing, playing her rudimen- material in their repertoire includes drinkers, people who would create a tary keyboard parts, or just dancing. such diverse selections as "Hawaii party around a certain band and sup- -Vance Degeneres (bass and Five-0" (the TV theme), the Out- port it on a continuing basis. vocals)-A handsome ex-marine with siders' "Time Won't Let Me," Petula The standout among the young and a broad musical background, Vance Clark's "Downtown," the Yardbirds' energetic bands to emerge on the writes most of the Cold's original "Shape of Things," and Elvis local scene during the past year is the music, plays a rock-solid bass, and is Costello's "Mystery Dance." The Cold. Playing a tense, up-tempo style a heart-throb for scores of young band is able to inject much of its own of pop music that owes as much to females. enthusiasm into the songs while re- the influences of the Sixties as to -Chris Luckett (drums and taining the credibility of the originals those of the Eighties, the Cold has vocals)- The most gifted member of in tight, energetic arrangements. reached and cultivated a large au- the Cold, Chris packs a genuine The Cold makes people feel good dience. wallop with his drumming, and his on the dance floor at least partly The Cold, five young performers of voice is strong and supple even in the because they feel good on stage. The varying degrees of musical proficien- midst of his most thunderous per- band's uncanny rapport with their cy, manage to create a total effect of cussive flurries. predominantly young, white, upper- sound and feeling that is far greater Instrumentally the music is built middle class audience is as much than the sum of its individual parts. from the bottom up, with bass and responsible tor their popularity as The parts are: drums providing the punch for the anything emanating from the -Kevin Radecker (guitar and layered one-dimensional guitars and loudspeakers. Pop(ular) music vocals)-A bubbly yet intelligent keyboard. Vocals are split five ways, depends as much on a feeling as a presence on stage, Kevin talks, sings, though Menendez and Radecker sing sound, and when the feeling is gen- and lends personal pizazz to the most of the lead vocals with a good uine the audience knows it and

The standout among the young and energetic bands to emerge on the local scene during the past year is The Cold. Playing a tense, uptempo style of pop music that owes as much to the influences

of the Sixties as to those of the Eighties, The Cold has reached

and cultivated a large audience.

band's group personna. deal of spirit and wit. True to the spirit responds. In a small room like Jed's -Bert Smith (guitar and of pop, the tunes are tightly arranged or Jimmy's this collective pathos, vocals)-A poker-faced ex-journalist, and concise, seldom reaching three shared by hundreds of people, is in- Bert looks like the quiet type, plays a minutes in length. fectious, and at times nearly over- straightforward rhythm guitar, and While Degeneres supplies most of whelming. smgs with uncommon conviction. the musical hooks, all five members Transferring the feeling to an im- -Barbara Menendez (vocals and contribute lyrics to the Cold's original mutable product (a record) can be organ)-Animated to the point of ex- tune. Most are variations on tradi- tricky business. Nevertheless the uberance, the mini-skirted "Babs" is tional boy-girl pop themes, tempered Cold's single, "You"I"Three Chord the visual focal point of the band, only by a sly sense of humor. Cover City," has somehow managed to cap-

7 ture the essential feeling the band projects on stage every weekend. Produced by Knight Studios enter- preneur Traci Borges, the single has enjoyed as much success as any locally produced 45 in recent memory. The ever-supportive, non- commercial WTUL was the first to give it local airplay, then WEZB, but with some prodding by manager/promotion-man Bruce Spizer,even WQUE and WTIX added the record to their tight commercial playlists. This is no small accomplish- ment for a band that played its first gig just one year ago. Though a second single has already been completed at Knight Studios, the Cold's avowed aim for 1981, according to Spizer, is to land a recording contract with a major label. Having shown the abilty to produce a commercially palatable single on their own will certainly help the cause. One can only hope that this young band that has come so far in such a short time will go on to greater suc- cesses with thetr freshness, en- thusiasm, and originality intact.

Chris Luckett

8 mean she band. I or the whole New York definitely in they can is by herself mean "Barbara it big tight-/ or The Willow make is really Blondie out into could The band It's like she could wildly against . right. lights spill someplace all I mean-like come and garage s, reflecting the songs is so sexy, Bands 's NOPSI rooftop . A mechanic play Crissy band. Joplin The red tile mirrors of the . the s Janis over rear-view on one Pretenders star without street, and furiously from a movie who remember slivers be a I mean looked chromed is pounding crooning had . . She coveralls shift go I guess Bend kind of bright . Gil Scott-Heronthe night anyway?" in the River some in buses as if cackling player time had on 't green in back, their in bass her one . Just . I didn old it over cats "/saw person saleslady somewhere and piped hep a regular some know who radio in L.A . adolescent like a like didn't him of pants shares just suit by the phoned . A group that conservative special-/ out, over address black spandex the traffic real anybody her all that public and to even she was pointed with of skin tops oblivious think Flash her kind tiger . and was until seeing . She in the street out. is playing, she Funny right there smoke take them the Cold the case. stuff to around desert and gooey " wait and threatens at Jimmy's, reaches . Wrap- rday night is here cheesecake bread pudding. a significant into the Satu customers South Tex Rit- like a out after halfway of anxious CoNon , looks comes up the line in the bal oxfords Cold shuts just announced Everyone lipsticked The . Everyone has Cap black needle-toebelts , white pur- to play Cronkite Ice block. , gum so winds up Walter the Polar lock- shades from like crossed . Faces around polyvinylchloride, snapping flavor number, have the string ties, 78 speed first SS18s in 13 minutes ter away at grape Soviet is wearing yatting the artificial , I that in Washington Menendez girls taste so real are due and Barb you could dere a and here, , bun- ple . cause is just on target the street da Cold City ed shoulder-to-shoulder, Three across I like Chord eye. is and down know, Three take demselves bull's the place up the door " Ya dat song don't midnight jumping at know, dey By kids are brief wait had ya it's like under Some still a ix himself mean. know, " . is f Hendr ...... ya ... obviously to-bun style. There as i his chops howl ya know everyone service t it looks keep up seriously, secret Stooges the stree , just to brought too is carding . like the into from sets have doorman and couple the scene, warning The nervous goes hand-shaking fake to do a to with he looks first class risen wise tanks 50, and the President some latecomers, little yellow when are with alternate Some , in can guys get . There ones birth oxygen crowd tonight, date of there own t hammeringechos uncertain flashed the incessan an being the original, is nowhere Street the muffled at 2 cards over Jimmy labels. Willow behind night 10 tchtaped . And The on re sco to tell register. Out somewhe still Saturday from back photos '51-hard a cash wires heard, . It is hiss 1950, behind twisting still be The Cold pop and leisure- around even hiding and through and fireworks walking t, not drums filing of Barb usual people The Cold in sigh whacking continue and the are heard act is People AM, . There not opening Dixies. . Leonidas have towards who no doubt. and upturning is a promenade : 'em. Carrollton Iowa. ; there are heard I've seen ly along are from door time . They the dialogues fifteenth when Barbie tonight Unattached be the , and has gotta last time he almost "This with me Groya Dave that microphone Datte Shit, I took to doin' snit tarted ... " s in his jeans creamed Patrice Fisher Makes Her Move

BY YORKE CORBIN

lucking strings as one of the few jazz harpists anywhere, pulling strings as the ace grant-getter and organizer on the PNew Orleans music scene, Patrice Fisher has a sure touch in both the creative and the business side of jazz. A member of what is beginning to look like an extraordinary generation of contem- porary jazz musicians now coming into their own in this city--natives like Johnny Vidacovich and Ramsey McLean, for instance, and more recent arrivals like James Singleton and Tony Dagradi-- Fisher has the kind of managerial skill to pull together some of the creative energy that runs through the jazz community. She is the guiding hand of Musicians for Music, and for the past half year or so has served as music coordinator for the Contemporary Arts Center. The skills she acquired in taking a master's degree in urban planning at UNO, and honed as a planner in Dutch Moria/'s office, have made themselves evi- dent in such cultural endeavors as the "Contem- porary Music On Air" radio series, which WWNO broadcasts from the CA C on Friday nights, and the "Jazz Now" television programs. The first week in January, however, marks a change for Patrice Fisher. She is leaving her job at the CAC (though remaining as a consultant) to develop her own musical ideas. Like the former heavyweight champion Joe Frazier, whose philosophy it was to "come out smokin '," Fisher characteristically intends to begin at a point that most musicians take a good long while to reach, by setting off for New York to line up a record contract for her new band, Jasmine. I asked her if she planned to descend on record company executives, harp in hand, charming them with her angelic countenance. No. I'll wear high heels and lipstick and look them straight in the eye and give them a benefit-cost analysis. Do you think that getting a record contract is a real possibility? I think I can do it. It's a challenge, something that's a lways seemed mysterious to me, like a record con-

10 WAVELENGTH/ JANUARY 1981 tract is sent down from heaven to the leaves a lot of space in the music for because frets get in the way of sliding gifted few, but it's the people who go the harp to be heard. And the drum- around getting different sounds; so after them and don't give up who get mer is very sensitive about not play- he's taken the frets off his bass. one. ing very loud. I hear people whose sound I like, Sounds like your background in Her name is Maria Martinez. She's and if they can fit in, I bring them in- planning is coming to the fore. I guess from Cuba, so she understands the to the group. -you're the only musician, probably kind of styles in Brazilian music. There isn't anything very close to the only person in the arts in New She's eighteen or nineteen years old, what you're doing in New Orleans, is Orleans, who has that kind of train- with that alive spark that you can on- there? ing and experience. ly have when you're about nineteen. No. It's good and it's bad. We're When I first got out of music You can feel the whole stage vibrate unusual and easy to remember, but at school I couldn't make a living. I only with her energy. the same time we scare some of the got about one gig a month, so I got a Who are the other people in the club owners because it's not a stan- job with the City Planning Commis- band? dard format. It's different. They sion as a planning assistant, and end- There's Sun Kim, the violinist. She don't know if it will work or not. My ed up going to graduate school and played in the Miami Symphony, The mission is to let them know that it's getting a master's degree in planning, Honolulu Symphony, the North okay. which now makes me very valuable to Carolina Symphony. I had some jobs Sort of what you've been doing the jazz community, because I have a with her, playing the Hilton Hotel, with other people's music through the green thumb to get grants. People can and I started telling her how much CAC. conceive of a "Jazz Now" television fun it was to play jazz, inviting her to Right. Let people know that there's program, but they can't put it play a job here and there. She got more to life than r&b. together and get it funded. That's really, really interested because it's The jazz audience is small but what I can do. loyal. You'll never get rich playing I really liked doing that until I jazz, but you can make a living. started doing it full time, and then I That's all I want to do. I'd be scared didn't have time to practice, didn't of getting rich. have time to look for gigs. When I'd go I'll wear high heels and I love living in New Orleans, and as to the gig I'd be worn out from work- lipstick and look them long as I can make a living playing the ing at the CAC, so I decided to slow it straight in the eye and music I want to play, I 'II stay. I feel down, make it less of a priority. But give them a benefit-cost most comfortable in the music I want I 'II still do it. to play here; this city inspires a cer- So you're going to concentrate on analysis! tain style. your music. lsn 't it unusual for so- Do you see Jasmine as the kind of meone to be a jazz harpist? group that could work regularly here, Yes it is. There's Alice Coltrane in in clubs or whatever? New York, who's really a pianist but very challenging for her. She has in- I'll have to see. When I leave the plays harp also, and Dorothy Ashby, credible technique but didn't know CAC after the first of January, I'll who does a lot of studio work in Los how to improvise; this is a new aspect take all my management skills and Angeles. She's one of my idols. of her career. apply them toward getting jobs for I don't emulate either of their Then there's Kent Jordan, the flute Jasmine. There are certain kinds of styles. I had to create my own from player. He's also very young, and just music that sell themselves; with listening to guitarists and pianists and got out of the Eastman School of Jasmine I'll have to make it into that trying to take what's possible to play Music. He's Kidd Jordan's son. kind of music. on the harp When I was in college I was a It's a great problem when it's your What kind of music are you going teaching assistant at the New Orleans baby, your music that you have to to be playing with Jasmine? Center for the Creative Arts, where risk being rejected. You're much I went to Brazil last summer and he was going to high school. I'd hear more vulnerable. bought a lot of sheet music and him playing extremely difficult flute Do you think that as the scene records of Brazilian sambas and passages, this guy fifteen, sixteen grows here there'll be more people bossa novas, because I really like that years old. He got a scholarship to the playing those two roles, artist and music, and it seems easier to play on Eastman School of Music and studied manager? the harp than a lot of American with Hubert Laws. Now he's a jazz The most successful musicians I've music. We'll be doing that and some artist in residence with the New met on the national scene are the ones jazz. Orleans public schools. who can do that. There are a lot of I've played in a lot of groups where The bassist is Jim Markway. He's people with a lot of talent who can't there were loud intruments that played all over town with a lot of dif- deal on the business and professional covered up the harp. With Jasmine I ferent groups. He's a very versatile level, to make themselves national. wanted to have a band without guitar player. He plays fretless electric bass, People I've met like Nat Adderly and or piano; all the instruments except which is sort of a compromise bet- Billy Taylor and Anthony Braxton the harp are monophonic, which ween acoustic and electric bass. You can deal on both levels with equal means that they're not chordal; they can get certain kinds of sounds that proficiency. I have to work on the can play only one note at a time. It you can only get on an acoustic bass, music more than management.

WAVELENGTH/ JANUARY 1981 11 Pass A Good Time A Guide To Live Cajun Music

BY ALMOST SLIM PHOTO BY JULIA NEAD Allen Fontenot and his Country Ca- chie Sashon often holds down the South Louisiana can arguably be juns entertain weekends and a good bandstand. called the richest area of indigenous time can be had by all . Bring a group In Eunice, on the weekends there is music in the world. New Orleans is of people and wear shoes you don't the Blue Goose Club and the often referred to as "the birthplace of mind getting scuffed up. The Maple Lakeview Club. Both are located on jazz," the home of marching bands Leaf Bar on Oak Street features one Mamou Road. The Blue Goose and an instantly recognizable rhythm of the better young local Cajun features music on weekend nights and and blues style. But it is Louisiana'a bands, Bourre, every Thursday night. Sunday afternoons beginning at 4. bayou country that has perhaps Tipitina's serves as a stop-over for the Perhaps the most renown Cajun spawned one of the warmest best in Zydeco groups. Clifton music club is Fred's Lounge in bewildering varieties of music-Ca- Chenier, Buckwheat and Rockin' beautiful downtown Mamou. Fred's jun and its black equivalent, Zydeco. Dopsie have all played weekends features live music that is broadcast Within the last decade the rest of here. A short trip across the river to live on KUEN-AM every Saturday. the country, and indeed the world, the Moulin Rouge, 5514 Fourth The music and beer begin to flow at 8 has taken notice of our true folk Street, in Marrero, on weekends will a.m. and continues through to 11 music. Both Clifton Chenier and provide the listener with the strains of a .m. About two dozen musicians Doug Kershaw have received South Louisiana from the bandstand. comprise the program's regulars; worldwide acclaim and their recor- Good French juke box too. among them are Ambrose Thibo- dings are much sought after. It is a If you find yourself in the environs deaux and Nathan Abshire. Reevon strange parallel, but with the increas- of Lafayette, a good location is Jay's Reed hosts the spirited on-air par-tee. ed popularity of Cajun music it is Lounge in Cankton. Jay's has If you find yourself in Scott, head seemingly getting more difficult to popularized Cajun music with the for Sunset Road and try either the find live Cajun music, be it the students from the University of Triangle Club or Going West ampli fied accordion and guitars, or Southwestern Louisiana. But call first especially on Friday or Saturday the natural sound of fiddle, accor- because I've heard rumors Jay's is night. The Triangle Club has a Satur- dion and triangle, it's getting hard to swinging towards disco. In Lafayette day afternoon set at 4 p.m. find, but it's out there. the Tiffin Lounge on the Evangeline In Riceville there is the Town and Here is a sampling of a few promis- Highway is also a good live music Country and in Louisburg there is ing spots. A phone call to these par- spot, although not strictly Cajun, Richard's (of course that's Ree- ticular clubs would be in order to find Johnny Allen, Rod Bernard and War- shard's), again weekends are recom- out who is playing because a Cajun ren Storm often perform. And if mended. nightspot could just as easily become that's not enough, Little Bob and the On Highway 14 between Abbeville a disco or an urban cowboy bar by Lollipops are the house band. and Kaplan, The Cajun Club features the time you read this. The Anchor Inn in Vacherie live music. The Cajun Club is best Here in New Orleans your best bet features Cajun music on the known for its weddings. Couples is to head over to 1822 Airline weekends. Allen Fontenot occa- often have their receptions here and Highway, to The Cajun Bandstand. sionally plays on Friday nights. Fren- follow the tradition of pinning money

12 WAVELENGTH/ JANUARY 1981 to the bride's veil. Red Labry, the owner, says ethnic weddings are quite on sale S 5.99 popular there. Also in Abbeville is the Cajun ORIGINAL BROAOW. Bandstand. Any of the locals can give ~y CAST RECORDING you directions Breaux Bridge sports La Poussiere Club on the Henderson Road and the Corner Bar that is within the town. If you keep headed down the Hender- son Road and you're hungry, head for Pat's Seafood Restaurant, one of the finest restaurants in the state. After your meal you can head over to Pat's Waterfront Lounge or across the road to the Balcony Club. In Judice, Louisiana, the tradi- tional Belvedere Club is still operating, featuring Cajun music on A .New AfusicaJ weekends. In Ville Platte, head for Snook's Friday or Saturday night. Sunday afternoon George's Club, located on Lake Arthur, has live music starting at 4 p.m. In Ville Platte too, don't forget to stop by Floyd's record shop for the best in Cajun waxings. For the best in Zydeco,Richards• club in Opelousas, or in Lawtell, on Highway 190 will fit the bill. Fernest Arceneaux, Rock in' Dopsie, Sam- Brothers Six and Buckwheat play them both. Just off Highway 70, between Highway I, and Pierre Part, on the White Castle short cut, are located the Hula Hoop and the Bon Chance. Both are old time Cajun dance halls. Adam Bareleaux entertains at the Bon Chance saturday evenings. The dance floors are waxed and everybody dances here. Quite often clubs that usually feature other brands of music will feature some Cajun entertainment and some church groups or groups like the V.F.W. will have a fais-do-do dance in town. They are usually an- nounced by telephone pole placards. For the most part, music starts late and goes until very early in the morn- ing, quite often until sunup! Musical sets often follow a similar pattern. No breaks, just enough time between numbers to take a few drags on a cigarette and down half a beer. Hopefully there will be no further ~~~ demise of live Cajun music spots with its increasing popularity. Aithough Oakwood Shopping Center the market is small it is gratifying to 10-9 Mon.-Sat. hear the "shaw-shawn" live. Hopefully it still has a long and pro- sperous future. Available on Columbia records & tapes rct·l

WAVELENGTH/ JANUARY 1981 13 'Droves of spurious rednecks (and some of the real thing} are waltzing across the Mississippi River Bridge on any given night to hear the Salt Creek Band.' BY NANCY WELDON

"We don't do anything but play They came to New Orleans, and ·hear the Salt Creek Band. music." played at the old Judah P's, now Big "We don't just play country music, "Strictly professional," deadpans Jim's on Bourbon Street. we mix it up. We play a little country, another of the Salt Creek band, Nearly three years ago, Salt Creek a little rock, a little Cajun," says engaged in a quickie interview before had some changes. Former Copas Haines. taking the stage at Bronco's Saloon Brothers drummer Don Kendrick and "A lot of original stuff," continues on the West Bank. guitar and fiddle player Randy Rea Rea, who with Hughes does most of "I watch Guiding Lighl during the joined original members Luke the group's writing. day," confides still another. It 's Haines, steel guitar; Dick Hughes, They collaborated on nearly all of something like interviewing a couple guitar; and Sam Alfano, bass; to the songs on the Salt Creek Living On of sets of twins who speak in unison form the current Salt Creek. the Bayou album, as well as the more or in tongues. On this particular Friday night at recently released 45 " Honky Tonk The sound system is blaring Bronco's, band alumnus Gary Frazier Amnesia." ("Honky Tonk Amnesia "Cotton-eyed Joe," and it's hard to is sitting in on bass because Alfano is set in again and I don't remember tell who's serious and who's saying on his honeymoon. The honky-tonk who, what or when. ") what as the band gathers around a spirit is undiminished. The album was produced by drum- dark table by the stage to talk about "We've been playing country mer Kendrick, and engineered by its music. music when most of these bands over Eugene Foster at Magic City Recor- On a good weekend, its music here were playing rock and roll ... l ding. Foster now owns . Bogalusa's reportedly draws some I ,500 two- don't think there was any country Studio in the Country, where the s_teppers to the two-story wood- bands playing when we started," says single was recorded. floored bar. Hughes. "It's what we've always Both records have a good, classic Salt Creek-in one form or played." honky-tonk sound, with Cajun and another-has been together for about Now of course, droves of spurious even Texas swing overtones. seven years, since most of the group rednecks (and some of the real thing) "We wrote a lot of 'em just during met up at a bluegrass festival in are waltzing across the Mississippi the day [ presumably around Guiding Florida. River Bridge on any given night to Lighl ], sitting around. One of us

14 WAVELENGTH/ JANUARY 1981 wou-ld come up with an idea, and get and a gift shop selling everything stuff and I'd go home and try to work with the other one, and just start from John Wayne commemoratives it into Beatles stuff." picking it out," says Rea. to panties and cloisonne wildlife hat Kendrick converted to country All the cuts are about Louisiana tacks. after earlier work with Baton Rouge's life: "Sacalait Hole," "Atcha- Saloon-goers can watch the action Butch Hornsby and John Fred and falaya," "New Orleans," "Fais Do from upstairs, looking down through the Playboys. "Just say 'Don says Do," " Hip Boot Joe," to name a picture windows into the parking lot he's played in too many bands to few. or over a balcony onto the dance remember'." Hughes and Rea, originally from floor. Which brings us back to "Honky Baton Rouge, say they like writing Most come to dance, and Salt Tonk Amnesia," the single that the about the state because, except for Creek's originals and covers are band says has had some local airplay Doug Kershaw, few songwriters are eminently danceable. (minimal success," as one put it). concentrating on Louisiana. The band is unfazed by interrup- "The radio stations are kind of "We'd be doing it down on Bour- tions of the "you-have-a-phone-call- hesitant to play a local band" says bon, and it'd give the people from up will-the-owner-of-a .. " variety, segue- Haines. "We don't have a major North or wherever they came from a ing back into the music with a brisk label.'' souvenir they could buy that would ·:okay. Looks like ya'll want to slow Their work is mostly self produced, be about Louisiana." dance. Get on out there and hunch on and they would like to record again. Most of the Bronco's crowd seems each other." Meanwhile, there is the regular gig local. From the lady in black vinyl An evening with Salt Creek is at Bronco's and they' re not at all con- with the Dolly Parton wig to the anything but dull. cerned that country western music young couple with matching feather There was a time when they weren't may be just another fad . hatbands, they two-step around the quite so country-oriented. "Country music seems to always, floor in true Gilley's style under "I was a Beatles fan," says Rea. even after it dies out, to resurge every wagon wheels, steer skulls, antlers "My uncle, who I learned guitar few years. I don't think it'll ever die and harnesses. from, was a big Hank Williams fan. out completely. It's been here for too Bronco's also has a mechanical bull He used to teach me Hank Williams long.

WAVELENGTH/ JANUARY 1981 15 t\' - - / JANUARY 1981

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~q...t; ~q...t; ~·~ ~·~ The smallest. and usually most overlooked com- With the two magnets, one for each channel, are ponent in the stereo component system is the phono two separate coil structures. Lower moving mass, pickup cartridge. But this component. being a trans- separate coils. and extreme manufacturing care result in ducer (like speakers are) has the very hard job of con- very linear and flat frequency response curves. excellent - verting the mechanical undulations in the ·record groove stereo separation over the audio range. and excellent into an electrical voltage the amplifier can intensify. transient response. The tiny needle, more properly known as the stylus. We at Alterman Audio have compared Audio- must follow all the little variations of the groove wall. technica cartridges to other cartridges, sometimes Forces as high as I 0.000 pounds per square inch occur several times the cost of the Audio-technica model, on the stylus tip. Tremendous velocities are achieved. and found the Audio-technica to have a more natural And any movement of the stylus not directly caused sound. with less harshness. yet excellent detail in the by the groove walls is distortion. highs. and solid. rich bass. Audio-technica has been a leader in transducer In many of our component systems we recommend technology in Japan since about the early 1960 s. the AUDIO-TECHNICA AT110E. This is aboul .. Many leading Japanese manufacturers of electronic the middle of the Audio-technica line of cartridges, and components call on Audio-technica to manufacture we think it merits itself in systems costing even $1000. cartridges for them. And in the last several years. The nationally advertised value of the A T11 OE is more and more American audiophiles are coming to $65. but at Alterman Audio, everyday. you can buy it know Audio-technica for their excellence. for $25. And considering the quality of many car· Audio-t~chnica cartridges include a new patented tridges a lot of stereo dealers put in stereo systems technology. Instead of one large. and somewhat heavy costing lots of money. we think you might find a very magnet. Audio-technica incorporates two tiny magnets definite sonic improvement, by changing to this car· which the stylus and cantilever have to push against. tridge. And just think. it sells for less than you This results in lower moving mass (less inertia) and probably will pay for a replacement stylus for the car·- thus the stylus can move easier and more quickly tridge you already own (which should be replaced following the groove walls. every year anyway).

3213 17& Sbtee! 7323 F'WW 'BelcUcd ..calwib U~fmv« 834-7772 866-3579 12-911lllll-Tilw. 11-S'Fu. & Sed. 11-711lllll-fu. 0pett Sld.lil!61 Jazz Tony Dagradi Returns in Style

BY YORKE CORBIN series on WYES this month. After- hours club patrons can catch Dagradi with the Lifers at the Faubourg begin- ning around 1 a.m. on Sundays, and with the Astral Project at the same hour Mondays at the Blues Saloon. He'll also be playing with both those bands in the "Contemporary Music On Air" radio broadcasts over WWNO this month-but why not make it over to the CAC those Friday nights to see the man play? This guy Dagradi gets around. For- tunately for a jazz neophyte and habitual pedestrian like me, however, he turns out to live just three blocks from my house in the Broadmoor neighborhood. I hiked over the other day to ask him how it felt to be back. "I was in Europe almost exactly a month," he informed me, "playing almost every night. It was all concerts and always well received. I totally en- joyed Carla's gig, and the music was burning, b ut there were so many peo- ple in the band that the featured time for each person was divided up so that you didn't get to play as much as you would with a quartet or quintet. So I look forward to playing with Ramsey or with the Astral Project because I have to be producing a lot more. I like to put out a lot more. "With Carla's band it was a lot of reading. Her music is odd-numbered bars, so if you didn't read you'd get ~ lost in a minute, until you started to ~ learn the music. The solo space was ~ very limited. But it was always a ~ great gig.'' :;; Dagradi feels that Astral Project is ~ his favorite band to play with in New > 0 Orleans. "Everybody has been play- Tony Dagradi, the sensational sax publication of a rave review of his ing together for so long that there's a player with Astral Project and album Oasis (on the Grammavision lot of intuition on the stand, a lot of Ramsey McLean and the Lifers (the label) by Joel Simpson-like interaction that doesn't happen in two foremost contemporary jazz Dagradi, a formidable East Coast ad- bands where one person is playing the ensembles in New Orleans) has dition to the local scene-in the new drums one night, and someone else returned to town in style after touring newspaper,Gambit. Beyond that, this the next night. Astral Project is Europe with Carla Bley, the avant- versatile player will be featured in always tight. Plus, that's the band garde pianist and composer. three of the four bands that will ap- that plays all my music; I write a lot Dagradi's return coincided with the pear in the "Jazz Now" television for that band. Continued on next page

WAVELENGTH/ JANUARY 1981 19 Rare Records Everybody,s Heard It, Nobody~ Got It

BY AL~OST SLIM

Who Shot The La-La Oliver Morgan GNP 318x

I bet you're saying "That's not a CZ:Aa, 'lftlllttCI.ttl rare record, everybody's heard that." GNP 3111 Well, everybody might have heard c...'"'.. , · CII-2Wll the" Nookie Boy" do it but copies -- are . extremely scarce. Roger, from the .,..... W KO SHOT THE LALA ,.... Goldmine Record Store, has come ,,...... _..t~• o+~ across only one copy after a decade in .,.,._,C\ OLIVlR MORGAN c.t-.J' 4oo ooo· the oldies business . "Ecoltos HO\.\..,..,., Released in 1963, it featured Dr. by Herman's Hermits who wanted~ to Deco John on piano, Roy Montreal on cover it over in England but it never guitar, Joe Fox on drums and Shakey came about." New Wave Knight on sax. Although co-written The record itself is a classic New by Eddie Bo, Oliver couldn't recall Orleans call and response second- him on the session. Oliver added, liners bonanza. When quizzed on Avant Garde "After it came out it dragged a bit who did shoot the La-La, Oliver but then, boom! I even was contacted responded, "I still don't know! " Continued from page 19 "Playing with Ramsey is totally en- and the time involved and how to deal joyable, though. He writes some in- with the people. There's a lot of teresting things. It puts me in a dif- things that the leader has to be ferent space than with my own music, responsible for that you only learn by which I like. I wish there were more doing. Exotic Cards people in this city who were present "There were some unexpected ing different ideas. That's something things that I enjoyed-the interplay that's missing here. that happened, the vibrancy of the Posters "Years ago I used to think that msuic. It has a very immediate sound what I should be doing was writing. to it, very fresh. I hadn't played with Collectables Then I put it aside for quite a number those particular musicians on the of years, just worked on my playing. album in a while, and when we do get Now there's more of a balance, together, it's a nice musical thing that Ceiling Fans because I've been trying to write happens." things for myself that I want to pre- There have apparently been several sent, establish moods to present to reviews of the album in East Coast people. That's mostly what I've been publications, but Dagradi hasn't seen THE thinking about in my writing, trying them yet. Joel Simpson's review in to work on the next album, to get that Gambit, which should be on the music together. newsstands through January, is well REDSTAR "There are four of my tunes on worth checking out. Perhaps Oasis. Three of them were written the competition will rouse Vincent with t~e album in mind. I think I'll be Fumar, the fine music writer whom doing another album in the spring, the Picayune doesn't seem to know it co. and I'm having a little more time to has, from his Chalmette torpor. Or if think about it. It's going to be a little Simpson's writing doesn't, I suspect 4020 Magazine St. more organized. Each album's going Dagradi's album will. 899-4010 to be different. "I'll make sure he hears it," said Open "There's a lot you learn in the the saxophonist, jotting down Mon.-Sat. 11-6 studio, about organizing the session Fumar's address as I took my leave.

20 WAVELENGTH/ JANUARY 1981 Pop Music

from his obvious expertise on lead Joyride Gets Down guitar, he is a most serious music and lyrics writer. Right now about half of Joyride's material is McDonald's. To Business Sam Henry has been playing music for almost 40 years and it is hard to even begin to tell of this man's ex- BY SEVARENE perience. He started out as a classical musician, played jazz through his col- "Elegant Funk" is how Sam Henry It is all pretty impressive for a new lege years at Xavier University. Over describes it; "extreme fusion" says band, but it is easy to understand in the years he was involved with Clyde George Porter. What they're talking view of the background and ex- Kerr's seventeen-piece orchestra, un- about is Joyride and to everyone who perience o,f all four members of til Henry left with the entire rhythm has seen them lately , they brought Joyride. section and the vocalists to start pure joy and a lot of hard-driving George Porter, who is well known "Sam and the Americans." Later he funk in the true New Orleans tradi- as the bass player of the Meters since worked with the John Anthony tion. '67, was involved before that with the Quartet, formed a trio with Jonas Joyride may be a relatively new Neville Sound Band playing R&B and Monk. From jazz to rock to jazz. band in town but it is also a group of rock. They were doing interpretations Then he worked with "Soul four very experienced musicians that of other people's material; they were Machine" with Aaron and Cyril takes music and the music business "song stylists." In all, Porter has Neville. In '73 he went to Nashville very seriously and deserve in turn played bass for sixteen years and where he acquired experience in the New Orleans' serious attention. wants to bring his New Orleans ex- recording business and came back to Although the band as we know it perience and ability for creative inter- New Orleans in '76, where he has now was formally launched at Tip's pretation to Joyride. He does not see been arranging and co-producing for on October 28th with George Porter the group merely as a good rhythm Sea-Saint Studio, as well as working on bass, Ricky Sebastien on drums, machine but rather as a truly creative with George Porter. Sam is mostly in- Bruce McDonald on lead guitar and group with recording and producing terested in the production aspect of Sam Henry on keyboard, it all started experience open to communication the recording business but he will also about a year and a half ago when and participation with other artists. bring some powerful writing and ar- Tony Fontenette, in need of a bass Ricky Sebastien, at 24, is the ranging to Joyride. player, called on George Porter. youngest of the group. He grew up in All four have goals of their own, Later, Porter tied in with Bruce a Cajun background between and with individuals as creative and McDonald and the band became Opelousas and Baton Rouge, but widely experienced as they are, it is known as George Porter and Joyride. while in college started playing jazz not surprising. But they do have some Kenneth Blevins was on drums, Craig and Latin music. Finally moving to very definite collective goals for Wroten on keyboard. After a few New Orleans in '77, Ricky has played Joyride. They want to change the at- months, Ricky Sebastien replaced with practically everyone in town: titude of the country toward the Kenneth Blevins and Sam Henry, Earl Turbinton, Willie Tee, James recording industry in New Orleans. who had previously worked with Rivers, Ron Cuccia and the Jazz Already, they have created Chip- George Porter on his album, came to Poetry Group, etc. Ricky has put a pewa Music Publishing Corporation play with them. The band was im- strong emphasis on being able to play and Joyride, Inc., which will oversee mediately successful, playing at the a variety of styles and he sees himself a recording corporation in partner- memorable "Fire on the Bayou" con- influenced by Hendrix, Chick Corea ship with the Studio in the Country. cert at the Saenger on May 30th, with and drummers like Tony Williams, Joyride, Inc., wants to offer better both Craig and Sam on keyboards. Bill Cobham and Steve Gadd. opportunities to the working/ recor- Throughout the summer and early Jimi Hendrix was also a strong in- ding musician, and try to be the fall,the band has been working hard, fluence on Bruce McDonald, who answer to his frustrations, legal and rehearsing and making its debut at was a neighbor of Sebastien's at one financial. Jed's, the Old Absinthe Bar, point and ws already playing some In the near future, most likely Tipitina's and the Dream Palace. very serious rock. Other influences before Mardi Gras, Joyride will have In November, "Joyride" was seen were Garcia, Eric Gayle and Cornell a single out with the excellent cut backing Exuma at the Old Absinthe Dupree of "Stuff" and the Meters. "Going to New Orleans," a tribute to Bar and also the four-piece band was Around '75, he was playing with the Professor Longhair. They don't want laying rhythm tracks and then vocal Cajun band "Coteau," then did three to put a label on their music, but overdubs at the Studio in the Coun- tours and two albums with Zachary George Porter says they will have try. By the time this issue is out, all Richard, co-producing one of them. some new directions for the Eighties twenty-four tracks will be shopped McDonald joined Joyride when Ken- and it's up to us to hear them play through the industry for a record neth Blevins was the drummer and and find out what these new direc- deal. has been with them ever since. Apart tions are.

WAVELENGTH/ JANUARY 1981 21 Sports

Low Blows

BY BUNNY MATTHEWS

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22 WAVELENGTH/ JANUARY 1981 Rock X Lives, Leads L.A. Punk Scene

BY KEITH TWETHELL

X acts compromise their way into recor- And another funny thing happen- Jimmy's ding contracts while they remained ed. Some of the bigger record com- December 15 unsigned. "We're a punk rock band; panies that had rejected X's demo we screw up on stage; we're not a for- tapes out of hand came calling. Ah, X. On pirate maps it marked mula," says bassist and co-writer of the leap to the bigtime, right? Wrong. buried treasure. Today it names a most of the band's material, John X stayed with Slash. Wasn't the very different treasure, definitely not Doe. "It's hard." No contract, little possible move a temptation? "No," of the buried type. X is the hottest money, a few gigs at punk clubs in says Doe. Thirty minutes with some band out of Los Angeles these days, L.A. Challenging. of those guys from the big com- and the only surprise is that they One night Ray Manzarek, panies, and .... " Exene, co-writer and didn't get here sooner. keyboard player of another challeng- vocalist, describes the situation Their music is punk. The band is ing L.A. band of 15 years ago, the beautifully: "When you're married to quite clear on the distinction between Doors, heard X. He became their someone and you love them and they punk and new wave: new wave is producer. Slash Records, a small, in- loved you when you were down, and "easy listening , " punk is "challeng- dependent company that had released then some beautiful woman walks up ing." X challenges with haunting bit- exactly one previous album, signed the street and says 'Come live with terness of lyric and hard-driving them. The debut album, Los Angeles, me,' well, you just don't do it." music that, while adhering to the was cut. A funny thing happened: it This is typical of X. They will not basic ferocious beat of punk, soars in sold. And sold and sold. Critics rav- compromise, they will be true. Exene, and out, around and above it in a ed, promoters called. Slash's limited who views herself primarily as a powerful display of what the genre facilities couldn't keep up with the writer, says a song should be about an can achieve. demand--more records were being experience with a common element Times were that X was facing the ordered than could be pressed (a pro- for all of us, described in specific, challenge itself, watching "safer" blem which has now been overcome). reachable terms, and it must be true;

WAVELENGTH/ JANUARY 1981 23 ~.-t-H--'-t-t~~~t-t-t ~ -...-+---1----!---l----¥ John Doe agrees that X's songs are rock musicians--" ! haven't seen a about the truth, or at least plush dressing room yet on this tour. 1!1-.-r--+----+--+-----+---c "hallucinations of the truth." The Where's the heat--isn't there some truths in X's music are about people place in New Orleans that's warm"? ~~++- and the intolerence of their environ- But the band is charged for show ment ("Sex and Drugs in High Socie- time. ~~ ty," "The World's a Mess; It's In My I have been warned about problems Kiss"). There are no apologies or with the sound, and observation of rt !lpittu•a sympathies, just pictures that are ex- some interplay between John and the a 810 !Ill Drtam Palace W14 !1p1Una'a 4th Anninraary Par'y quisite, torturous in their accuracy, sound man right before X goes on 1'1& !he •aple Leaf visions finely wrought in anger, bit- does little to encourage. Sure enough, ~ 81'1 !Ill Dream Palace terness, confusion. And truth. the vocal mikes are godawful at the WllL•1&1'a 0 814 !lleDream Palace The band searches for truth in start and don't improve much. John Wl8 L•l&l'a music, too. Influences are hard to has to tie a bandana over his mike. to ~ I'SO !1p1Una'l pronounce--"Anytime you hear keep from getting shocked. OJ 8Sl Jt4'a wi'h !he •l&h'ridera something, anything, that's good," But the music! X is so tight. Drum- says Exene, ''it becomes an mer D.J. Bonebrake lets no one off influence." Guitarist Billy Zoom the hook, not for one beat, driving claims not to own a record from after the band with a light speed crispness. 1963. All of them caution against see- Doe on bass is right there with him, ing too much Doors influence in X, a their combined rhythm sounds like a point the critics have played with at march for amphetamined ants. length because of Manzarek and the Guitar licks cuts through, run along- band's status in L.A. Yet only Billy side, hop up and down impatiently has lived there longer than four years, and then allow themselves to be pull- and Manzarek, while deeply loved ed along by the beat. Some are and admired by the band, is their pro- familiar-! realize that they're from WORK DONE ON PREMISES ducer, not their musical guru. 50's rock and roll, coming twice as What does influence them is music fast as ever before. Billy Zoom stands that is played for itself. "There's a lot calmly, smiles occasionally like the of truth in regional music, like ultimate vision of any woman's Cajun," offers Exene, "It's blonde dream, and outpaces Chuck natural." X isn't trying to impress Berry. Dazzling. Too bad he is never anyone. They search for no particular given a chance to really get off on audience; they just want to be given a something--X sticks pretty much to hearing. The music is not gentle. Its the short, tight format of punk. emotions complement those in the The vocals are hard to take in. lyrics, so that sound and word are "Garbled" is the best that can be said entwined. They are punk because of the sound quality. Yet this is not they feel it, believe it. They don't get enough to hold back completely the How it1 the world consciously caught up in the scene; strength of Exene's voice, and more they just live it, and now in L.A ., lead importantly to X's sound, the in- didWWNO it. terplay between her and John. The get into this jam? This is important to us," John Doe vocals, weakness for many punk says, "We help out other bands when bands, often thrown away, count we can." They've allowed virtually here. Both sing well, harmonizing at By choice. We bring you the world's greatest jams on Jazz Alive with Billy Taylor. Corne with us to Nice every punk band in the L.A. area to some points and then layering voice to hear Lionel Hampton, or to the Swiss Alps to hear open for them. As they see it, punk on top of each other. Few songs are Oscar Peterson at Montreux, or to the Smithsonian to hear Woody Herman's Herd. We take you from the music is generated by a collective dominated by either, and here is a key blues of Lena Horne to the horn of Urbie Gr--.. force, a way of thinking common to a to X's music: no one dom.inates. Four Whether it's Preservation Hall in New Orleans. or Carnegie Hall in New York, we're no sooner out of group of people. Punk was late in get- very talented people merge and are one jam than we're into another. ting to L.A., but X, through its music distinctive, one painting with four and the use of its current stature, is signatures. proving late to be a lot better than At times there seems to be room for never. X to expand--get off the basically THE CONCERT one-rhythm track, open up some in- So X finally makes it to New strumental improvisation, but that's

Jazz programs Wed. thru Sal. nights. Orleans. Jimmy's on a Tuesday not what punk does. X is a punk night. Rock superstardom? Talking band; their abilities easily overcome

A CUlTURAl SERViCE OF THE UNIVERSIT\' Or N('li ORLEANS in the storage room before the show, any inherent limitations of the form. John is sardonic. He points to the They are not likely to compromise. concrete decor and bottlecase seating They do delight in their challenge. (504) 283-()315 arrangement and talks of the myth of Take them up on it.

24 WAVELENGTH/ JANUARY 1981 Reviews

the bed/ Her voice shook, she bowed her head/ He sat down in her only chair/Her poverty was everywhere/It was love at first sight." The simplicity of Burnett's descrip- tions gives each song a verbal in- teriorness. You feel like you're there. Good glove stuff. " Realism" is really "Surrealism": " It's a death cult that terrorized a town/ A love affair that brought a nation down/ A desperate desert battle to the death-" ("Madison Avenue"). "Driving Wheel" drives. "Love that moves like a driving wheel." This is the heart of the matter- movement. T-Bone is hanging on the lamppost for "Come On Home," begging his baby to return. "Started with a drink and ended with a fight." The guy's feeling horny and it looks like the night's gonna eat him alive. Get back to this boy 'fore he hurts hisself. With a "Give Peace a Chance" beat, "The Power of Love" recon- ciles the opposites. "The power of love is self of self I And scorches out all the doubt/ Burns away all the pain." Dig the message and not the man; the man ain't worth a damn if sinking deep in the matter. "Nothing he isn't the message. Mr. Jones is the Truth Decay here is really real." The floppy blues dogmatic doxologist. Conscious T-Bone Burnett beat of "Talk" offers a backdrop for magic is the synthesis of opposites, Takoma TAK-7080 T -Bone to do grocery lists of love. phenomenological descriptions of T-Bone spea ks "House of people, situations, images. (Describe, Mirrors" over an understated jerk The first post-Jesus-freak rocker's don't explain.) The people he beat that opens up with some fine album proves to be a transcendental describes " don't say nothing," but cymbal work by David Kemper in the experience. T-Bone Burnett (no rela- T -Bone's descriptions speak a world. instrumental sections. Story of a man tion to Johnny-Dorsey-Billy) is a ''They stare in the mirror at each who lost touch with himself, and picker-singer-writer from Texas; he other's face"- lost in the ricochet of everbody else. "People were also his was the spark of the Alpha Band that reflection. mirrors/ Often times he was their mir- was the spine of Dylan's Rolling Great bubbling, bobbing guitars in ror as well." Thunder Revue. Truth Decay, the "Boomerang" doing rubber band "Tears" is good kicking modern album's title, perhaps speaks of tricks. Seeing the action of the mo- 'billy; "Pretty Girls" has got a T -Bone's disaffection with the ment as the seed of the future. (Have sleazoid back beat and a bourbon dogmatic excesses of the Born Agains you ever been in another state and guitar. (don't stop being born). The music witnessed an accident as it happened, Wrap it up: " I'm Coming Home." behind the title is a fresh blend of the collision appearing in slow mo- Christ, that guitar hurts, it's so fancy rockabilly styles, acoustic and elec- tion?) and pretty. "Hold me to your tric, and T-Bone's visions. Let's talk "Love at First Sight," an evolved breast/ Let me stay and rest in your about what this music's talking Hollyesque mix of black and white tenderness" croons Burnett and about. musical influences, features an friend. Guitar man gets all shaky and "Quicksand" has a quick gallop ominous tom-tom beat through warbly in the low notes for his first with the second guitar double-timing which a shave-and-a-haircut-two-bits eight bars of ride, then rises like a the bass in that immortal figure that riff slashes at seemingly odd times bird. "I still have to pay the goes back to Cash's "I Walk the (you'll get the hang). Somebody's price/ For some distant paradise/ But Line." T-Bone's telling you that the guitar is stinging like a mother (David now, I'm coming home." road you're on is quicksand: you're Mansfield?)! "She lit the candle by -Zeke Fishhead

WAVELENGTH/ JANUARY 1981 25 AnENTION ALL MUSIC TALENT Give Me The Night George Benson Warner Bros. HS 3453

The emphasis of this album is stated by producer Quincy Jones: "Instead of the world's greatest guitarist who can also sing, the ap- proach we used was a great singer, who is the world's greatest guitar player." The aim was to make this a crossover album that would appeal to lB. a multitude of listeners and be com- mercial as well as an artistic success. (Jhd As a jazz album, it falls short. As a vocal album, it shows pro- WYNK-FM mise; but Benson's vocal prowess can't sustain an entire 12" LP. (Anybody remember the I 0 incher?) ~ As a pop album, though there are several saleable tracks, the jazz over- tones on some may make listeners uneasy. 8111TZ£ As a soul album, there is more than 711£ a hint of neolite on a disco dance floor. As an R&B disc, it's too sophisticated to be funky. OF 111£tliiii!J&! In short, as much as I admire both All Music Styles Welcome George Benson and Quincy Jones, and respect their contributions to jazz, pop, a nd music in general, I can't get enthused over this outing as Win a Trip to Daytona Beach an album. Believe me, I've tried hard. The attempt to be all things to all peo- and Compete for a ple results in not being enough to satisfy anyone's taste. FREE Recording Session! There is not enough improvirsation of substance from Benson. "Off •1st Prize-Trip to EXPO AMERICA and *Grand Prize-FREE Professional Broadway" and "Dinorah" Daytona Beach for a G rand Bo ttle Recording Session! Cut your are the with other fina lists. own 45 RPM record mainly instrumental tracks. "Give Me The Night" and "What's On Your Mind" are almost up to Ben- Sound provided by Bowers Sound Service. son's earlier standards and, for some, may be sufficient to support the album. For me, Patti Austin's brief solo in the Eddie Jefferson vocalese ENTRY FORM of "Moody's Mood" is a breath of ------, fresh air. Here Benson shows PteoM cQrT'IOittet,_ INOf'motiQI'I ~ &e sure ro fOIOw ••oct 6'1$'tiiCIIQn$ tO ''Wl' January 29, 30 and 31 another, gentler side of his vocal scat- ~....,..,con oe ,.,ooeo OfoOef"'t' ...... EXPO AMERICA ting that comes off well. Although "Love Dance" 3:00 • 9:00 Daily has brief, cryptic lyrics, Benson handles them well. Band Concert Superior Marty Paich string scoring

I«• 9:00 • Midnight plus nice Herbie Hancock synthesizer '"" accompaniment are the highlights of Every Night at the "Star of a Story (X)." These are two ~ t-..o ,,.. ~ INOt<'T'O' oOn oro moterOII!(ltn VOu 10 ooeo..oo•-. ~ ~OUI oono o. o PO'tW'IfO cont•'onl Prince Murat • ,. tQ~Mt ,ecororo ot ...o..tf ,...... , tur.t examples of the Lester Young-Count • A oroef 010g1ocnv on eocr~ cono ,.,..roer nc-..o.ng ooe Baton Rouge • A DIOC• Ot'O wNte Q!().C) Cf'Otogr(ll)l\ Basie adage that less can be more, .AAIWIO""t~OOC ·~~()m'Ot()t'IO"'m..,.,.,...toi:X"'A.f..Aio1!(A "'<. "0 bOo :J(MJ C'"-COQO W01 oOoll and it 's interesting to hear Benson in Alftf'".. OotC~PfClC*f't(liii:XP().t.MlUICAK '

26 WAVELENGTH/ JANUARY 1981 where you can hear Benson scatting around and in some instances, and trying to break out and away, but through the dissonance (which is so being dragged back by the material much a part of this work) are (e.g. "Dinorah"). As a local record remarkable. What Duke Ellington dealer says, "The record's selling, but called the "puckish" Terry is it ain't breezin'." showcased to great advantage in Ex- ll sure ain't. ultation, (which is a monument to --Rhodes Spedale Mumbles, scatting, and joymaking), as well as in his recitation opening the 2125 Hwy. 90 West Avondale various sections. The interplay of 436-3000 Mother! Mother! Sims, Terry, and the coloratura Located 2 Miles West of Huey P. Long Bridge Clark Terry and soprano Joan Heller in the closing passages is mind boggling. Zoot Sims I e njoy the Stravinsky Ebony Con- Jan. 1 - Topcats 12-115 much more now than upon first Pablo 23 certo Jan. 2,3 - Shieks listening, especially the closing move- ment. To continue the comparison, Jan. 7 - Shieks recording of what is this is an album to buy now and listen This 1979 Jan. 9 - Hyjinx termed a "Jazz Symphony" by com- to annually. It's an example of pro- poser Charles Schwartz (whose pro- tean improvisation over non-too- Jan. 10 - Topcats grammatic liner notes are an assist) sympathetic composition. recalls to me the 1945 Ebony Concer- --Rh odes Spedale Jan. 13 - Fleshtones to that Stravinsky wrote for Woody (IRS Recording artist) Herman and his Orchestra. Though Opening: The Mechanics Schwartz's is a more sparsely scored Digital 111 at Montreaux work (II pieces, including vocalist, to Various A rtists: Jan. 14 - Shieks less is more com- 19 for Stravinsky), Pablo D2308223 Jan. 2 1 - Shieks plex in this instance. There are other similarities. David Hall called Stravinsky's work "con- The normal format for record cert chamber jazz," while Donald reviews doesn't cover this Pablo Fuller hailed Stravinsky combining release of the Montreaux Jazz jazz elements with the lighter side of Festival, July 1979, recordings for the his late neo-classical manner. reasons set out herein. Frankly, it's Schwartz himself, noting that his of left-overs that, on too " jazz symphonies" can be performed an album don't warm up as MUSIC ON by " either a chamber group or a sym- many occasions, 'round. phony orchestra.. . (and) ... these sym- well the second time FRENCHMAN over from On phonies are fully composed works These tracks are left two other that also allow for considerable jazz The Road and Chops, STREET tepid improvisation." Pablo releases. They range from in There are decided differences also: to above ordinary and superlative, whereas the Stravinsky is composed the Pass solo tracks. The Basie efforts are "I Can't Get of three movements which are per- At the Dream Palace without interruption, Started" featuring a good, un- formed 534 Frenchman Schwartz has four distinct sections. Beriganish trumpet player uniden- Stravinsky's work is moderato, an- tified in the liner notes. I recognize January 10, 17,24: dante, and moderato. Although the same arrangement as played at the The Radiators Schwartz has denominated his 1980 New Orleans Jazz and Heritage movements as Celebration, Jubila- Festival outing, but I didn't catch the At the Faubourg ('cause it tion, Exultation and Revelation, and trumpeter's name then 626 Frenchman mpt to evoke wasn't announced on that occasion they are, he says, an atte Jan. 2,16: a "positive, up feeling" I frankly feel either); however, I believe it's the Black Trio the declension should have been "up, talented Sonny Cohn. Butch Miles James upper, up pest, and uppitiest," for the does the drum solo on "Good entire work provokes an unrelenting Mileage," an original by trombonist Jan. 23,30: impression of freneticism. Dennis Wilson; but, although techni- Earl Turblnton/ That's not to say that there aren't cians may marvel, with few excep- Johnny Vldacovlch Trio moments of value; it's just that this tions (Roach, Manne, Blakey and the listenable no Jones boys), as I've reported work is not extremely Saturdays 1·5 a.m. matter how much jazz titans Terry elsewhere, I tend to fall asleep during fers and Sims cook. There are no better drum solos. Ramsey Mclean & the Li improvisors among jazzmen, and Ella's "Ghost" has been picked up their venturesome solos above, in the mid-stream flow which may be

WAVELENGTH/ JANUARY 1981 27 fine for certain medical laboratory Len Dresslar's baritone on " Mother- technicians' purposes, but is annoy- less Child" is a somber evocation of BRONCO'S ing for jazzophiles! Backed by Paul the best of darkness. Dan Shelton is HOME OF Smith (p) Keter Betts (b) Freddie also a Hi-Lo's veteran; and, suffice it THE COONASS Green (g) and Mickey Roker (dms), to say, on a musical, vocal level, there COWBOY she scats the definitive rendition of was never any better vocal group on "Flying Home," which is in itself a the scene (The Four Freshmen includ- raison d'etre for ownership of this ed) in my opinion-until now: The album. Singers Unlimited, whose blend is a SALOON. However, saving the best for last, I triumphal melding of talents. CAFE. wonder if finally the listening public GIFTSHOPPE Most of all, the group makes realizes just how well Joseph An- musical good sense. They don't try to thony Passalaquar plays! If it dazzle you with histrionics, valley and features doesn't, I believe this concert at Mon- hill vocal leaps, cuteness, etc. They SALT CREEK treaux demonstrates that fact of just perform at their best, and ex- Tues.-Sat. 9:00 till musical life-that he's the most satis- cellence proves itself everytime. fying solo guitarist to come along in The program here is constantly in- ages. His arpeggios in "Waterfront" teresting and entertaining. There's Mechanical bull rides transcend the composition itself so the bright opener " Anything Goes", that a re-hearing of that tune will the contemporary ballads (The Way Bands 7 nights a week never allow it to sound the same; it's We Were," "Someone to Light Up just what Bird did on "Just Friends"; My Life"}, the standards ("Love Is open II a.m. till "Li'l Darlin' " is a tender delight. Here to Stay," "I Wish You Love"}, on weekdays Pedersen has long been a bass the old, old favorites from the tradi- open 7 p.m. till master since he was a teenager tional past of vocal harmonizing at on weekends. (remember the Bud Powell trio on the barbershop (''Jeanie,'' Delmark?). The Brubeck composi- "Motherless Child," "Sweet Lor- across from Oakwood tion shows his impeccable taste and ranine"}, the innovations ("One empathy with Pass; and in "Oleo" More Time," "Chuck (sic Chick?) 1325 WHITNEY AVE. the interplay is delicious as the duo Corea," " The Entertainer"), and the PHONE 368-1000 gets down and wails. classic touchstone ("All The Things So, this disc is recommended for You Are"), It's excellently balanced, Pass, Pedersen, and Ella's "Flyin' pleasing, and yet at the same time Horr.e. " There's better Basie venturesome. elsewhere, but the sound throughout High points include Bonnie Her- LIVE MUSIC is superb and alive. man's wistful coolness on -Rhodes Spedale "Someone," the modern twists and turns on Joplin's classic ragtime number and the epitome of Chick A Cappella III Corea captured in music and spirit, and immediacy in Puerling's tribute. The Singers Unlimited I've saved the best for last: Jerome P.A. U.S.A. 7076 Kern's "All The Things You Are" has been used as a test for the young jazzman's ability on countless occa- This has to be the most satisfying sions. There is no way any vocal vocal album of the year. I've been group can surpass this performance. following this group from the old It displays the best of all of the Jan. 2,3 - Cold MPS BASF releases, and they im- qualities of this aggregation. Jan. 8 · ShiekstMode/s prove with every hearing. Although I'd hate to see any of the currently Jan. 9,10- Nevilles .Jan. 15 • Shieks there is a considerable talent with in- headlining "vocal groups" step into Jan. 16,17 - Cold strumental backing (e.g. Oscar Peter- any ring with these champions; for J an. 22 - Shieks son, Rob McConnell, Art Van I'm afraid it'd be either another Jan. 23,24 - Asleep at the Damme}, it is unsurpassable talent a Leonard-Duran fiasco (with Wheel cap pella. laryngitis vice stomach cramps) or Jan. 29 · David Allan Coe Why_are they so exceptional? It's simply a Pete Rodemacher-Floyd Jan. 30,31 • Rockats (N.Y.) the optimal blend of harmonies and Patterson affair (no contest). dynamics with superlative phrasing to As a colleague's column for boot. Gene Puerling's Hi-Lo's suc- another jazz rag all-too-formally cessful experience has been chronicl- closed on several occasions, "All The ed elsewhere. Bonnie Herman Stars in the Sky, Leonard!" But this 8200WILLOW possesses an almost pristine, distinct- time, the stars are all deserved. 866-9549 ly blonde voice, golden in its clarity. -Rhodes Spedale

28 WAVELENGTH/ JANUARY 1981 1. ·-~~ ii·M±c~z~~~ur~wmt:-9-~ffm9Q2t-9-7Jit .. ' ··· t.- tJ~iiW , J~t~mcl.lFG < J~•Il~•• J ••IlM•~ - m-t-9-~llmt.-'J'?75 ·y 90 . 0696~W• ~nn~~•n~~~~tt ~ ~~~~•n~~ ~ ~ 2. RMimlc~~mu£D:i1JJvJ:J~D-Jvi~~~JJv1Jt:J:JOJI MfJRM-30CcP'J. U . JIII~ . ~~tJ. M I.- . ;r--J:. REC MUTE ~ I\ "Cf17Ii1-9 · ;~ 71Jt'' J t:J ::J t'~~~.

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promised that last year. The Cold and The Nevilles should make an in- teresting contrast at this year's ball. The Black Pope is back on the local airwaves. A long time New Orleans radio personality during the 50's and 60's, he is now in the afternoon slot on WNNR and is certainly one of the more boisterous dj 's around ... Zachary Richard, the Louisiana-born Cajun who's been such a big hit in French-speaking Canada, is slated for Tipitina's this month ... Bill Clifford, conductor of the Blue Room Or- chestra, orchestrated the soundtrack for the movie The Formula starring Marlon Brando and George C. Scott. There's lots of activity at Studio In the Country. Besides the previously mentioned Nevilles, the studio also has booked Brook Benton, The Crow Brothers, Zachary Richard, Bas Clas and Le Roux. Serge Kiloen, the "Tom Jones of France," also has a February date in Bogalusa; he plans to use such rhythm men as Bill Payne, Little Feats' pianist, and Albert Lee, from Eric Clapton's band ... Nick Lowe was in town recently between dates with Rockpile ... WWNO's Coril The Neville Brothers have been ten- in the U.S. in late January, will in- Joseph is now managing The Profes- tatively signed to an exclusive A&M clude the New Orleans classic" Junco sionals, Irma Thomas's band. Look recording c9ntract. Final details have Partner" ... Shepard Samuels' show for them going solo this month. yet to be worked out between the on WTUL will have Aaron Neville There's a new Willie Tee 45 on the Neville's manager Bill Johnston and live, singing and playing the piano on market. A&M 's chief Jerry Moss but January 19. Tune in around 8 ... Jessie Hill, Reggie Hall and The Johnston plans to fly to L.A. after February 1 is set for Aaron's benefit Mighty Men are joining forces to the holidays to get everything on for "The Uptown Youth, Cultural form the "Ooh Poo Pah Doo paper. Joel Dorn will produce the and Development Center,'' at Revue." Hank Drevich is doing the record and it looks like Studio in the Tipitina's. The Nevilles, Wild promotion. Their show premieres Country should be full of Nevilles by Tchoupitoulas, The Radiators, Li'l soon at a rock and roll party near the middle of this month. Queenie, & Chocolate Milk are you. Reggie is remembered for "The Becky Kury has left The Cartoons slated. Joke" and what can you say about and plans on attending nursing The 1981 New Orleans Jazz and Jessie except "Tra La La La La, Una schooi...Eddie Volker, ace keyboard Heritage Festival is to run May 1st Mala Wala, Why you wanna holla man with the Radiators, will head thru lOth. Among those already sign- when you know you wanna swalla Oh south of the border for a short vaca- ed are James Brown, Betty Carter, yeah" ... Bobby March an is headed tion ... Johnny Adams should have a Cab Calloway, and Nancy for the recording studio in January. new waxing by the time this is off the Wilson ... Beaver Productions will br- Bobby is still holding down the MC press. His Christmas record is a com- ing Elvis Costello to the Warehouse job at Prout's and recently hosted the plete sell-out.. .Look for a new Ernie January 23 . The guy who started all Figaro Christmas party ... Lee Dorsey K-Doe 45 on Sansu soon. Ernie is gig- the chaos should hit the bandstand will be playing Trammps in New ging with Irving Bannister and The around 8 pm. Squeeze and The Cold York the first of this month. All Stars and frequently plays The will open. Tickets available at Gilbert Hetherwick, president of Rose Tattoo across the neutral Peaches ...The indefatigable Denise Grouse House Productions, an- ground from Tip's. Vallon has announced plans for this nounced he is moving his office and St. Louis based Nighthawk year's Krewe of Clones Ball. Denise opening a studio deep in the heart of Records is releasing a series of Pro- vows that this year's festivities will Faubourg ... Spencer Bohren hopes to fessor Longhair tunes to be cut in late surely get her run out of town on a interest major folk labels with a February ...The Clash's new album, rail, but don't hold your breath: she recently completed demo tape ....

30 WAVELENGTH/JANUARY 1981 Collect a Legend

5-45-2 loudspeakers

1600 turntable & cartridge

2400 FM stereo receiver

In a world of look-alike, sound-alike stereo, Bang & Olufsen stands alone. You may see their unique combination of brilliant performance and magnificent design in the Museum of Modern Art. You can buy them only at Audio Specialties. Now, you can start collecting a lege nd for around 81500 with a Bang & Olufsen system that includes a 2400 FM receiver, a 1600 automatic turntable & matching cartridge and a pair of S-45-2 loudspeakers. An outstanding value. There is simply nothing else like it. Available at Audio Specialties Audio Specialties of New Orleans, Inc. 3535 Severn Ave./Met., La./455·0182 4153 Canal St./N.O., La./482·5711 "Gaucho" Three and one-half years in the Steely Dan's entire catalogue making, the new Steely Dan album is available everywhere: finally here! "Gaucho;' Ca n't Buy A Thrill Countdown to Ecstasy featuring the hit Pretzel Logic single, "Hey Katy lied Nineteen:' Royal Scam Steely Dan's new Aja album, "Gaucho:' Greatest Hits It was worth .MCA RiCORDS waiting for. Produced by Gary Katz. Clout Front Line Management Inc $6.29 $9.49

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