University of ScholarWorks@UNO

Wavelength Midlo Center for New Orleans Studies

1-1984

Wavelength (January 1984)

Connie Atkinson University of New Orleans

Follow this and additional works at: https://scholarworks.uno.edu/wavelength

Recommended Citation Wavelength (January 1984) 39 https://scholarworks.uno.edu/wavelength/39

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]. ORLEANS

'84 World's Fair: 'The Most Exciting Plate In The World'

Trash Movies As Art

Movies Theatre Art& Rolling Listings With Shirley and Lee

Thoroughly Modem Marsalis

BULK RATE U.S. POSTAGE PAID ALEXANDRIA, LA PERMIT N0.88

utauelenglh

ISSUE N0.39 • JANUARY 1984 ISSN 0741·2460

''I 'm not sure, but I'm almost positive, that all music came from New Orleans. '' -Ernie K-Doe, 1979

Cover photo by Michael P. Smith t table of contents What a Year!!!

Features ------• World's Fair by Bunny Matthews ...... 14 You're gonna need Wavelength in 1984 by Almost Slim ...... 16 Naughty Marietta New Orleans knows how to party, but this by Don Lee Keith ...... 19 year, we're really going to show our Ellis Marsalis With all the thousands of events to by Yorke Corbin ...... 21 from, you're going to need us more Spirit World ever, so you won't miss one minute of the by rico ...... 23 fun. Departments----- January News ...... 4 AND IF YOU SUBSCRIBE NOW, Golden Moments by Almost Slim ...... 6 YOU CAN GET WAVELENGTH AT 1983 PRICES! Zekespeak by Zeke Fishhead ...... 6 Rare Record by Almost Slim ...... 7 Subscribe in January and get 12 months of Cinema WAVELENGTH delivered to your door by Jon Newlin ...... 8 for only $10. (Subscription rates go up Reviews. ... .12 February.) Listings ...... 26 Classifieds . . . 3 3 Last Page ...... 34

Member of Network Publisher. Naum'-0 S. Scon. Fditor, Connk AOOruon . Asaociate Editor, Virginia Levie. YES, enter my subscription to WAVELENGTH, New Orleans Edirorial Assist~ nt , Allison Brandin. Art Director, Julia Ne2d. Advertisinz: .»lcs ManaJct, Rhonda Fabian. Ad•enisin&Sales, Ty Ada.nu. Distribution,)OC' Torcz.on, Music Magazine, at the special rate of 12 issues for only $10. Hampton Wtiss. Contributors: Eddy Allm~n . Z<:ke Fishhead,Jon Foose, T~dJones . Virgima Levie. Jay Marvi n, Bunny Matthews, Jon NC"wlin , Ric Olivier. Kalamu ya Mail your check to WAVELENGTH SUBSCRIPTIONS, P.O. Box 15667, Salaam, Shepard Samuels. ~ne Scaramuzzo. Hammond Scott, Almost Slim, Keith New Orleans LA 70175 or CALL US-(504) 895·2342 and charge it! Twitchell , Nancy Wddon, William D. White. 0 $10 one year ($20 foreign) 0 $18 two years ($28 foreign) 0 $25 three years ($35 foreign) lf'a.el•ngth is published monthly in New Orltlns. Telephone (504)895·2342. Mail 0 renewal 0 payment enclosed charge to: 0 MasterCard 0 VISA subscrip1ions. :address changes to Wa&~i!l~ngth. P.O. Box 15667, New Orle-ans. U . 70175. Subscription rat~ is $10 per ye2r. ForeiJ,n. $20 ~r ynr. first class subscrip. enter account number below: rions. S26 per ye-ar (domescic & Canacb). AO airmail rare at S40 per ye-ar (oversus). The entire contenu of Wt111~l~ngth :a~ copyrigh1cd © 1984 Wtltttltngth. name Back issues are aY:llilable by writing to Bad Issues, P.O. Box. 15667, New O rlons. ( La . 70175. B«ausc of a limited supply, bark issues are available for S4 e-ach. Ple-.uc address lllL! Ill ITill [lJ allow a few weeks for procming and delivery of orders. / New sumcribcrs: Please aUow up to six weeks for rttcipc o( first issue due ro our small, nor:.·tomputcriz.cd subscription department. Ctly stale zip

Foreign customers may pay by l.M.O. or check dr.~wn on a U.S. bank. Bcau.K of phone expiration date signature exorbitant ban k processing charges. wt- o n nor accep1 checks in Canadian dollars or ocher foreign currency. or checks drawn on a forei&n ban k. allow 4-6 weeks for your forst copy 10 arnve

Subscribers mus1 notify us imm~iatd y of any change of addrcss. If n01ifiouion is not received, magazines senl to incorrect old addresses will not be replact'd. U.S. • ••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••• cus1omers mus1 include zip code.

3 ol' six-string at Campo's) and Siren Richard Bird on bass. Siren says that its influences range from Miles Eats Davis to Emmerson Lake and Palmer, which ought to be at least So after months of ill health, eclectic enough to get them by in Tupelo's has finally died, and Tip's the (murually) exclusive environs of doesn't really cotton to your brand Uptown and Fat City. of aggressive pop-rock, which leaves ''The musicianship is the key ,'' Jimmy's as the only Uptown club says Alvarado. ''This is the best you can play, and you can't play group of I've ever played there too often; and you know that with." And it is true, Siren is out in Fat City, they'll even pay clearly a cut above your strum 'em­ you halfway decent, which is nice thump 'em-dump 'em garage wave 'cause the guys in your have band. Alvarado, a veteran of local a thing about eating-in their own acts Toulouse and Hyjinx, writes apartments, no less-but new wave most of Siren's original material; play because it gave them more definitely won 't go over out there, and this material, particularly a Why Palmer control," he said. "When you're they may throw stuff at you: so pair of tunes, "No Way Out" and playing real hard and loud, they what the hell do you do? "All Night Long," allows the band Can't Play have much less control. I got along If you're committed to being a to lay claim to a future that may , who was the world's well with all of them, especially working band-and in New promise more than playing their busiest drummer until his election Bones Howe, who was one of the Orleans right now, that's a helluva audiences' favorite covers. On a to the post of secretary-treasurer of greatest mixers they ever had in commitment-you go to Fat City demo tape Siren recently recorded, Musicians Union Local .'' and play heavy metal, and slide in at bassist Bird's own Visionary 47, dropped into town recently to As a union officer, Palmer is not the occasional original; you play Studios, covers of the Motels and attend a convention (of the Inter­ permitted to play anywhere. It is a Jimmy's and anywhere you can on the Pretenders come across as com­ national Foundation of Employee condition he accepts: "I feel it's a campus and cover the Pretenders petent, but the band's own Benefits), visit with old friends, fair rule. I don't think it's fair for and so on and slide in the occa­ have much more enthusiasm-and sample a few clubs and eat sea­ an officer to go out and compete sional original; and you hope that some decent hooks. If Siren is able food. with a guy who's paying his salary. somewhere in there you find and to expand on this side of the show Palmer did take off enough time I can live with the rule. Oh, I'd carve out your own identity. and phase out the covers-and not to offer one reason for his prom­ like very much to play. I could use Such is the pragmatic approach go hungry in the process-look for inence on so many records. "The the extra money like anybody adopted by Siren, a four-person them to atuact some industry in­ engineers always liked the way I e lse . " New Orleans band that terest over the next few years. characterizes its music as " upbeat In the meantime, go check them , progressive pop.'' Formed about a out; and when some beer-guzzling 8 and check out Sleepy;s set. Even­ year ago by lead singer I keyboardist cretin yells, " Play Pat Benatar, rually Rounder signed Sleepy to a Dee Alvarado and drummer Keith man," scream out loud and clear, contract and Billington produced Posey, the line-up also includes Jim "Do some of your own stuff." the It Ain't What You Eat, It's Beckwith on (he teaches the -Keith Twitchell The Way How You Chew It and Sleepy's "sleeping" career Geoff swears "You can tell if a began an upswing that is still go­ material, too. Everything from the person is lying by the timbre of his ing strong. swamp pop-ish ''There Is voice ," but he sounds a little too The old bus finally burned up Something On Your Mind" to Frogman Henry's "Ain't Got No techno-rock-affected on the vocals and gave way to a 35-foot-long to "It Never Occurred To Me" to R.V. that houses all the comforts Home" to Smiley's "Ain't Gonna be making such claims. Maybe he's of home for Sleepy, including his Be Your Dog No More." His right; I thought those guys in Rush wife Linda and his two beautiful powerhouse version of Fats' ''I'm and Uriah Heep really did slay little girls, Jessie and Melinda. Ready" echoes Sleepy's personal rock philosophy while showcasing Sleepy parked that R.V. aside 's this December 7 and his expressive phrasing on lead proceeded to rock that joint till the guitar. If that weren't enough to Two Hundred wee hours of the morning after win the Wavelength Seal Of Ap­ wrapping up a Cox Cable Music proval, it turns out ole Sleep can City taping two days earlier in actually trace his ethnic roots back Fifty Pounds of to the LeBoeuf family of Acadiana, Jackson Square. Accompanying him Baritone LaBeef on harmonica was none other than which makes him not only an Honorary Coonass, but a registered Do you know who Sleepy LaBeef Scott Billington, who soundly one as well. -rico is? About twenty-five years ago, he dispels the myth that most pro­ had a hit with his energetic version ducers are calloused, jaded, of Hank Ballard's "Tore Up." frustrated musicians. Back in those days Sleepy and his Sleepy's compact but wide rang­ Marketing friends would copy the current hits ing medleys are played with such Moving Targets of Johnny Cash and Jerry Lee Lewis an unaffected integrity that it's for release on the popular 25 Hits hard to imagine anyone not enjoy­ Evan Baldwin (front, center) is for $2.95 . Sometimes those ing them. It's not uncommon for getting ready for that day when he primitive tape recorders would even him, in the space of one twenty­ and dad Geoff Baldwin (second manage to capture some of his true minute medley, to splice together from right) can team up on those talent as on "Somebody's Been the songs of Duane Eddy, Little Spirit-style harmonies that dad likes Beatin' My Time," a beautiful solo Richard, John Lee Hooker, Roy Or­ so much. Dad's current band, acoustic rune that later bison, and even the , Moving Targets, features Stephen appeared on the later Baron reissue and have it all come out distinctly Cronvich, Chuck Gwartney, Susan Early, Rare and Rockin' Sides Sleepy-fied. He just pumps those Voelz, and Guy Duplantier with album. barre chords and bellows out that progressive rock songs that are For many years Sleepy worked baritone and the band tags right energetic, often interestingly ar­ the roadhouses of the Northeast along. This would've been great ranged, and definitely well played. out of an old bus. A young music stuff for those dance marathons of Some listeners will also find these enthusiast named Scott Billington days gone by. songs ripe with already overused would occasionally stop in to chat Sleepy covers a lot of progressive rock cliches.

4 W AVELENGTII I JANUARY 1984 dragons on a weekly basis. Susan Voelz's classical influenced violin adds a sophisticated edge to the Target's sound and her "How Could I," which focuses on a love gone cold, is one of the group's best lyrical statements. Gwartney and Duplantier are graduates of the unforgettable Blind Dates and Waka Waka. Stephen Cronvich's lead style is refreshing and young, definitely Frippish. One day he may graduate with a bachelor's degree in classical guitar "if I ever get around to having two recitals." The Moving Targets are going to avoid an unreceptive local bar audi­ ence by hauling their self-produced (in Baldwin's eight-track home studio) demo tape up to NYC in hopes of that much coveted "record deal." They don't play a whole lot of gigs around town. None, in fact. Once they played a gig at Tipitina's where they had including a nice shot of Irene's Zoo ty for South Louisiana: page 12 of When styles collide: The Ditty this well structured young female Revue, which will probably be a their new songbook has a picture Dozen Brass Band meets Ramsey dancer in a black teddy thing ritzy condominium before we know of a Mardi Gras doubloon from McLean's Survivors (something like, gyrating atop a p.a. speaker to it. This year the duo has released " The Time Machine" float #84 oh, say, Picasso adding a few brush stage right. She had a name like the " 1984 Calendar of Olympic right next to the White castle, strokes to a Botticelli) one Sunday Stella D'Oro or Ramona NoNo, or Games, Music, and Orwellian which aside from being a chain of afternoon in December at the Snug something. It was a real nice Dates'' which contains the mail art hamburger joints, is the Harbor. Is the result New Orleans' touch. ''Why play for forty people location of the world's largest plan­ ultimate marching band? at Tipitina's and make ten dollars tation home, Nottaway, twenty-five apiece?" asks Baldwin in the Home miles south of Baton Rouge. of the . As an ensemble, X has never Evan would probably rather mix sounded better and their Riverboat and paying and dancing, then slip­ a few tracks in the control booth gig found them playing a variety of ped over to Tipitina's for some than hang out at Tip's, anyway. material from their four LPs: "A dancing himself to fellow Slashers -nco Drunk In My Past" (dedicated to Los Lobos. Jerry Lee Lewis), "The New As we walk down the gangplank Extra, Extra: World" (dedicated to America), reading the new book, the and "We're Having So Much from "Make The Music Go X, X, X Fun'' (dedicated to Lafayette punk Bang'' make a specially poignant personality Cecil Doyle) from the epilogue to such a wild night: "Here's another slow dance song recent More Fun In The New I seen a lot ofpeople with plen­ for all you Fifties freaks,'' an­ World album on Elektra. By the ty of guts nounced of X at their time they made it back to ''Johnny They say make my music new December aboard the 9 Hit and Run Pauline" from the and loud and rough Riverboat Preszdent. Four nervous debut album, bodies were flying Give it a beat or give it a twang clicks from D.).' s drumsticks and around the President like psychotic In a dark sweaty club it's the the band launches into a brutally ~"'""""... ' Mf/}.ftl. ()t-l'f-'1: fr.EWp~

W AVELENGTII I JANUARY 1984 5 4 112' self-service copies, Reductions and Enlargements A shy seventeen-year-old waitress at the Pimlico Oub, on South Broad and Mon-Thurs 8 a.m.-7 p.m. • Fri - 8-6 Washington Avenue, convinces band­ leader to let her sing Sat- 9-5 a few numbers with his band at the end of a set. The irate owner of the Have A Happy New Yearl Pirnlico fires the teenager for neglec­ ting her waitress duties. Ridgley, who • specialty papers recognizes the youngster's plight and • typewriter rentals raw talent, invites her to stop by his • passport photos next engagement and sing once again. Mter a few promising cameos, Ridg­ - • binding: spiral or vela ley introduces the girl to Joe Assunto • word processing at Ron Records. Likewise impressed by • color copies her voice, Assunto decides to record • business cards her on a tune written by local song­ • rubber stamps writer Dorothy Labostrie. Almost over­ • bannergrams night "(You Can Have My Husband • padding But) Please Don't Mess With My • stationery supplies Man" becomes a hit, and the teen­ aged ex-waitress is on • film processing her way to stardom. • Free Pick-Up & Delivery -Almost Slim CALL FOR A BID

DOWNTOWN UPTOWN BY ZEKE FISHHEAD 801 Howard Ave. 1140 S. Carrollton zekespeak 581-2541 861-8016 UNIVERSITY METAIRIE I 039 Broadway 1531 Metairie Rd. 866-6156 831-8720 DINOSAUR ROAR!

r r rJ .0.. r ,rd5 Dinah, oh Dinah, what makes your While the young Dinah so sore? J J "eco , Better yet: what makes your dino­ lions seem locked in saur roar? the same old predictable ruts, r tAo!,e ur MoneY; can't tell you why , but the old­ timers, the dinosaurs, are kicking those old I up some sand, producing spirited dinosaurs- for ,.o ~S:'P work. At a time when the young lions- the Police, Talking Heads­ , Mick Jag­ aren't breaking new ground but lock­ ger and Tom f ( Select from Thousands ( ing into predictable patterns, here come the old geezers, flexing their Waits-are out muscle, mixing up old moves in fresh kicking up j ~~.~~~!s~~i~ ways. Infidels (Columbia QC 38819) con­ some new dust. f Many OUT-OF-PRINT Titles tains some of the strongest work Bob Dylan's done in years. The uptempo r & COLLECTOR'S ITEMS numbers possess a determined drive; humor. It's a bluesy ballad that recalls the ballads flow with a powerful gen­ the acidity and black humor of his ear­ j Rock • • Classical tleness. 's ace session men, lier work. Mixing sex, religion and bassist Robbie Shakespeare and drum politics, Dylan cautions the "swee­ ( Comedy • Soundtracks mer Sky Dunbar, provide a solid back­ theart'' of the title about the pitfalls f & More!!! bone throughout. Guitarist Mack of trading integrity for power. The ftrst Knopfler (of Dire Straits) co-produced bridge blazes with these amazing j the album with Dylan and spices lines: things up with his tasty ftlls. At the You know you can make a name for center stage is Dylan, who's traded his yourself, judges' robes for the colors of the You can hear tires squeal. rr Jokerman. You could be known as the most "Jokerman" is the quasi- beautzful woman who ever crawl­ j song that opens the LP. It's got a hell ed across cut glass to make a deal. of a melody and Dylan seems to have The timing of Dylan's delivery is a great time it. No longer miraculous; the video of this tune judging and moralizing, he points to that's circulating around right now is uncertainty, and in one lines says, something to see. 3129 Gentilly Blvd. 3627 S. Carrollton Ave. 601 Terry Pkwy. j False-hearted judges die in the webs There's nary a weak cut on the new 282-3322 482~1 361-5656 they spin. "Sweetheart Like You" release by , Under­ flashes with knife-like perception and cover( 7 90120-1 ). This 6 WAVELENGTH I JANUARY 1984 of the music. This becomes evident THE VOLUME ONE when you're dancing to it, the best way to listen to Undercover. The Stones haven't been this nasty VIC and NAT'LY and groovy in years-maybe they've never been this nasty and groovy ever. CARTOON BOOK My current favorite nastiest track is "Tie You Up (The Pain of Love)," which is about as tight as a groove can by buruty matthews get. It sounds like a tune they've been trying to get right for a long time and here it all comes together. Some may 100 of your favorite prickle at the images of sex and Vic and Nat'ly cartoons violence that keep coming up, but I find a sense of joy and liberation at the heart of Undercover, maybe even compassion. But listen to the music: these dinosaurs are having fun-you send '7 & '2 postage can have some too. and handling to: hasn't been kicking WAVELENGTH around the tar pit as long as these P.O. Box 15667, other guys but when he sings, he sure N.O.La. 70175 sounds like a dinosaur. Waits' latest, or Swordfish trombones (Island 90095-1) Call 504/895-2342 is a series of musical and lyrical sket­ & it ches, in much the same way sound­ charge on your VISA tracks for movies are. Visualizing Waits' lyrics as the music unfolds or Mastercard makes it even more movie-like. In­ stead of the rambling monologues of his previous albums, Waits here offers a musical travelogue, fully illustrated. The music shifts as the terrain and the mood changes, from the quiet senti­ album moves relentlessly from Charlie ment of "Johnsburg, " to the Watts' first rim shot on the title track sleazy Hong Kong slink of "Shore to the fade-out chant of the closing Leave'' to the biting backwoods land­ track, "It Must Be Hell." At first I scape of ''Sixteen Shells From A figured Jagger was going lysergic again Thirty-Ought-Six." Waits' lyrics are to be writing such intense ditties, but concise and evocative, and he calls on as stellar as the songs are, the perfor­ a myriad of musical tools to bring his mance of the entire group is compel­ images to life: bagpipes, marimbas, ling throughout. Not a wasted note trombones, rusty-razor to name anywhere. Far from it. And the pro­ a few. Swordfish trombones is one of duction is so bright and sharp it's tac­ those rare albums that comes off like tile-you can almost touch the edges a classic on the first hearing. •

The Gondoliers LET'S HAVE A BLAST Ric 2001 Although nineteen excellent singles appeared on the Ric label, to my knowledge this was the only album. Founded in 1969 by Joe Ruffino. Ric's roster included , , Tommy Ridgley, AI Johnson and Joe Jones. The band used on the Ric sessions was the Gondoliers, led by guitarist Guitar,·· thJS album contains none of Edgar Blanchard. The group first their better musical moments. Instead rtcorded for Peacock in 1949 and was it contains a string of poor, risque, often used by Percy Stovall as accom­ double-entendre jokes with the band panists on tours and one-nighters with barely audible behind the party local and out-of-town performers. banter. During the early Sixties, they often My guess is that this was recorded backed Johnny Adams on the road in 1960 or '61 and was unearthed in and had a regular job at Natal's on the an unopened box of LPs when Joe's Chef Menteur Highway. One Stop closed last year. I got one Although the group recorded an ex­ and Gordon DeSoto got the rest. cellent single on Ric , "Lonesome - Almost Slim

WAVELENGTH I JANUARY 1984 7 • cmema BY JON NEWLIN

400 FRENCH DAUPHINE QUARTER AT CONTI NOON-TILL JUNK MOVIE JUNKIE ast month I suggested, frivolous­ Watch as ly o f course, that 1983 be laid L away in its box and put some­ meaningless film where dry for a few centuries-dose awards are to the top shelf. But I realized that with year's e nd, I had given no presented! Gasp badges, ribbons, silver bears and gold­ as AI Pacino shoots en palms to certain deserving and kneecaps off MONDAYS- ROCK-A-BILLY & OLDIES REVUE undeserving aspects of the last year On Film. I've got a million of 'em, as Jim­ Cubans! Shriek as 10 p.m. my Durante used to boast, but since Gerard Depardieu TUESDAYS- BAR BRANDS & DIXIE 2 FOR 1 this is Wavelength, we'll stick to cita­ 8-10 tions Musical. loses his bead to THURSDAYS - BE A LADY AND HAVE YOUR First, that grand old tradition the Jacobins! Shudder as Production Number: (this is roughly FIRST TWO COCKTAILS ON US in order of preference and one's def­ Shirley MacLaine SUNDAY AFTERNOONS - LIVE BANDS inition is elastic, so here goes) "Mem­ bunts for a man! NO COVER 4 TILL ories Are Made Of This" (Veronika Voss), Eric Idle's little ditty about his Thrill to an old penis (The Meaning ofLife), the Indo­ Plymouth knocking nesian platter party to ''Whole Lotta Following all Ticketmaster off nerds! Read Shakin' Goin' On" (The YearofLiv­ you r ticket stub is worth one cock tail ing Dangerously), " The Fisher of about 3,000 of Capri'' (Lola- Lola and Veront"ka the goofiest p ix Voss, as well as the earlier Iili Marleen which is just one long Production of all time! LOUIS CASTEIX FRANK COVACEVICH Number, and Querelle- homosexual 52.3-9170 pathology as staged by Michael Kidd man's Contract and Zelig (Woody on the backlot at MGM-suggest that Allen and Dick Hyman composed the Fassbinder was moving inexorably period pastiches about the eponymous toward the musical form, like it or character and each was perfect of its not); these are followed at some dis­ kind). Worst Original Scores: Hell's tance by "Christmas In Heaven" (The Angels Forever and Merry Christmas RHYTHM Meaning ofLife), the wedding recep­ Mr. Lawrence. Worst Theme Song: tion (Easy Money), and last and least, "Stay Gold" by Stevie Wonder ( The &BLUES Jeanne Moreau's corbeau-chantant Outstders). Most Rewarding Appear­ rendering of the love theme from ance by a Musical Personality: the dog­ IN Querelle (lyrics by Oscar Wilde, not matic gruffness and complete self­ Hammerstein ). assurance of Sallie Martin in Say NEW Use of Existing Music to Make An Amen, Somebody (which could have Aesthetic Point (no order of prefer­ used more of her). ORLEANS ence): "Devil with the Blue Dress And that's it- no room for Best On" by Los Lobos (Eating Raoul), Wigs, Best and Worst Sex Scenes, by John Broven "Sixteen Tons" (Veronika Voss), Candidates for the Motion Picture "Gloria" (The Outsiders), the tran­ Country Home, or the rest of them. sition from Rossini's La Cenerentola overture to the Silhouettes singing sychotronic ... qu'est-ce que c'est? NOW IN "Get A Job" (Trading Places). Although now defunct, Psycho­ PAPERBACK Best Original Scores: The Draughts- PIronic was the brainchild of a guy $9.95

249 pages 100 B&W photographs Appendix Pelican Publishing Co.

"Ever since its publication. .. J ohn Broven's book has had the status of being a rare book, one cherished by those about whom it is written and coveted by those who have copies." New Orleans Times-Picayune

This classic volume traces the careers and songs of the major R&B artists, as well as peripheral activities of the New Orleans music in· dustry. Featured are the significant contributions of , , , Huey " " Smith, and many others.

Available through your local bookstore or send a check for 9.95 plus •10t1UIU T un· _ v~~~ l !(l0•4101-"Gf.A$ ICtftttll>f 2.00 for postage and handling to WAVELENGTH , P.O. Box 15667, New ..-4 l.fl tliiC'W",. .... ~IUiolt# a- Orleana LA 70175. Psychotronia through the years: Rockabilly Baby (1957). 8 WAVELENGTII I JANUARY 1984 Having A Party? named Michael Weldon who began it Band at Your House or Club? as an out-of-control fanzine devoted to trash movies (and the word devoted Call Beebo's Deli For Your Catering Needs strictly applies), run up and off on a ditto machine, and illuminating some SATISnED CUSTOMERS of the murkier aspects of cinema his­ • N.O. Saints • Billy Idol • Jimmy Buffet tory. Even though Psychotronic is gone • Pete Shelly • Joe Ely • Oingo Boingo as a publication, Mr. Weldon's collec­ Deli Meats, Deli Salads, Cheese Trays, Seafood, Pizza, Beer, Sand­ ted wisdom has been gathered in a wiches, Wine, Liquor, Soft Drinks and Vegetarian Dishes. large format 800-page paperback enti­ tled The Psychotronic Encyclopedia of All Items Delivered Tc, Your Location Ftlm (Ballantine Books, $16.95). This drowning-man' s-life-before-his-eyes BEEBO'S DELICATESSEN GROCERY spin down Poverty Row and 42nd 7329 Freret (Comer of Lowerline) • 866-6692 Street is at least as valuable as works 8 a.m.- Midnite, 7 Days a Week like Sadoul' s Dictionnaire des Filmes, the Rotha-Griffith The Ftlm Till Now, Leslie Halliwell's Film Guides and Ftlmgoer's Companions, the Larousse Hound Dog Man {1959). encyclopedia of the cinema, or The Film Index (surely the wildest exam- and Johnson in Hellzapoppin '. Weldon not only knows his stuff, he is delighted with it (a good thing, too). Therefore, one can agree with most of his capsule judgments-favor­ ites from my youth (and after) long unseen pop up, and yes, The Under-

Summer Love {1957). pie of hobo scholarship ever-a WPA guide to The Film As Art, with thou­ sands of entries cross-referenced and annotated, as of 1941). Weldon's Samson and the Slave Queen {1964). book (there are one or two other con­ You've Got A Friend tributors, but the bulk of it is his) is useful for its useless data and diver­ taker and His Pals (1967) is "totally ting to read because of Weldon's tasteless ... a classic of its kind," and In Tlie Printing Business slangorous way with words- he thinks The Astro-Zombies (1968 , with nothing of ending each sentence with Wendell Corey and stripper Tura Sa­ an exclamation, as befits someone who tana) is "one of the all-time worst," quotes ad copy, not critics. and Alligator (1980, script by John This encyclopedia is composed bv Sayles) is "a giant monster film that's and large of lowlife genre films­ as good or better than the best of the At Both Downtown Locations horror, mad doctors, science fiction, '50s films its resembles," and Seeds We Offer: ofEvtl (1974, with Joe Dallesandro as POSTAl /N$T/INT PMSS some sort of tree elemental) is ''a talky Fllit~ ·CI · W•If""OIWit ' fantasy filmed in Puerto Rico ... terri­ • LOW COST PHOTOCOPYING ble." How succinct can you get? (Self service copies as well as high quality Kodak This is probably the one ftlm book copiesJ • HIGH OUAUTY OFFSET PRINTING (As low as 2' per copy in quantities over 1OOOJ • AND FREE, FRIENDLY ADVICE ON COPY PREPARATION, TYPESETIING, AND HOLDING DOWN THE COST OF YOUR PRINTING PROJECT Envelopes •Business Cards • Posters •Raised Printing The Bonnie Parker Story {1958). occult thrillers, teen pix, biker pix, snuff and body count movies, muscle­ TWO CONVENIENT man epics, DOWNTOWN LOCATIONS jungle films, as well as con­ 825 COMMON STREET siderable space given to films with ap­ (PERE MARQUETTE BUILDING ) pearances by Lorre, Karloff, Chaney, 524-2191 the 3 Stooges, Lugosi, Mamie Van 324 CAMP STREET Doren, Jayne Mansfield, etc. It also in­ POSTAL INSTANT PRESS (ACROSS FRO M PAN· AM CENTER) The ·whlle - U-Wa•t "Prmters• 523-3605 cludes such disparate works as Coc­ Queen Of Blood {1966) . teau's La Belle et La Bete and Olsen

WAVELENGTH I JANUARY 1984 9 JACK PAYNE'S ILe that will be indispensable after the next war- there's something apoca­ ~~()IUILII~ lyptic about the idea of this mass bea­ tification of junk-reliquaries of IJ21()IU113IE refuse. And of course, the book isn't rfl'(}~ perfect. There are a number of typos SHOWROOM (Aiun Owen, not "Alvin Owen," did LOUNGE the screenplay for A Hard Day 's Night, the 1944 Between Two Worlds is from the play Outward Bound by OPEN Sutton Vane, not " Sutton Lane," and it is Maxime McKendry, not "Maxime NEW YEAR'S McKenory," who plays DeSica's wife DAY in the Warhol Dracula, to name but Shows three) but that somehow seems more here than with some ex­ Psych- Out ('967) . & in character 8:30 10:30 pensive fake scholarly film book that would sell for four times the price. SPECIAL SUGAR BOWL Prestige Picture used to mean, in Old Hollywood, something Midnight Show A quite genteel and respectable, january 2 a "property" (play or novel usually) 524-4299 that the studio bought for some vast sum so that the assembly line writers Presents could come up with something total­ GREG THOMPSON'S ly unrecognizable in terms of the ori­ ginal and all too recognizable in terms "Follies On Broadway" of Product. Also, I think a Prestige "A glittering salute to Picture was probably anything with tbe biggest and brtgbtest award-winning musicals." in it, or Robert Donat Blacu/a (1972). or later Paul Muni or the middle-aged Group Rates Available Ronald Colman. The notion lingers, Adams Contact: Darrell Chase or Kitsy even if the boundaries are more STAGE DOOR du Moulin Rouge obscure than ever. Items: Danton and Features Live Entertainment Fri. I Sat. Nights Terms of Endearment-which both reek of prestige, yet couldn't be less SOl Bourbon Street (Corner St. Louis) S24-4299 alike. Danton (filmed by over-the-hill Polish emigre director Anderzej Waj­ da in France to some disquietude from the French government) is nothing like Orphans ofthe Storm or Norma Shearer as brave Marie Antoinette­ if only it were- and nothing remote­ ly like Jean Renoir's age-of-reason­ The Road Wam'or (1983) . news-bulletin La Marsellaise (which ends long before the Terror chronicled Committee ot Public Saiety, liberte, here). If only there were something as egalite, fraternite , etc. There are also exciting as Danton's ride in Orphans some scenes of legal and parliamen­ ofthe Storm to save Henriette Giraud tary procedure under the Terror that from the guillotine-instead there are look like , say, the St. Bernard Police In February, Wavelength will publish its annual Band and Booking a procession of balloon-like closeups Jury on a bad night. list of the working bands and Agent Guide, a comprehensive (always a fatal weakness of Wajda's) Gerard Depardieu is always good as musicians in the New Orleans area, with all the pertinent information-addresses, phone numbers, members' names, what kind and people talking endlessly about a lout, and even better when cast of music. agent's name, and anything else you might want to add. factions , allegiances, the People, the against type as a shifty bourgeois (as After almost a year, we still receive requests for last year's Guide Convention, the Rights of Man, the in La Femme d'a Cote and Mon On- from people who are looking for bands, and since Wavelength goes all over Louisiana and the Gulf South, club owners and bookers in other cities and states often want to find the bands they read about in Wavelength. Don't miss out on a job because a club owner can't find you! To get your b:~nd listed. fill out the form below and send it to us as soon as you can. along with a black and white photo (non-returnable) if you have one. A listing in the Band Guide is free of course.

BOOKING AGENT-PHONE NO. MEMBERSNAMES ------

Creepshow (1983).

10 WAVELENGTH I JANUARY 1984 cle d'Amerique), but here he is re­ of prohibition beer, and the business quired to Think and to Feel and to Ex­ about incest-Tony's excessive attrac­ postulate, and it just isn 't his forte; tion to his not-so-virginal sister (call­ the guy who plays Robespierre (not ed Cesca in the original, Gina here)­ badly) looks much.like Sidney. Her.~n made more explicit than necessary. as " the pussy-fooung Robespterre m This archives-as-thrift-shop notion is Orphans of the Storm, who in turn all dressed up-photography by ) ohn resembled the engravings. I suppose Alonzo at his most stuporous, ntght­ SATURDAY NIGHTS Danton is prestigious simply because mare music by Giorgio Moroder, AI it takes an unfashionable view of the Philippe Entremont, Music Director and Conductor Pacino in a bravura performance that French Revolution (great experiment Andrew Massey, Associate Conductor is sonically too close t.o ~harro . for in populism or bloodbath? and who comfort, cornily flashy dtrecuon Larry Wyatt, Choral Director and Conductor needs such questions?) and has kick edtt~d ­ for a lugubrious effect-and goes vtr­ ed up some extra-cinematic dust about presents Symphony Pops No.2 rually nowhere. In the original Hawks the relevance of its contents to 1980s Scarface, there is a ~ene where Paul Poland rather than 1790s France, but ''BY GEORGE" Muni (Tony) shows hiS new apartment God, it's a bore. Two good points: a to the boss' wife, hightoned Karen An All-Gershwin sidesplitting scene in Jacq Program ues-Louis Morley, who will soon be his when David's atelier ("And when are you conveniently widowed, and she looks Saturday, January 7, 1984 going to finish 'The Oath of the Ten­ around at the grotesque plush-prol.e The Orpheum at nis Court,' Jacques-Louis?" someone 8:00 P.M. decor of the place and says to Munt, asks, or something much like it), and "Kinda gaudy, ain't it?" There isn't Andrew Massey, Conducting Moses Hogan, during an abonive supper planned by a moment that good here-what Soloist in a performance Danton for Robespierre when the for­ of Gershwin's DePalma shows are amounts of co­ mer suspects the latter has eighty-sixed "Rhapsody In Blue" caine that Brobdingnagian in scale, him in council, there is a glimpse of Pepe Serna (poor dear) being dismem­ GERMAINE a stuffed cucumber (concombre forci BAZZLE ELLIS MARSALIS bered with a chain saw, lots of people but with what?) carved in the shape getting their kneecaps shot off, and of a crocodile-the only time in the Saturday, the awesomely tacky interiors of the January 21 movie my curiosity came even fitfully wealthy Cuban community in Miami to life. Germaine Bazzle (no wonder the. Cubans I haven't read Terms of Endear­ obj~cted -the sets look like htgh tech verstons of the ment (and suspect that Larry McMur­ and Ellis Marsalis windows at Muebleria Komfort). This try's work is as parochial~ · sa~, Nancy diffuse self-impressed picture has far Mitford's) but the film Salute the Duke ts a btg rever­ too ma~y scenes of people grovelling ential candy-box filled with tears and and pleading for their lives that are in a program of laughs (soft centers all), and its Hits un~i­ staged like talk shows. There's also a mous praise in somewhat excesstve good performance by Ste~en Bauer The Orpheum at 8:00 terms is puzzling-unless it is the fact p.m. (who is a sort of better lookmg Robby that the picture retains and endorses Benson) in the old thankless George a sacerdotal atmosphere about thor­ Raft role of second lieutenant. oughly banal matters. The movie isn't Singer / Guitarist Chnstine ("from Stephen King's bad at all and is filled with talent and best seller,'' as they say in Lotus Land) JOSE FELICIANO funny scenes and some shrewd minor is also not a prestige job, although casting, as well as the major shrewd­ Saturday, February John Carpenter is-for 4 nesses ofJack Nicholson m r~~ that.re­ aking a fool main obscure to me- a cnttcs darhng of himself and Shirley MacLaine's Singing and playing his oldies as a stylist within restrictive genre. con­ carefully rambunctious Texas and new Spanish widow ventions; King's novel about a vtrago hits. (fading-bitter-we ll - he~l~d -i ntel.ligent­ on wheels was framed in terms of car ladylike-lusty, etc. )-It ts certamly an Andrew Massey songs/love songs/death songs, and outsize portrait, as exaggerated and while Carpenter has scrapped all the Conducts familiar as the comic-macabre features Jan and Dean and Hot Rod Lincoln on a Lautrec poster, but although The Orpheum at bits, he probably does at least as 8:00 p.m. Shirley is very good, the role which is creditable a job as music programmer JOSE FELICIANO sure to be viewed as some so rt of for the film as he does in directing it apotheosis, is really a much ~ore (I especially liked the he.a~y B-movie sophisticated Vicki Lawrence rouune. A irony of the fat, susptctous, foul­ rousing tribute to the late James L. Brooks, a debutante director, mouthed garage owner being crush­ ARTHUR FIEDLER including does fairly well , and his little hom­ ed lethally against steering wheel and a Pops Hoedown and mage to Ruby Gentry with MacLai.ne dashboard while "Bony Moronie " rat­ and Nicholson driving around and m­ T chaikov ksy' s booming tles out of the car radio). The car(s) to and off of Galveston Beach is a lulu, 1812 OVERTURE is great, the actors stuck with King's and probably (a l o n~ with ~acf:ai ne 's patented scared-nerd characters bare­ hairdos) the best smgle thmg tn the ly adequate, and aside from Robert Saturday May 5 movte. s Blossom and Harry Dean Stanton, Now Brian DePalma's Scarface is The Orpheum they are unknown quantities. . not a prestige picture (although, like Carpenter gives the whole thtng a at 8:00 p.m. Danton it seems to have had a Dale­ great deal of superficial gloss and the JOEL LEVINE Carnegi~-in-reverse effect on certain horrors are as subdued here as they social groups who felt themselves were unrestrained in The Thing, but Good unkindly used by it). This is an odd Seats Now Available while he does a cool and competent one: it is taken from a novel by Paul job and the picture is decent entenain- The Series of 4 Concerts Monette (a gay poet and novelist, .on­ ment, projects like this, or The Fog or $20 $30 $40 ly one of whose works-an abomma­ sss Escape From New York remain stub- tion called Taking Care of Call 525-0500, Orpheum Mrs. born sows' -ears, despite the waxing Box Office CamJII- have I had the opportunity and buffing. Hopeful note: Chnstine Single Tickets for Concerts: to examine at length), but it is-natch is an improvement on the other three s7, s9, su and s14 at - the old Ben Hecht-Howard Hawks (!)Stephen King movies~ year, and 1932 Scarface (the ftlm is dedi to TICKETMASTER cated one wonders how soon this one-man them), with Cuban Marielitos !nstead Supported by a Grant from the louisiana State Arts Council cottage industry will exhaust himself. of Black Hand Sicilians, drugs tnstead • and the National Endowment for the Arts WAVELENGTH I JANUARY 1984 11 Clarence ''Gatemouth'' Brown ments reveals a complex but sponta­ THE ORIGINAL eous sound that he also employed-on hits like "Mother-In-Law" and PEACOCK "Working In A Coal Mine." My fa­ RECORDINGS vorite cuts here are "Crystal Ball" (which sounds close to Benny Spell­ Rounder 2039 man's "Fortune Teller"), "We Did lt Again" and "Young Man, Old If covers have anything to say about Man," all of which sound fresh and the music that they contain then this unique even two decades after they one has to be a killer. A vintage Gate were recorded. I guess the best thing sneers out of the cover of this one in I can say about this LP is that it con­ a suit that looks like it's about to tains the kind of music I wish you swallow him and his guitar. Twelve of could still hear in New Orleans today. Gate's best Fifties blues sides are con­ -Almost Slim tained on this jewel, including two previously unissued. Even though many of the remaining tracks have Jackie Wilson SAM BuTERA JoE WILLIAMS been bootlegged in Europe, it's great to hear ''clean'' versions of these tunes THE JACKIE THRU (TUESj JAN 3 (WED) JAN 4- (THURS) JAN 12 as they come directly from the original WILSON STORY masters in most cases. Epic PHYLLIS HYMAN Musically this album is classic and (WED) JAN 18-(TUES) JAN 31 historically important. When Gate's not rockin' the joint we can dream No record collection is complete along with him on some down home without this two-record set (or the Texas blues. Instrumental cuts like original tracks). Jackie Wilson is the "Okie Dokie Stomp" and "Just epitome and personification of the Blue Room Reservations 529-4744. Cocktails & dinner/ Before Dawn' ' will flatten you if they golden throated shouters whose forte dancing to the Bill Clifford Orchestra. Entertainment was a voice that boomed and an emo­ charge. Shows nightly 9:00 and 11:00 except Sunday. already haven't. But wait until you hear "Gate's Salty Blues" and tional disposition that ranged toward THE FAIRMONT HOTEL "That's Your Daddy Yaddy Yo"­ and beyond the extrovert. The album too much. Gate sings with complete covers the time period October 1957 OTHER FAIRMONT HOTELS IN SAN FRANOSCO. DALLAS AND DENVER lack of inhibition and plays some of to February 1972. The cuts represent the hottest alley guitar ever put on songs that hit the top of the Billboard record. His playing on ''Dirty Work R&B charts and placed in the top 100 At The Crossroads'' is just too ampli­ of the pop charts. fied and dirty to be true. If you dig Jackie Wilson had no particular the modern-day Gatemouth, you'll go type of song that was characteristic of wild over this one. him. He dealt with everything. How­ -Almost Slim ever, every song, regardless of origin, became his song once he put his mag­ nificent voice on it. From schmaltzy The Stokes pop songs such as "Danny Boy" and THE STOKES ''Night,'' to Berry Gordy originals such as "Lonely Teardrops" and "To WITII ALLEN Be Loved," to Jackie's great hits such TOUSSAINT as "Whispers," "A Woman, A -Lover, A Friend," and-my personal Bandy 70014 favorite, which is currently on the Black charts by a contemporary Believe it or not, this is currently the group-''Doggin' Around,'' Jackie only available album with Toussaint Wilson just poured pur,. emotion in­ RAs as the featured performer. These sides to the song, infusing each word with group th 3003-Frorn th were originally issued on the Seven B a meaning past its literal denotation. fh ot brought e label while Toussaint was enlisted in A sixteen-year-old Golden Gloves c:. e classic· • You the army at Fort Hood. The Stokes champion ,Jackie Wilson hung up his ded Rivers of 8 By the were all in the military as well , and boxing gloves to entertain as a singer ~eco~ oby/on" e\Je~ these recordings were cut on weekend and dancer (he danced as well and as ~ c:,o\\gc:. passes back in New Orleans. flamboyantly as he sang). A hand­ 'Oes There's nothing terribly serious or some man with incredible talent and dramatic contained here as you'd sur­ stage presence, Jackie Wilson put on Also Distributors For: RECENT12" FROM RAS mise by the titles of the tunes-"Fat stage shows that rivalled Studio One Cat," "Banana Split," "Soda Pop," for raw energy, plus he has "sex ap­ Tuff Gong etc.-just some snappy happy-go­ peal." But in the end it was the Trojan MIC HIGAN & Sl'v11LEY Sugar Daddy lucky music that's easy to pop your magnificence of his voice, a voice that Solomonic What a Life fingers to or whistle along with. had incredible range and which Jackie Dynamic FREDDIE McGREGOR "Whipped Cream" is probably the controlled with a subtlety one does 'Heartbeat Guantanamera/ best known title, but you'll probably not often expect from a shouter. This Shanachie Love Will Solve associate it with Herb Alpert's cover record is a fitting tribute to a singer Greensleeves The Problems version. It's interesting to note that who gave far more than he received Live & Leam Sam lillibridge's trumpet is the from the entertainment industry. Joe Gibbs Stokes' most dominant instrumentalist In 1975, Jackie Wilson suffered a Sonic with Toussaint's piano playing laying serious heart attack while performing. Taxi P.O. Box 40804 the foundation and filling in when the He remains under medical supervi­ J&L Washington, D.C. 20016 horns aren't answering each other. sion and is not expected to ever sing DATC and more (301) 946-0525 A close listen to Toussaint's arrange- again. Jackie Wilson: no current male 12 W AVELENGTII I JANUARY 1984 singer matches his sex appeal, danc­ Pitre," who has lost both his women ed by the uptempo ''Boxcar Boogie,'' of the greatest singers of all time. He ing ability, stage presence and vocal this time around! The real surprise is completed with some startling links American country and western artistry combined in one body and the zydeco adaptation of George Per­ flourishes of Dr. John's right hand. and with the En­ soul. Jackie Wilson. kin's 1970 hit "Crying in the Street." The album's laid back title track sets glish sound of the Sixties. To under­ -Kalamu ya Salaam Most of the rest of the material con­ the stage for side one's other two line his influence, his tunes have been tinues in the style Delafose introduc­ relaxed pieces: "Waiting For a Train" covered by the Beades, Ry Cooder, the ed on his debut disc. (with vocals) and "Monkey Puzzle. " Rolling Stones, Tina Turner and the John Delafose While one might say this LP suffers ''Average Kind of Guy,'' penned Bee Gees. slightly from lack of variable material by Dr. John and Doc Pomus, keeps Born in the red clay hills of Ala­ UNCLE BUD (the sophomore jinx?), it is certainly the ball rolling by opening side two bama in 1940, Alexander was respon­ lYDECO worth a listen. with a humorous subtle message set sible for pioneering the Muscle Shoals Arhoolie 1088 - Almost Slim off by some tasty piano chops. The last sound. He financed the original studio vocal on the LP, "Marie LaVeau," with his first hit, and was the original Dr. John hints at ''night tripper'' days with his example of the srudio's distinct sound This is Delafose's second LP on Ar­ patented arrangement of the tradi­ which would later be popularized by hoolie and it is well up to the stan­ THE BRIGHTEST tional New Orleans standard. The rest the Allman Brothers, Aretha and Otis. dard of his 1980 effort that produced SMILE IN TOWN of the album's selections spotlight Dr. Besides the previously mentioned hits, the surprise South Louisiana hit ''Joe Clean Cut 707 John's eclectic piano style, which this long overdue collection includes Piue a Deux Femmes.'' In comparison rumbles through a variety of styles and the best of his nine Dot singles from to the growing list of zydeco artists, tempos. the Sixties and the lowdown "Sally Delafose's style is much closer to the Anyone who enjoyed Dr. John's last A Dr. John fan or anyone with a Sue Brown" from 1959 on Judd. French side of the zydeco spectrum solo opus Plays Mac Rebennack will passing interest in New Orleans piano As a ballad singer, Alexander defies than the R&B . His impatient vocals find this one appealing as well. But stylings will find this essential lis­ imitation. His controlled emotional and sweet playing, backed while Dr. John chose to vocalize on tening. wails and plaintive vocals touch a by his sons (including 11-year-old only one selection last time, on -Almost Slim nerve like no other singer of the era. Geno!) on rubboard and drums make "Smile," his New Orleans growl Sadly underrated, Alexander's best for attractive listening. graces four of the album's ten selec­ Arthur Alexander titles-"Shot of Rhythm and Blues," Side A was recorded at the 1981 tions. "You Don't Care," "Pretty Girls Festivals Acadiennes, during a tres While it's easy to cite the individual A SHOT OF Everywhere" and "Soldiers of Love" chaud set. The band sticks mainly to stylistic sources of Dr. John's playing, RHY1HM & BLUES are included. So too is the languorous familiar zydeco samplings, pushing it might be best stated that he em­ "I Hang My Head and Cry," which and pulling their way through the bodies the best of all the New Orleans Ace 66 (England) alone is well worth the purchase of the likes of "Oh Negress," "Petite Fille" players. Make no mistake, there's no album. and '']ole Blonde," much to the gris gris or glitter here, just straight Mention Arthur Alexander's name like this doesn't seem to delight of us discophiles and anyone ahead enjoyable Dr. John music, with to anyone mildly interested in rock . get released in this country anymore who was lucky enough to attend the plenty of blues, boogie, rhumba and history and they probably will only and once again an English label has festival. even the classics throughout. remember his early Sixties hits ''An­ set an example for the American Side B is devoted to studio tracks, The album opens on the lowdown na" and "You Better Move On." But record companies. opening with the further saga of' 'Joe side with ''Saddled the Cow,'' follow- to R&B aficionados, Alexander is one -Almost Slim JUST FOR THE RECORD ... atradinSJ The best of Joan Ak'"Aecord Trac . JOAN ARMATRADING 11 of her classic tracks-Plus 2 On~records brand new and cassettes performances

Sale ends January 21st Quantities Limited

NEW ORLEANS 4852' CHEF MENTEUR MON.-THURS. 1o-10; FRI.&SAT. 1o-11 SUNDAY NOON-6 ME'DURIE 945-5110 ME'miRIE 7123 VETERANS BLVD. 3017 VETERANS BLVD. (ATDAVIJ) (ATCAU5EWAY) RECORDS •TAPIS •YIDIO MON.-THURS. 1o-10 ; FRI.&SAT. 1o-11 MON.-SAT. 1o-10 SUNDAY NOON-6 SUNDAY NOON-6 "... ~~~~-, 885-4200 834-6550

W AVEI.ENGTH I JANUARY 1984 13 BY BUNNY MA ITHEWS

lelujah!" the weary traveler must proclaim these days as he exits Moisant International mAirpon and heads through Jefferson Parish to his hotel room in the French Quarter. "Hallelujah!" the traveler says because he's just spotted the Mayor's brand-new billboard, erected high above a small parcel of Kenner. The billboard, festooned with a quartet of fleshy mermaids and mermen wrestling with a pair of alligators, informs the traveler-who's flown in nonstop from Dullsville, U.S.A.-that he's safely landed in "The Most Exci­ ting Place In The World." Not Kenner, you under­ stand, but New Orleans, site of the 1984 Louisiana World's Exposition. "Hallelujah!" the traveler sighs, hoping that the surly cabbie with his mynez-flecked goatee doesn't decide to rob him en route to the city. The cabbie, a pan-time bass-player from Gen Town, yawns as he speeds past the landmarks of Imagine the Metairie- the rotating Walker-Roemer cow, the headquarters of LAS Enterprises, the foul smelling sewage treatment plant near Bonnabel Boulevard. The cabbie, having been born, raised and properly jazz and Rentage Festival baptized in ''The Most Exciting Place In The World," has dutifully encountered a lifetime of ex­ citement. Right now, he wouldn't mind a little plain on a larger scale, old boring sleep. And you can keep that "Hallelu­ jah! " business, the cabbie thinks to himself. What he wants is a gig at the World's Fair for all the "li'l 12 hours a day, podnas" in his band. And a piece of change for entenaining tourists as they stroll about the fair site, braving heat and humidity of devastating intensity. seven days a week, he Louisiana World Exposition will open on May 12, the birthday of both Socrates and Yogi TBerra, and dose on November 11 , the binh­ with 10-12 performances day of Dostoevsky, General George Patton and Jona­ than Winters. The theme of the fair is ''The World of Rivers: Fresh Water As A Source of Life" and adults (12-54) will pay $15 per day admission (which a day, for six months, includes unlimited monorail ridership around the site). Children and senior citizens get a $1 discount on the one-day ticket rate and infants up the age wzth at least of three will be admitted gratis. World's Fair visitors will undoubtedly expect music-lots of music- and they will get it. The fair 15 on-site site will feature at least 15 "on-site" stages devoted stages exclusively to music, plus mobile roving stages, per­ forming areas along the papier-mache and steel Wonderwall, the American Showcase (presenting devoted to muszc­ non-professional talent, such as high school and col­ lege marching bands), the Frey Gazebo in Centen­ nial Plaza (featuring local sounds from 100 years and all for the pnCe ago), the World Theatre (housing the World Theatre for Young Artists, the World Youth Orchestra and performing companies from around the globe), the International Amphitheatre (to be utilized for even­ of an admission tzCket! ing concerts by big-name stars, as well as presenta­ tions by the various international exhibitors) and the Jazz and Gospel Tent, which L.W.E. Manager of Music Programming Charlie Bering describes as ''very much like the Jazz and Heritage Festival facilities. The e ntertainment goes on from 10 a.m. until 10 p.m. seven days a week so we'll more than likely have 40 to 45 minute performances-up to 10 or 12 a day, We will do practically e verything in there- jazz, gospel, blues, Cajun, country, R&B , rock. All of the on-site e ntenainment is free and available to the public once they come in through the turnstiles.'' There will even be music at the turnstiles, as weU as rwo pseudo-Mardi Gras parades a day, complete with Mardi Gras Indians and the outrageously dap­ per members of the city's various marching societies. The Aquacade, with its 6 to 8 free shows per day, will present splashy Esther Williams-type water ballets and the sort of magicians and death-defying jugglers one normally fi nds camped on the steps of St. Louis Cathedral will cruise the fair site in search

14 WAVELENGTH I JANUARY 1984 r HS,IJ\, ~~OR~~ ------~ expertise lies in the field of traditional jazz-Edwin Morgan , Bill Farrell, Fred Hatfield, Don Perry, Don Marquis and Jake Sciambra. Eduardo Youn~ will g!ve advice concerning the realm ofJazz and Lann i Carib­ bean music, Allison Kaslow will support the cause of Cajun and , Dr. Bill Malone will ex­ amine the country I bluegrass troops, Sherman Washington and Milton BourgC?is will can_vass gospel singers and the author of this story will analyze players of blues, new wave, heavy metal (perhaps the most popular form of music in ' 'The Most Exciting Place In The World") and New Orleans rhythm and blues. Musicians and performers from anywhere in the galaxy are invited to s~bmit .applic~tions_. . v.:ith preference going to those m the unmediate V!Clnlty. AJl performers will be paid with both union and non­ union players receiving equal compensation. Con­ sidering the scope of the.World's Fair-imagine the Jazz and Heritage Festival on a larger scale every day for six months-virtually all local performers will be guaranteed bookings. But first-ya gotta send those tapes in! . "Basically, the tapes should be a reflecnon of what the group would actually do at the fair,'' Bering says. "It's not necessary to go into a studio and send in something with a lot of overdubs because you really can't present that live. We don't really even need any more than three selections. It doesn't have to be studio quality but the better the quality, the more it facilitates evaluation. When they send the materials in, it should be as complete as possible so we don't have to communicate with them again."

ack in the cab, the traveler spots the Superdome ("Hallelujah!" he sighs) and placards adverti­ Bsing " Poor Boys, Dressed" and " Yat-Ca­ Mein." Halted by a red light at Canal Street, the traveler is admonished to " get right with Jesus" by a ventriloquist and his evangelical dummy. The cab­ bie proceeds into the French Quarter, where half the streets are plowed up in anticipation of re-paving. The traveler thinks he's seen this place before, but can't remember where. Then it hits him. The French Quarter, our adventurous traveler con­ templates, looks exactly like Beirut. Ah, but the racket comes only from Dixieland bands and jack­ hammers-not submachine guns and the monars of Muslims. "Hallelujah! " of the odd visitor not yet reeling from the sheer, full­ The cabbie waits for his tip. He's got a band prac­ blown headincss of " The Most Exciting Place In The tice in less than an hour but ftrst, he's got to tun World." The only thing missing will be a jazz all the way over by Bunche Village to pick up an funeral. amp. Shoncutting his LTD down Tchoupitoulas, the ~ Of course, local musicians and performers will be cabbie spends 15 minutes maneuvering through a ~~is the list of ~equirements for talent needed to ftll all those stages and Bering urges such herd of cement-mixers bound for the World's Fair artists to follow the application procedures (see box) site. It begins to rain. "Damn!" • applbtn$: L- ·---!.l--.l 1. A wrmen request top; CUIDKICP:O as a per- as soon as possible. former at the &position. "We will do the programming in January so that 2. A biography or promotional package descri­ we will know exactly how many groups we need each bing the performer/group, events and/or places day and what types," Bering explains. "As it stands of past performance. now, I still need applicants from all over the state 3. A m:orded sampJ~ of yout work. Th~ recor­ and region in aJl categories of music to apply. I'm ding can be either a , cassett~ not going to deal with a deadline. If I see in May tape, or vidro tape. or June that there's just no way I'm going to be able 4. A list of your availability for performance(s) to accommodate the applicants, then I'll cut it off. by month, day of the ~k. and time of day. Because we're having to book so far in advance, it's (Note: L.W.E. on site entertainment will run May really difficult-especially with musicians who are 12-Nomnber 11, 1984. seven days a ~k. from mostly itinerant. Jazz, gospel, blues, cajun, 10:00 a.m. until 10 p.m.) "The reason that it's really necessary for every­ country. R&B, rock­ one-even the more popular or the more famous The above information should be submitted to: local and regional artists-to send in a recording is virtually all local that the selections will be done by a committee. 1984 Louisiana World Exposition Although I might be familiar with the artist's music performers will be Attention: Managfr of Music Programming or any one person might be, the only way it can be But Entettainmmt Di~ision done fairly is that it's done consistently. I'm already guaranteed bookings. P.O. Box 1984 getting questions like 'Who's going to be choosing first ya gotta send those New Orleans. LA 70158 this?' or 'Who'll listen to my tape?' " The resource I review committee which will make tapes in! Materials to be retUrned should be accompanied the booking decisions includes Bering and 12 by a self-addressed stamped envelope. members. Almost half of the committee is compos­ ed of members of the New Orleans Jazz Club, whose 15 WAVELENGlH I JANUARY 1984 BY ALMOST SLIM

hame on you if you dido' t realiz~ that it was Shirley Goodman of the classic Fifties rhythm Sand blues duet, Shirley and Lee ("I Fed Good" ''Come On Baby, Let The Good Times Roll'' and "Let The Good Times Roll") who also record­ ed the 1974 massive hit, "Shame, Shame, Shame." As the female side of the unforgettable "Sweet­ hearts of the Blues" duo, Shirley and Lee burst on­ Shirley and Lee, to the record scene in 1952 with the surprising hit, ''I'm Gone." Other R&B hits followed: "Keep On" in 1953, "Feel So Good" in 1954, and 'Til Do It" the 'Sweethearts in 1955. From that point on, Shirley and Lee records began crossing over into the previously staid pop charts. Suddenly the duo became the "Sweethearts of ," as they were embraced by the of Rock 'n' Roll, ' teenage record buyers of the era. Shirley and Lee were tailor-made for the young record buyers of the Fifties. The perfect picrure of participated in innocence, Shirley and Lee participated in an ongo­ ing vinyl love affair for most of the decade. While some criticized their records as being childish and repetitive, their music was undeniably classic New an on-going vinyl Orleans rhythm and blues-cum-rock 'n' roll. Their biggest sellers, recorded for the Aladdin label, always employed the cream of the city's session men, and love affair for their material was both clever and provocative. The Shirley and Lee days aside, Shirley Goodman has led a checkered musical life. After the duet split, almost a decade, she moved to Los Angeles to raise a son and has on­ ly moved back to New Orleans in the last few years. She still possesses the child-like, high-pitched soprano and sweet demeanor you'd expect her to employing the cream have after listening to her records. She no longer sings professionally, "semi-retired," she laughs, hinting that the last chapter of her life story has not been of New Orleans' written. Shirley Goodman was born in New Orleans June • 19, 1936, the daughter of Lenore Goodman and Myrtle Goodman. She grew up in the Seventh Ward sesszon men. on North Villere, between St. Bernard and Annette Streets. Although her parents had six children, they divorced and Shirley was raised by her grandmother. "Grandmother was a church-going woman," begins Shirley. "All day Sunday we'd be singing. Morning service, Sunday school, afternoon service, evening service-1 had my share of singing in the Baptist Church. 'Td be singing all the time with my friends in the streets. My favorite then was Dinah Washing­ ton: she had a light and happy sound that appealed to me. She was the greatest singer I ever heard. all her records." mo's srudio every night after school and we'd knock Everytime my mother would buy records I'd beg her Shirley's appetite for singing grew to be insatiable, on the door and ask, 'Please mister, can we make to get a Dinah Washington record. I guess I was and it wasn't long until she made her first on-stage a record?' about seven, because I remember we had this wind­ appearance at the tender age of nine. "MY. cousin "He'd always say,'Look, you kids quit bugging up record player-a gramophone-and I'd wind that Ruth Bethley was a singer, too. She used to take me me and go home.' But we kept coming back every thing up when I got home from school and learn down to the Palace Theatre, on Roval and Iberville. night so finally he said, 'Bring me two dollars, and every Saturday at the vaudeville shows. Oh, we'd y'all can make a record.' never miss a Saturday. There'd be Lollypop and "We went out and did everything we could to Alma Parnell, Memphis Lewis [comedians] and lots make that two dollars. After a few weeks we finally of singers and dancers. They'd have amateur shows, got the two dollars, and got all dressed up to go too. I'll never forget them because if you were no down to see Cosimo because we were going to make good, they'd shoo 'em off the stage and people a record," she laughs. "So we went down and said, would throw rotten eggs and tomatoes! 'Here's our two dollars, we're ready to make a "We found out from my "My cousin had a show down at the Palace and record.' Cosimo just shook his head and brought us I begged her to let me sing, because I just knew I into the srudio. I don't know who was recording but cousin where they made could sing. They called me up and I sang 'Hip Cosimo told them, 'Look, let me record these kids records, and we would go Shakin' Mama'-can you imagine that song at that and get 'em out of my hair!' age! Everybody applauded, and from that day on "Earl Palmer and Lee Allen were in the studio at down to Cosimo 's studio I knew I was going to be a singer." the time and they helped us. Evangeline played the piano and we sang 'I'm Gone.' Cosimo pressed us every night after school it turned out, Shirley's ambitions material­ a demo 78, with a little white sticker on it saying and knock on the door, zed sooner than she could have hoped, while 'I'm Gone.' When he gave us that, we were the hap­ A! he was a freshman at Joseph S. Clark High piest bunch of kids you ever saw! We passed that and ask, 'Please, mister, at the ripe old age of 13 'll . "After school we'd all record around and around-so everybody would get go over to this girl Evangeline's place, because she a couple of days to listen to it." can we make a record?' ' ' was the only one in the neighborhood who had a As luck would have it, Eddie Mesner, the owner piano. There was about twenty of us and we'd sing, of Los Angeles' , was in town in and she'd play the piano. We came up with this song 1950 to try to cut Uoyd Price, and look for talent. 'I'm Gone,' which just went on and on, we'd sing "Eddie and Cosimo were in the studio getting ready that for hours. We found out from my cousin where to record somebody," says Shirley, "They needed they made records~ we started going down to Cosi- a tape, so Cosimo said, 'Let's use this old tape. It's 16 W AVELENGTII I JANUARY 1984 we were a little green. Dave would even hold my head up to the mike because I had a tendency to move my head and go off mike. It took a long time to get the fust record out, though, because it took so long to get my grandmother to sign the contract, and then we couldn't come up with a B-side. Final­ ly Dave wrote something and we did it and sent it out to Eddie."

e A-side, ''I'm Gone," rose to 112 on the R&B harts in September 1952, and the "Sweet­ earts of the Blues" were on their way. "It was an hit overnight!'' declares Shirley. ''Eddie released it here fust, and New Orleans just bought every copy they could, and I love 'em for it. Eddie called me a week after it came out and said, 'It looks like it's really gonna happen.' ' 'Then Circle Artists called and wanted to book us. Well, they had to go through the whole thing Eddie went through with Grandma, only worse. It was one th-ing making records, but it was another thing leaving school to go out on the road and be away from home and the church. "They offered her $500 and she chased 'em out the door. So Joe Glaser from Circle asked Eddie what he should do. Eddie told him, 'I guarantee, if you give her $1,000, she'll let her go. So she signed, as long as they made sure somebody would be on the road with me. They paid either her or my mother to travel with me right up until I got married. "Before we left on the fust tour, we did a show at the San Jacinto Club with Dave's [Bartholomew] band. I'll tell you I've never been in a place that was so packed. You couldn't get in if you wanted to. Big Mama Thornton was on the bill too, she was just starting with 'Hound Dog,' and came on before us! That was the only time I got a case of the nerves. Here was this woman who was so powerful and such a great singer and I thought 'Gee, I really have to go out there and perform.' But when I go out there everything fell together and the people really liked us. New Orleans was always good to us.' ' The combination of a crack New Orleans band and the novelty of such a youthful pairing (on their debut, Shirley was 15 and Lee was 16) caught the record buyers' attention. Shirley wholeheartedly agrees, 'Oh yes , there weren't any young performers SHIRLEY & GALE 'C .. back then except for Little Esther, who sang with The Sweethearts of the 81 u• 48 w. Johnny Otis. People were interested because we were Recording Stars NewYc so young and glad we were getting a break." he pattern of Shirley and Lee releases was set by ''I'm Gone." They retained their initial Tpopularity by working through all the possi­ ble facets of a boy-girl romance. Shirley and Lee never really sang as a duet, Lee usually offered the just a bunch of kids who come in here to bug me meantime he wanted to put a boy's voice with mine. every day.' He auditioned all the boys who were in the group. "Eddie said, 'What kids? Lemme hear it.' So He came up with Lee [Leonard Lee J because he had Cosimo played it for him and Eddie went crazy over a deep, bluesy voice, and he thought we contrasted. it. He said, 'Who's that? The one that's scream­ I had known Lee and his family all my life, so things ing!' - because I've always had this really high shrill worked out between us.'' voice. 'Where is she?' he asked Cosimo. 'Can you Being an avid church-goer, Shirley's grandmother find her? ' proved to be a major stumbling block. She didn't "Cosimo said, 'Man, you don't want that?' Ed­ want her granddaughter singing 'sinful music.' ~"She die said, 'Yeah, I do. We got to find her.' So Cosimo said, 'You're not going to make any records.' It ook sent Dave ['Bartholomew J and everybody out to try a long time to talk her into it. Lee's mother tal ed and find us. He looked for several days and when to her, Eddie's wife Reccie talked to her, I begged he did find us, we were scared to death. We thought and pleaded and cried. But she still said 'No recor­ we were in some kind of trouble-because here was ding!' Finally Eddie went to her and gave her a thou­ this man looking for us who was trying to get rid, sand dollars, and all she had to do was sign a paper of us just a few months before. We thought, don't and let me go down to the studio and record. That believe those people, but we finally built up the was a lot of money in those days, some people didn't nerve to go back down there. When I walked in the make a thousand dollars in a year. WelJ, that chang­ studio, Cosimo knew it was me right away, because ed her mind, and she signed the contract.'' I had this little high pitched voice. As soon as he produced the first three Shirley heard me talking, he said, 'That's her, that's the and Lee releases, setting the pattern for all the records one! ' that would follow . "Lee and I never sang together "Eddie Mesner asked me if I'd like to make in harmony because our voices were just so far records , and I said, 'Yeah, sure. But you'll have to apart," continues Shirley. ''I'd sing a part, then "The Sweetheart of the Blues" is now content to sing ask my grandmother.' Eddie said 'Okay.' But in the he'd sing a part. Everybody was real helpful, because gospel. WAVELENGTH I JANUARY 1984 17 questions, and Shirley would answer in the perfect agers buy our records, just to see what would hap­ came on they had to stop serving drinks, and when picture of sweetness and innocence. "Shirley, Come pen next." we were through singing, we had to get out. Lee and Back To Me'' followed ''I'm Gone,'' which was fol­ Many people were of the impression that Shirley I would present our show just like our records: we'd lowed by "Shirley's Back," which in rum was follow­ and Lee were actually married. "No, no, no!" chirps get real close and sing to each other. Then I'd tell ed by "Two Happy People," etc. Their early records Shirley. "People always thought that because we sang Lee I was leaving and I'd have him dragging all over rarely strayed from the 12-bar, or Louisiana ballad, those songs about each other. We didn't have time the floor. We had this thing where he'd turn to the structure. for each other, to tell you the truth. I got married band and throw some water on his face when the "We tried to write the songs as an ongoing story. and so did Lee. We were real good friends, but that audience wasn't looking. He'd start singing, 'Shir­ When we came in off the road, we'd go over to was all." ley Come Back,' and it looked like he was crying. Lee's house and write another chapter. One day I'd Mter Shirley's grandmother consented to Shirley's Well, the people just stood up and started scream­ be leaving, then I'd come back, then we'd get mar­ singing in public, Shirley and Lee took to the road, ing! One time we were in with Elvis and he ried, then we were feeling good. Eddie thought it travelling virtually for the remainder of the Fifties. came running out ot the dressmg room to see tt Lee was a real cute idea so it was his idea to call us the We played all theatres at first," recalls Shirley, was really in tears!" "Sweethearts of the Blues" (later to become the "because we were too young to get into clubs that When the duo left town, they carried with them SweetheartS of Rock 'n' Roll); He thought is we were sold liquor. We never played a nightclub until 1955, an impressive roster of New Orleans talent as part pictured as teenage lovers, it would make the teen- at W.C. Handy's Club in St. Louis. But when we of their band. Nat Perrillat, , Willie Nettles, Roland Cook, Huey ''Piano'' Smith, and all toured with Shirley and Lee. Such was the popularity of the duo that there were a number of couples on the road making a good liv­ ing impersonating ''The Sweethearts of the Blues.'' ''I walked into a club in California one night and they had a Shirley and Lee! We went into cities where they had Shirley and Lee's playing the week before we got there. We actually caught a pair in Little Rock [they turned out to be the duo Sugar and Spice] but we never did anything. I felt sorry for them, so we just asked them to stop." Shirley relates that once they were accustomed to the studio, most of the recording sessions were sim­ ple and rarely took more than one or two takes. ''Lee and I would write the songs over at his house, and then we'd go down to Cosimo's. We'd sing it to L·46 L·150A them, and they'd play. Lee'd [Allen] say, 'Yeah, I'll play this, man.' Ford [Clarence Ford] would say, 'O.K., I'll play this.' Then Earl [Palmer] would get a beat and Dude [bassist ] would fall in. It was easy, it was like we were one big family . I even remember Fats -a-linking on a couple of numbers, because we all helped each other out. a's 43D STUDIO MOliTOR. "We didn't see Eddie Mesner too much, because NOW IT'S NOT FOR STUDIOS ONLY. he stayed in Los Angeles. He ran that whole com­ Up to now, you'd have to be a radio station or pany by himself, so I guess we didn't really have a a recording studio to get t he JBL 4411 compact producer, because Dave went with Imperial after the studio monitor. But now the premier supplier of first few records. Eddie was real fair with us. We only professional studio loudspeakers, JBL, is mak­ ing its most popular studio monitor available to got a one-and-a-half percent royalty, but that was everyone. standard back then. I guess they knew they could L·15 L·96 It's a 3-way, high efficiency system that gives pay more, but we knew what we were getting into.'' you wide range response. And, because it's compact for use in small studios, and is finish­ he year 1956 turned out to be the biggest year ed In hand-rubbed walnut, it's perfect for your of all for Shirley and Lee, and they started living room or den. it with a bang with their ftrst release, "Let The The JBL 4411 compact studio monitor. Now that T you can get it, get it. Good Times Roll." "We had a kind of lull after We Also Stock a 'Lee's Dream,' " continues Shirley. "We stopped touring and everything sort of got back to normal. Complete Line of JBL $534.00 EACH We both went back to high school and lived like Professional Products. NOT EXACTLY AS SHOWN (Coni 'don page 32) JBL VALUE: LOW MAINTENANCE IN TIMES OF HIGH COSTS. JBL speakers give you great of reproduction, high efficiency thoughts of compromising on value as well as great sound! and high power handling, you speakers. let us entertain you JBL's higher efficiency means a also get high reliability. JBLs with a free audition. lower investment in electronics are designed to have no "down With today's seesaw and more dB per watt. time." economy, JBL's value and In addition to JBL accuracy So before you entertain reliability count more than ever. ''I begged and pleaded and cried but grand­ mother still said 'No TULAtJE STEI\EO Iii fl CO. recording!' Finally Eddie 1909 TULANE AVE. 524-2343 Convenient Storeside Parking Open Daily 9-5 - Closed Sunday went to her and gave her Long-term Financing Available through CIT - Free Delivery a thousand dollars.'' VISA - MASTER CARD - M R SOL

18 W A VELENG1H I JANUARY 1984 *

TilE PICTURE Naughty Man'etta Release: March , 1935 Running Time: 106 minutes Filmed in black and white Academy Award: Douglas Shearer* for Best Sound Recording AA Nomination: Best Picture

TilE CREDITS

A Metro-Goldwyn-Mayer picture. Produced by Hum Stromberg. Directed by W.S. Van Dyke. Based on the 1910 operetta by Victor Herbert, book by RidaJohn­ son Young. Screenplay by John Lee Mahin , Frances Goodrich, Albert Hackett. Musical adaptation, Herbert Stothart. Art Direction , Cedric Gibbons. Sound , Doug­ las Shearer* . Costumes, Adrian. Assistant director, Ed­ die Woehler. Photography, William Daniels. Editor, Blanche Sewell. *Some sources list William Steinkamp.

TilE CAST

Jeanette MacDonald (Princesse Marie de Namours de le Bonfain/Marietta); Nelson Eddy (Captain Richard Warrington); Frank Morgan (Governor Gaspard d'An­ nard); Elsa Lanchester (Madame d' Annard); Douglass Dumbrille (Uncle);Joseph Cawthorn (Herr Schuman); Cecelia Parker Oulie); Walter Kingsford (); Greta Meyer (Frau Schuman); Akim Tamiroff (Rudol­ pho); Harold Huber (Abe); Edward Brophy (Zeke); Marjorie Main, Mary Doran,Jean Chatburn, Pat Farley, Jane Barnes, Kay English, Linda Parker, Jane Mercer (Casquette · Dr. Edouard · ; Walter (Pirate ; Olive

lins (Felice); Guy sher (Ship's Captain); Louis Mer­ cier (Duelist); Robert McKenzie (Town Crier); Ben Hall (Mama's Boy); Harry Ten brook (Prospective Groom); Edward Keane (Major Bonnell); Edward Norris, Ralph Brooks (Suitors); Richard Powell (Messenger); Wilfred Lucas (Announcer); Arthur Belasco, Tex Driscoll , Ed­ ward Hearn, Edmund Cobb, Charles Dunbar, Frank

Hagney, Ed Brasy (Scouts). ..4 Melro­ GoU..,.n· Moye,. THE SONGS Plcture

By Victor Herbert (music) and RidaJohnson Young (lyrics) with additional lyrics by Gus Kahn: ''I'm Fall­ ing In Love with Some One," "Tramp, Tramp, • W. L VU OYal Pr~~U. Tramp," " 'Neath the Southern Moon," "It Never Can ,_..,.UIIT IT-IliC Be Love ," "Italian Street Song," " Loves of New Orleans," "Ah, Sweet Mystery of Life," "Naughty Marietta," "Live for Today," "Dance of the Marion­ xpertS in the field will argue till their eyes bleed Naughty Marietta prevailed. It was the first pairing ettes," "Chansonette," "The Owl and the Pole Cat," about which musical forms-gut bucket jazz, ofJeanette MacDonald and Nelson Eddy in a legend­ "Antoinette and Anatole," "Prayer," "Mon Ami Pier­ Erock 'n' roll, rhythm and blues, and the rest­ making career of screen romances. It raked in a whole rot," "Ship, Ahoy." are combined and in what proportions to create the passel of awards from popularity polls and critics' resulting Crescent City Sound. What they won't circles; it spurred the sale of no telling how many TilE STORY argue about is how much one particular form-oper­ phonograph records and music sheets, and it reviv­ To escape a courtly-blessed but not heavenly-made etta-contributed. They all agree: nothing. And ed turn-of-the-century operetta for an improbable marriage, Pricess Marie pays off her maid in exchange they're right. ten year success cycle at the box office. for a berth as a casquette girl. En route to the colonies, Yet, it was that everlastingly maple-flavored stuff What's more, it made a mighty mint for MGM. the ship is seized by pirates, but before any low-down itself, distilled from pure New Orleans sap, that Now, of course, it's an outright hoot. When it intentions can be realized, the girls are rescued by Capt. greased the wheels of the MGM gravy train and sent was included in the clip footage for That 's Enter­ Warrington and his Yankee Scouts, who promptly go it on one of its most successful trips to glory. tainment II, it got more laughs than Tom and Jerry. back to playing soldier. in New Orleans, where none The somewhat unsteady foundation for Naughty It has been spoofed and re-spoofed, and serious of the uncouth suitors suit her, Marie claims that her Marietta is the ever-blossoming tale of the casket film students are apt to call it "an atrocity." virtue has been, er, compromised. Turned out of the girls, those fair, fair maidens who were brought to "Yet," quoth The New Yorker magazine only settlement, she's rediscovered by the good captain. five years ago, "it has vitaliry and a mad sort of ap­ Romance blooms , but alas, her real identity is soon fledgling New Orleans as wives for lusty colonials. revealed. Unless she agrees to wed her official fiance, This Victor Herbert sugarplum was beginning to peal. When the two profiles come together as they Captain Warrington will be killed. She promises, with wither from age by the time Hollywood got around sing 'Ah, Sweet Mystery of Life,' it's beyond camp, hurt in her heart, but when the two ill-starred ones to picking it. It was presented first back in 1910 and it's in a realm of its own." meet (at a ball, what else?) they can't help admitting then bought by MGM in the Twenties as 11- vehicle Ah, sweet mystery of show biz. • their love. Happiness for them lies in the wilderness, for Marion Davies(!). Finally, studio boss Louis B. far from the power of French villains. They soon depart Mayer dusted it off for his favorite leading lady. therefor, amid the obvious support of the captain's Despite the fact that the show's most famous tune, •That means New Orleans Music In Film, naturally. And, also trusted soldiers, all of whom just happen to be able "Ah, Sweet Mystery of Life" had already been es­ naturally, that's the subject of a continuing series by New Orleans to carry a fine tune as well as a musket. tablished as the theme song of Forest Lawn cemetery, journalist Don Lee Keith. Upcoming: The Birth of the Blues.

WAVELENGTH I JANUARY 1984 19 I Everyone will have a chance

Who Dat Say Dey Wanna Play Dat Wor/d's'Fair

The World's Fair is coming and finally New Orleans talent will have the spotlight. There will be 12 stages with up to 14 acts a day on each. So, there will be ample op­ ponunity for every local act to cash in.

But... You Must Have: A professionally recorded demo-tape. A press-kit with photos. Qualified representation.

The Music Agency is an established booking and production service directly affiliated with First Take Recording Studio.

The Complete Package $350.00 includes: 6·hour recording session photo session 8 X 10 B&W print Biography Presentation to World's Fair Staff and dat's dat.

482-8505 467-1949 A for the New Year

RICO

BY YORKE CORBIN 'And how does it feel to be the founding father of modem New Orleans jazz. Mr. Marsalis?'

"New Orleans is about to explode its own myth," eveloping jazz in the early years of this cen­ declares Ellis Marsalis. One of the few individuals tury may be the strongest claim that New Or­ who can seem distinguished and cheeky simultane­ Dleans has on history. If, as the century draws ously, the city's premier jazz pianist is indulging in to a close, the several currents of modern jazz cours­ some playful potshots at the reputation that New ing through the city converge- or at least emerge Orleans has begun to acquire as a fertile source of from the below sea level purview of the city's small fresh jazz talent-a distinction owed mainly to Mar­ jazz community, to teach a broad public, a future salis himself, who has sent several of his best stu­ generation of jazz propagandists and New Orleans dents at the New Orleans Center for Creative Arts myth-makers might be searching eagerly for evidence (NOCCA) up to the big leagues of contemporary of heroic figures who directed New Orleans jazz back jazz. The best known are, of course, his sons, Bran­ into history's mainstream. As glimpses of the future ford and Wynton Marsalis; the others who hold ma­ go, that's a bright though not altogether likely pros­ jor label recording contracts are trumpeter Terence pect. Anyone looking for a strong figure, however, Blanchard, saxophonist Donald Harrison, and flautist to represent the process of teaching conservative and Kent Jordan. At the moment, though, Ellis is play­ sometimes benighted New Orleans a modern jazz ing scoutmaster to a troop of earnest young players idiom is in luck. Indeed, it's only the stubborn reluc­ still somewhat shy of the requirements for earning tance of our hero to embellish the evidence that merit badges in jazz proficiency, to say nothing of prevents the myth-making apparatus from swinging the fact that they just aren't jelling as a band. into operation right here and now. The NOCCA Nippers are earning a little money RICO WAVELENGTH I JANUARY 1984 21 for their school, performing at the Louisiana Crafts for the whiz kid image of music at NOCCA. Ellis Council's annual fair, in one of the ballrooms at the likes to keep things loose. • 'Most people are afraid Hyatt. Their teacher appears at the bandstand of music," h,. finds. "If they have not had svme for­ moments before , his suit rumpled from mal connection to it, they just get very leery about the plane ride from Fon Wonh, where he has c;om­ music." And it's possible to trace the mischievous pleted a weekend engagement at Caravan of Dreams, strain in his demeanor back to some wild and wool­ a snazzy new private ans center backed by Texas real ly days: playing free jazz with in estate millions. He offers pointers from the right of 1955-"1 was really trying to figure out what he was the stage, sits in for a couple of numbers on electric doing" -and the modified Mros on view in some piano, and joshes the players when they take a break. of his old photos. He has silver muttonchops now, Greeting a bystander with what Vincent Fumar of and a foursquare stance, an easy swing to his shoul­ the Picayune once called the handshake of a ders and the determined cast of mouth of a man who blacksmith, Ellis Marsalis has a pronouncement to goes his own way. Holding fonh in the Hyatt ball­ make: "Clean-cut kids cannot play jazz. You have room on the dearth of young jazz talent in town, to be wild and woolly." he makes a point of inviting a listener to hear the So much for the Wynton Marsalis look. So much band he'll bring into high school competition at the

Have A Black Top New Yearl "New Orleans is about to explode its own myth."

Loyola Jazz Festival a couple of months hence. "It won't," he chuckles with a nod toward the band­ stand, "sound like this." visit to one of Marsalis' classes at NOCCA offers a peek at the process of education in a and the Broadcasters Aprogram that (even at the risk of loosing a gust "Smoking" of noisy rhetoric) must be called a success story in BT-1023 the New Orleans public schools. Process is a big word at NOCCA. ''If you're going to teach students how to improvise, you have to teach process. They must understand how ideas are realized." Ellis illustrates and the Rockets this dictum in a session with a group of attentive kids "She Knocks who don't quite make up a band. They've got a Me Outl" tenor sax and a rather sharp little altoist, a tentative BT-1022 pianist, an electric guitarist with a composed air about him, and a manfully struggling drummer. There's no one to play the acoustic bass resting near the window. NOCCA students work as individuals; The Cold Cuts bands are put together only for particular occasions. "Meat The Taking their places in a semi-circle, the students Cold Cutsl" face their teacher, perched on a high stool behind Johnny Reno and BT-1021 a cluttered music stand, and a row of portraits of jazz his Sax Maniacs greats tacked to the far wall. They grope their way "Born To Blow" through a Charlie Parker tune and they do not swing. BTEP-1025 Marsalis focuses his attention on the drummer. Does anyone know what's meant by ornaments in music? What's the function of the drummer in a band, any­ way? At one point Ellis hies himself over to the drum (Cont 'd on page 33)

Anson Funderburgh . ~ ...· . and the Rockets ~ "Talk To You Available January '84: • By Hand" BT-1001 's "I 00% Fortified Zydeco"

Black Top Records are distributed in the U.S. by Rounder Records, One Camp St., Cambridge, Mass. 02 I 40 fph. 6 I 7-354-<>700)

22 WAVELENGTH I JANUARY 1984 HY Rtc <>

w Orleans photographer Michael P. Smith doesn't talk f-stops or priming papers when Nhe hands you a Xerox prototype copy of his soon-to-be-published book, Spirit World. Instead, he brings up the roots of New Orleans Afro-Ameri­ can culture, the spiritual churches, social clubs and marchin~ brass bands of New Orleans' Black community. In many ways, Smith may be considered an expert on the living folk-life of Louisiana. Locally, he has been a professional consultant for the BBC and In­ dependent Television. As a member of Sweet Alongside the day Molasses Productions, his photo-images have merg­ ed with Mischa Philipoffs powerful graphics to im­ mortalize indigenous cultural symbols in some of New Orleans' most popular posters from the "Boil­ to day routine ed Alive" Louisiana crawfish (which they insist on spelling "crayfish") to the blue-eyed Catahoula Cur. But Smith was not born into the "Spirit World" of an American city culture he has chosen to document. Quite the con­ trary: "I was raised here in New Orleans, in a typi­ cal white, upper class family. But our family get­ togethers were always very quiet and reserved. My exists another world, initial fascination with the Indian tribes and the parades was because of their exuberance. They seem­ ed to celebrate life itself." inhabited by people who While acknowledging the ethnic and cultural bar­ riers he has encountered during this project, Smith contends that these barriers are not insurmountable. " I came into this world from the outside, but when live and die by you come into such a wonderful and loving com­ muniry as the Black community of New Orleans, you 'be real.' You aren't thought of as 'white' anymore. their own custom, 'White' is a term that is put on people who don't know how to relate because they're in such a dif­ ferent world.'' Perhaps it is the indifference of this zn thetr own tz?ne. ''different world'' that inspires in Smith an obsessive drive for popular acknowledgment of this roots culture. ''The rest of the world is discovering how unique New Orleans is, but New O rleans has myopia. It just doesn't understand its own culture," he explains. the lack of complimentary police escorts for the fall from this group. Although they contain valuable " It cannot see the value and richness of its 'cultural and spring social club and Indian parades. (Free historical information and are successful in a docu­ wetlands.' New O rleans has, over the years, come police escorts are provided for the large white krewes mentary sense, some of the parade picture groups to recognize jazz, for example, as a commercial during the traditional Mardi Gras season.) "These toward the book's end do not contain the same resource, so they began to promote jazz, but they parades are an important and beautiful expression riveting simplicity as the church pictures. Smith's still don't understand where jazz comes from. Tradi­ of traditional culture in the city,'' Smith states in exhibit prints are rich and well-balanced; hopeful­ tional jazz and R&B and brass band jazz has been the afterword of his book. ''They normally employ ly .t h~ book will display these same qualities in its supported all along by the benevolent and non-profit a large number of musicians much in need of the pnnung. black social clubs. The city came in long after the work, and they serve the recreational needs of a signi­ fact to recognize that jazz was a commercial resource ficant portion of the inner city population through­ mith's Spin·t World project has been funded by and began to pick up on it, but it has not, in any out much of the year. In addition, they contribute cwo photography fellowships from the National way , watered the roots, or even recognized what the to a unique sense of community and allow an impor­ SEndowment for the Arts and a one-year cultural roots are, which is Mardi Gras Indians and brass tant nerwork of intraneighborhood communication resource management study for the Jean Lafitte bands. You take the Afro-Caribbean drumming tra­ and social organization that stimulates a small town Historical Park. All monies generated by sales of the ditions that are housed in the Indian tribes and the environment and deters crime. Relieved of the book will be channeled right back to the New Or­ brass band traditions in the horn sections of the brass unreasonable expense of police protection, given leans Urban Folklife Alliance, a non-profit corpora­ !.ands, mix into that a little bit of some other in­ recognition and allowed to grow up in their own way, tion ''which will work to bring the primary groups fluences and you get all of New Orleans R&B. there is no imagining what great benefits might that present traditional culture and music in New "Alan Lomax has pointed out that the heyday of result-both for the clubs and for the city.'' Orleans the recognition, respect , financial base and New Orleans jazz was in the 'teens and Twenties The photographs in Spin"t World are thick in the protection from exploitation they require for their when Storyville was at its height and New O rleans documentary vein: clear, straightforward, and continued contribution to the authentic cultural heri­ black musicians could actually make a living at their printed full-frame. Most are in black and white (a tage of the city." music and be respected citizens, and have enough small center section, primarily from parades, is Michael Smith is also currently organizing a " 1984 free time to reorchestrate their music and present it printed in color) and are in the rectangular 35mm Survival In The Inner City" symposium to bring to a recording world and to an international au­ format. Several large square images, like the cover noted speakers on traditional culture preservation. dience. It's been downhill ever since. You'll find shot, have an August Sander-meets-Diane Arbus On January 28, C. Eric Lincoln will speak on "Afri­ world class musicians here who can 't make a living feel that allows the subject to become as pictorially can Spirits in the New World"; on February 11 , ur­ with their art; I m ean, Red Tyler driving a liquour important as the manner in which it is rendered . ban sociologist Howard S. Becker will discuss truck! You now have a situation where the traditional The most successful photographs, however, are the "Culture Power in the Inner City"; and on March authentic music of New Orleans is dying. About one­ ones where Smith pushes the medium to its limits , 10, noted American musicologist Alan Lomax will tenth of the Social Aid and Pleasure Clubs now racking the lens aperture wide open and shooting speak on "The Power of New Orleans Music.'' For march compared to those who used to." off the cuff or combining on-camera flash and am­ additional information on the series, call Tamra Car­ bient light to creatively capture a spine-chilling mo­ boni at the Louisiana State Museum at 586-6983. mith places the blame for this cultural ment. Several of the church photos are outstanding Spint World is scheduled for release in January decline squarely on the shoulders of the in this respect. "In The Spirit," photo No.l478, and copies will be available from The Friends of the SNew Orleans city government, with the two and " Infant Jesus of Prague S.C. 1972, " photo Cabildo Bookstore at the Presbytere, 751 Chartres primary villains being the 5% amusement tax and No.l472/21A, are two particularly poetic images St ., New Orleans. WAVELENGTH I JANUARY 1984 23 PIH>I

"In The Spirit" Infant Jesus of Prague S.C., 1977

Avenue Steppers Marching Club, service before 1st annual parade, 1982

24 WAVELENGTII I JANUARY 1984 Cfn.~ ~ ~~/ ft~~Auu ~; tfll,t M.ur. ~" llcrd; f44#t,t ~4 • ;:=I A ~t/.drHd,. /h:t.O, ~ z<,r,

"Healing Hands" Bishop H. Brooks visiting [n. Rev. Mother Lydia Gilford, 1974 fant Jesus of Prague S.C., 1975 25 \ W AVELENGTII I JANUARY 1984 ducts, pianist James Tocco is soloist; works Saturday, 14 by Bach, Franck, Strauss and DeFalla. Elluma's Concert Part~, St. Theresa's Tues.24 and Wed.25: Andrew Massey con­ Cafeteria (a location usually given over to ducts, violinist Joseph Kim is soloist; works bashes, bacchanals and bailes held by our by Dvorak, Dukas and Webern. Central American community), 1115 Bistro Lounge, 4061 Tulane Ave., Sunday, 1 Prytania, 10 p.m. 482-9377. Fridays and Saturdays: Ruben A Tribute to Art Blake~, lwo hours­ Gonzalez and his Salsa Rhythms, from 10. Klu, Vandenburg, Riot, UNO Lakefront worth, WWNO (90 FM) at 10 p.m. Blue Room, in the Fairmont Hotel, Arena; tickets from Ticketmaster. 529·711 1. Through Tues.3: Sam Butera. Sunday, 15 Wed.4 through Thurs.12: Joe Williams. not Tuesday, 3 A Tribute to M•rtln Luther King, Or· to be confused with Big Joe Williams. with Ellis Pat Joll~'• Blrthde~ Part~, pheum, 8 p.m. Richard Harrison guest con­ Sun.18 through Thurs.31 : Phyllis Hyman. Marsalis, John Vldacovlch, Jim ducts the New Orleans Symphony. Informa­ Reservations; dancing, as well. Singleton, and others; Snug Harbor. tion at 524-0404. Bobbr'• Pl•ce, 520 East St. Bernard Santa P'e Chamber Music 1883 Highway, Chalmette, 271-0137. Fridays and P'estlval, WWNO (90 FM) at 10 a.m. and Thursday, 19 Saturdays: Bobby Cu re and the Summer­ thereafter. Joffre~ II Dancers, Dixon Hall, New­ time Blues. comb campus. 8 p .m. Information at Wednesday, 4 Bonaparte's Retreat, 1007 Decatur, 865-5143. 561-9473. Ralph Cox. every day except Leont~ne Price sings Gospel-which makes perfecl sense since most gospel Saturday, 21 Sunday. singers have operatic ranges (including the A Salute to Duke Ellington, by the New Bountr, 1926 West End Park, 282-9144. ineffable Raymond Rasberry, who would Orleans Symphony, with Germaine Bazzle Certainly the darkest and most ··1ntime" of have been a great hit in the era of the and Ellis Marsalis (who also apparently d1d W.E. clubs. Fridays and Saturdays: Harvey castrati, and wouldn't even have had to go the arrangements), Orpheum, 8 p.m. Infor­ Jesus and Frye. under the knife as lhey used to say in the mation at 524-0404. Bronco's, 1409 Romain. Gretna, Sistine Chapel; 9 p .m. on Channel 12. The Bob Barker Pun & Games Show, 368-1000. Every day excepl Sundays, the UNO Lakefront Arena, 8 p.m. The ads for South House Band. Thursday, 5 this assuredly Bosch-like revel inform us Carrollton St•tlon, 8140 Willow, New Arts Trio, 8 p.m. at Dixon Hall, New­ that Mr. Barker will select participants 865-9190. Sat.7: Mason Ruffner and the comb Campus; information at 835-8541 . ("personally" in case you thought he was Blues Rockers, preceded by Scott Det­ going to do it by mail) from the audience, weiler at 9. Wednesdays: The Mounl Pont­ Saturday, 7 and among the prizes are a new Honda, chartrain String Band. Sundays: A Blue Strauss," Br George, a cute twist on " By lVs, microwaves, luggage, video recorders, Grass Jam, and perhaps some quince one of Mr. Gershwin's lesser numbers; an washing machines and dishwashers, preserves as well, commencing at 7. all-Gershwin program by the New Orleans freezers, and innumerable other manifesla· DeJa Vu, 400 Dauphine, 523-9170. Live Moses Philharmonic Symphony, including lions of the Good Life. Tickets from Ticket­ music Sundays in the afternoons; we're told Hogan performing Rhapsody In Blue; Or­ master; information at 587-3072. by our network of informers that the bands pheum at 8; ticket information at 524-0404. Elluma's Concert Partr, St. Theresa's are young and that (for those elderly cus­ Cafeteria, 111 5 Prytania, from 10 p.m. tomers wheeled in in their patent chairs) Sunday,& they bring back perfectly that dim period Music for Harpsichord and String W~nton Marsalis, Ellis Marsalis, Bo Dlddley end Offspring, Tip's, Frl.13. Branford Marsalis and Alvin Batiste, of Sike-A-Delia. Quartet, Christ Church Cathedral, 2919 St. Dorothr'• Medallion, 3232 Orleans. Charles Avenue; John Paul is keyboard with the late ..rl P'atha Hines on Jazz Alive, 10 p.m., WWNO (90 FM). Snake-dancing, examples of adiposa dolo­ soloist. 4 p.m. rosa in motion for Bolero-eyed girl wat­ Monday, 23 chers, and Fridays and Saturdays, Johnny Tuesday, 10 Adams and Walter Washington with the P'renoh Market Concerts, Sundays be­ Baton Bill~ Joel, Mississippi Gulf Coast Col­ Quiet Riot, ..ga, Girl's School, House Band. tween 1 and 3; free. Sun.1: Beignet Ball. Rouge Centroplex; I don't know about this iseum, information at (601) 388-8222; one the Dream Palace, 534 Frenchmen. Fri.6: New Orleans S~mphonr Orchestra, you think assumes that Mr. Joel doesn't have group that's third on the bill-do The Hands. Sat.7: Alison and the Distrac­ Orpheum Theatre, 524-0404. Tues.10 they're a gaggle from, say, Foxcroft or Miss nerve to perform here in the Big Mirliton, tions. Mon.13: Radiators. Tues.14: that through Thurs 12: Philippe En tremont con- Porter's? where no doubt hundreds of uptown girls would be waiting at the stage door like fren­ calamitous-cuteous·combustible carrot-top zied maenads. with results unchanged Li 'l Queenie and her skin twins in their der­ A Salute to Duke Ellington, by the New Orleans Symphony, at the Orpheum, Set.21st. since Euripides first wrote this sort of thing matological Backfield-In-Motion revue. up. Valencia and Forty One Forty One and Mon.20: The Hands (of Orlac? of Time, as A.T.II would empty out and the night would Tyrone Davis once put it? Across The Sea? be filled with the sounds of sirens and Across The Table?) Tues.21 · Radiators. SWAT teams vainly trying to control the Mon.27: TBA. Tues.28: Legal Tender (per­ ferocious future queens of Comus, Proteus. haps inspired by B-52's video, the besl to Atlanteans, etc. be seen on MlV al the moment-even if it does look like it was filmed at the old Pan­ Tuesday, 24 American Beauty Salon on Canal Slree11n 1958. Joel, LSU Assembly Cenler. Bill~ 1801 Club, 1801 Stumpf Blvd., 367-9670. Wednesday, 25 Sat.7: Jean (Dangerous Curves) Knight and Genesis, UNO Lakefront Arena; tickets at Janet Lynn and Ya Ya. Tues.14: Wayne Ticketmaster outlets. Foret and the Rockin' F1fty, which is cer­ tainly better worth hearing than the North Wednesday,25,Thursday, 26 Forty, or anything like that. Olher dates Lea Ballets Trockadero de Monte TBA. Carlo, Theatre for lhe Performing Arts, 8 Fairmont Court, in the Fa1rmon1 Holel, p.m., with different seleclions each night 529· 71 11 . Tuesdays to Saturdays, Judy from their extensive reperloire of dirty looks Duggan occupies lhe p1ano bench from 9 and dish-on-the-hoof; you won'l see to 1. Sundays and Mondays: David Torka­ anything like this al the Blue Odyssey, kids. nowsky. Tickets from Ticketmaster; information at The Famous Door, 339 Bourbon, 587-3072. 522-7626. Everyone of note, from Thack­ eray to Durante has passed through these Saturday, 28 charmed portals; Thomas Jefferson and his Elluma's Concert P•rtr, St. Theresa's Creole Jazz Band play Thursdays through Cafeteria, 1115 Prylania, 10 p.m. Tuesdays. Wednesdays are taken up by Art Van H•len, it's that man in Spandex pants Rider's Jazz Band (are his brothers named again ... Mississippi Gulf Coast Coliseum; in­ C.C . and Easy?) who also enlivens weekend formation at (601) 388·8222. afternoons from 4 to 8. W~nton Marsalis with Bobb~ IIeFer· Fat C•ts, 505 Gretna Blvd., Gretna, rln, 10 p.m. on WWNO (FM 90). 362-0598. Call the club for listings. 544 Club, 544 Bourbon, 523-8611 . Sunday,29 Wednesdays through Saturdays, Gary Charles Callah•n 1n a recital at the Brown and Feelings. organ, Christ Church Cathedral, 2919 St. Fool on the Hill, 1000 Bayou Black Dr., Charles Ave., 4 p .m. Houma, 851 -6892. Thurs.1 through Sat.3: Jerrr L- Lewis and the Memphis Cross Roads. Call for listings . ...t , on Austin City Umits, 9 p.m. on Chan­ Pete Fountain' s, In the Hilton, 523-4374. nel 12. Pete Fountain and his band, at 10 nightly; Uonel Ritchie; the Pointer Sisters, one show only and reservations probably LSU Assembly Center. a good idea.

WAVELENGTH I JANUARY 1984 Gazebo Cafe and Bar, 1018 Decatur, Paul's, one of the three places in town that 522-0862. Alfresco; ragtime p1ano each consistently draws a long and deserved line afternoon and again as night is falling. outside; the only amenities are the musical Houlihan' s. 315 Bourbon, 523· 7 412. Live ones. Sundays: Harold De jan and the Olym· music of a jazz nature outside on weekdays pia Brass Band. Mondays and Thursdays: from 7 to 11 saving Fridays; the music Kid Thomas Valentine. Tuesdays and moves 1ns1de on weekends and starts two Fridays: Kid Sheik Colar. Wednesdays and hours later. Saturdays: The Humphrey Brothers. Jimmy's, 8200 Willow, 866·9549. Riverboat President, Canal Street Wed.4: The Sponges. Thurs.5: The Hands. Docks, 524-SAIL. Sat.7: Irma Thomas. Fn.6: Those Radiators. Sat.?: Backbeats. Sat.14: The Neville Brothers. Sat.21 : Ivy. Wed .1 1: The Charred Particles in a tribute Sat.28: The Neville Brothers. to Strontium 90. Thurs.12: The Limit. Fri.13: Seaport Cafe and Bar, 424 Bourbon, The Nev1lles. Sat.14: The Models. Thurs.19: 568·0981. Tuesdays through Saturdays, Alison and the Distractions. Fri.20: les Sally Townes. Radiators. Sat. 21: Slow Sculpture, playing 711 Club, 711 Bourbon, 525·8379. all your favorites from Giambologna and Tuesdays through Saturdays: one man Lorenzo Gh1berti to Houdon and Carpeaux Symphonia Randy Hebert, preceded through HoratiO Greenough and Sayre and Thursdays through Mondays by AI even Donald Judd. Tues.24: Wiretrain (bet· Broussard. ter than W1retap) Wed.25: The Rogues. Slidell Hotel Bar, Slidell. Sun.1· Skruples. Thurs.26: The M1streaters, but apparently Wed.4 and Thurs.5: Stra1t1ace. Fri.6 and not the mean or dirty ones that gentlemen Sat.7: Chance (not Chance " H1gh Step· from places like the Delta or Ch1cago or St. pin' " Wayne, by any chance?). Wed.11 and Thurs Louis are always go1ng on about 1n a 12·bar .12: Fresh. Wed.18: The Sheiks. Fn.20 and Sat.21 form. Fri.27: The Backbeats,. a group tor : The Topcats. Wed.25 through Sun.28: Silk 'n' Steele. whom 11 has a/ways been 1984. Snug Harbor, 626 Frenchmen, 949·0696. Maple Leaf Bar, 8301 Oak, 866·9359. Wednesdays: solo piano (yes, someone Sun.1 : Rockin' Dopsie and the Cajun Twist· plays it, stupid!). Thursdays: The Survivors. ers. Mon.2: Zeke Fishhead (the only saloon Sundays: The Pfister Sisters, soon to be singer in existence who sets crab traps in· seen in Hairpin Harmony, to be premiered side a piano) with more songs about at the Paris sometime next month. Fri.6: gildings and the nude. Fri.6: Anson Funder­ Mike Pellera, David Torkanowsky and burgh and his Rockets (Radio City just isn't . Sat.7: Caliente with Rick Sebastien the same without them). Sat. 7: The Radi­ . Fri.13: Consensus. Fri.14: James Drew-Earl Turbinton Quartet. Fri.20: ators. Sun.8: TBA. Mon.9: Terry Manuel. Ellis Marsalis does it to Horace Silver. Fri.13: Gatemouth Brown defies ladders, Sat.21 : The Dave Leibman Quartet. Sun.22: black cats, hats on beds and three lights The Kemp-Johnson Quartet and the lmpro· off one match (take that, Mr. Kreuger!). visational Arts Quartet. Fri.27: James Sat.15: Beausoleil. Sun.16: AI Farrell. Moore's Urbanites. Sat.28: Astral Project. Mon.17: TBA. Fn.20: Exuma. Sat.21 : Rock­ Sun.29: A Tribute to Duke Ellington, the man In' Dopsie and the Cajun Twisters. Tues.23: who hrst noted down (lor socio-ethno· Zeke F1shhead. Fri.27: The Radiators. musical reasons) the Creole Love Call. Sat.28: TBA Sun.29: The Maple Leaf's 10th Sugar Mill Lounge, 4520 Williams, Ken· Ann1versary Soiree, w1th music by Andrew ner, 467-7946. Sun.1: Sneeker. Wed.4 and Hall's Soc1ety Jazz Band (arrangements by Thurs.5: The Topcats. Fri.6 and Sat.7: Nell Nolan). Mon.30: Terry Manuel. Tues­ Southwind. Sat.11 and Sun.12: Topcats. days: Elizabeth Siddall Lookalike Contest Mon.13: The Nobles. Wed.18 and Thurs.19: Runner-Up Li'l Queenie. Wednesdays: The Topcats. Fri.20: The Spice of Life (and Mason Ruffner. Thursdays: Bruce Daigre· the secret word is Chervil). Sat.21 : Con­ pont and Bourre. tours. Wed.25 and Thurs.26: The Topcats. Fri.27: Southwind. Sat.28: Sneeker. Meneffee•s, 1101 N.Rampart, 566·0464. Tlpltlna's, 501 Napoleon, 899-9114. Weekdays, 11 a.m. to 7 p.m., and Saturdays Sun.1 : The Radiators. Wed.4: Satisfaction. from 11 a.m. to 3, Sundays from 6 to 10, Thurs.5: The Leroi Brothers. Mon.9: The Jay Marguerite Montgomery. Fridays through Monque'D Blues Band. Thurs.10: MoseAI­ Sundays: Lee Aldridge, also on Wednes­ Iison. Thurs.12: Raybeats. Fri.13: Bo Did· days from 7 to 10. Mondays, Tuesdays, dley and Offspring (you mean he had a child Thursdays and Saturdays from 7 to 10, by that woman that got whipped with an ug· Janis Medlock. Fridays and Saturdays, 11 ly stick?). Sat.14: Tip's 7th birthday with the p.m. to 4 a .m., Sandy Hanson alternates Radiators and in attendance at w1th Lee Adlridge. Wednesdays, from 10:45 this rite of passage. Mon.16: The Jay Mon· until 2 a.m.: Mimi Guste and Becky (The que'D Blues Band. Tues.17: Dan Hicks Body) Allen, and that's a duo for you. wanting to stop and say hello to a couple Vldacovlch, Dagradl and Singleton at Tyler's, Sundays 4-8. Munster's Dance Hall and Bar, 627 of people he thinks he still knows. Wed.18: The Meditations. Fri.21 and Sat.22: The Lyons, 899·9109. Wednesdays, The Loui­ The Sponges at Jimmy's, Wed.4th. siana Repertory Jazz Ensemble. Sat.?: Faux Neville Brothers. Sun.23: The Jay Mon· que'D Blues Pas. Sat.14: Esplanade. Sat.21 : Hour Gang. Band. Fri.27: Marcia Ball. Sat.28: The Radiators' 6th Anniversary in Old Absinthe Bar, 400 Bourbon, Vaudeville, Talking Pictures and on the Con· 524·7761 . Fridays through Sundays: Bryan cert Stage. Sun.29: a benefit for CISPES Lee from 8 until 2 a.m., relieved by the ur­ with Afrikan Dreamland. Mon.30: The frank· sine Luther Kent until 7 a .m. when the ly ubiquitous Jay Monque'D Blues Band and milkman's on his way, hey! Mondays and you know what they say, Monque'D see, Tuesdays: Mason Ruffner at 9. Wednesdays Monque'D do. and Thursdays: Bryan Lee from 8. Tyler's, 5234 Magazine, 891 ·4989. Old Opera House, 601 Bourbon. Sundays Modern jazz. good raw oysters. Call for cur· and Mondays: the Pontchartrain Band from rent schedule. 9. Tuesdays through Sundays: Aubry Twins Germaine Wells Lounge, 833 Bienville, and the Fresh Air Band from 8:30. Satur­ 523·9633. Fridays and Saturdays, Mike day: Oliver and the Rockets from 2:30 un· Pellera, Jim Singleton and Jeff Boudreaux, 1118:30. from 11 p.m. Although you know the place Old Post Office, 4000 Downman Rd., really should be shrouded in crepe and 242·9960. Call for listings. have a black wreath. or Easter bonnet, on the day. Parkvlew Tavern, 910 N. Carrollton, Weasey's, 1610 Belle Chasse Highway, 482·2680. Fn.6: Tim Williams Band. Fri.13: 361-7902. Country and Western. Mondays Mason Ruffner. Fn.20: Bourre. Fri.27: The through Thursdays: Firewater. Tuesdays Renegades. and Wednesdays: the Gela Kaye Band. Penny Post, 5110 Danneel. Sundays, Winnie's, 2304 Ave., 945·9124. always open mike. Check the board as you Call the club for details. enter for details of who's playing when. Pontchartraln Hotel, Bayou Bar, 2031 St.Charles Ave., 524·0851 . Bruce Versen from 5 until 9, during the week, and is join· ed by Rusty Gilder on bass on Friday. Preservation Hall, 726 St. Peter, Antler's, 555 Jefferson, Lafayette, 523·8939. Along with Galatoire's and K· 318·234-8877. WAVELENGTH I JANUARY 1984 H•rry'a Club, 517 Parkway, Breaux Bridge, 318-332-9569. Humphr-•a, Shreve Square, Shreveport, 318-227-9611 . Iron Horae, 403 Phillip, Thibodaux, 1-447-9991. Jefferaon Street C•fe, 209 Jefferson, Lafayette. 318·234·9647. Mul•t•'•• Breaux Bridge Highway, Breaux Bridge, 318-332-4648. The 01' Corner B•r, 221 Poydras, Breaux Bridge, 318-332·9512. P•m'• Pl•ce, Old Town, Slidell. P•PP• Joe's, 12375 Florida Blvd., Baton Rouge, 1-273-2376. P•r•dlse Club, 121 S. Buchanan. Lafayette, 318-232-5313. P•rty Town, Military Road, Slidell, 1-649-3867. Ruby'• Rendez·Youa, Highway 190 in Mandeville, 1-626-9933. Ruaty N•ll, 540 E. King's Highway, Dan Hicks at Tip's, Tues.17. Shreveport. Sc•rlett o •a, 1025 Broad, Lake Charles, 318-436-87 42. The Big Apple, Highway 1, Larose, Slick'• Mualc H•ll, Highway 31 , St. Mar­ 693-8688. Seats 2000! tinville, 318-394-3867. Booker' •• 1040 Texas Ave., Shreveport. Ste•k •nd Lobater Inn'• Flrealde 318-425-2292. Pub, 820 E. King's Highway, Shreveport, Chief'• Southalde, (formerly Trinity's), 318-868-5306. 4365 Perkins Road, Baton Rouge. Ste•mbo•t Annie'•• Shreve Square, Kiss Me Deadly at Loyola, Tues.3rd. 388-9884. Shreveport, 318-424-8297. Circle In The Squ•r•, Shreve Square, Tenth Ploor, Shreve Square, Shreveport, workshop on Documentaries in the Com­ a fluke and one of the great American films Shreveport. 318-222-2216. 318-425-7539. mercial World, and show his film Big City of the past decade; crisply beautiful and Cl•ncy•a ._.ndlng •nd Brick Street Toby's, 1303 Grimme! Drive, Shreveport, Blues. By admission. hauntingly flat, with Martin Sheen and Sissy T•vern, Shreve Square, Shreveport, 318-222-9903. Loyol•'• flllm Buffa lnatltute, Spacek (who narrates in a stilted true-teen­ 318-227-9611. 895-3196. Tues.3: Kiss Me Deadly, Robert confession style that is curiously moving) Deaper•do S•loon, Highway 90, Aldrich's 1955 Mickey Spillane film noir, in as the Starkweather and Fugate types. Raceland, 1-537-3647. which the Great Whatsit that everyone is Fri.6: The Man Who Shot Liberty Valance, Emporium, 2183 Highland Road, Baton in search of is actually an atomic Pandora's a sad (despite all the horseplay, low com­ Rouge, 387-9538. Box; plenty of double-crossing dames, edy and cliche situations) elegiac western Enoch'a-A C•fe, 5202 Desiard Street, Contempor•ry Art• Center, 900 Camp, bombs, beatings, hypodermics, Cloris about the Amencan talent lor mythopoeia; Monroe, 318-343-9950. 523-1216. Wed.18: Black Wax. a film about Leachman, darling old Fortunio Bonanova the cast, many of them decades too old lor Qlbaon Street Lounge, Covington, Gil Scott-Heron. Wed.25: St. Clair Borne (Susan Alexander's singing teacher in their roles, are an anthology of Hollywood 1-892-7057. screens two of his works, In Motion: Miri Citizen Kane) and Ralph Meeker as Mike styles: James Stewart as the idealistic Or•nt Str-t D•nce H•ll, 113 Grant Baraka and The Black and The Green. The Hammer; indispensable. Wed.4: Badlands, young lawyer, John Wayne as Tom Doni­ Street, Lafayette, 318-332-9569. following evening, Borne will present a Terence Malick's 1973 debut film is both phon, Lee Marvin as the titular villain, Vera

New Orleans Piano •

On Sale ss99 Also Available on Cassette •

Coming Mid-January Pleasant at Magazine Street/N.O. LA./701 15/ Te/ephone 504.897.5015 MARCIA BALL-Soulful Dress (Rounder 3078)

28 W AVELENGTII I JANUARY 1984 Miles, Edmond O'Brien, John Carradine; of sane plot, though Herbert Marshall is a and The Long Goodbye, Robert Altman's wonderfully sympathetic villain; Joel not-much-liked-at-the-time revisionist ver­ McCrea is the lead, and George Sanders sion of a film noir, from Raymond (on the right side for a change), Robert Ben­ Chandler's novel. Elliott Gould is a wise-ass ch ley, Albert Basserman, and ungallant Phillip Marlowe; the vision of and Laraine Day are all mixed up in it, too. Los Angeles as simultaneously jagged and Wed.18: Rancho Notorious, this 1952 Fritz lush is as nightmarish as the cast-Sterling Lang western was conceived as a vehicle Hayden, Nina Van Pal Iandt, Henry Gibson, for Marlene Dietrich, and concerns itself (as Mark Rydell as the Jewish gangster, Jim the theme song tells us) with " hate, murder Bouton as the creep who precipitates the and revenge"; Dietrich runs the ranch as whole ugly business. Tues.10: Blow Out, a refuge for lawbreakers especially Mel Fer­ Brian DePalma's honest failure-this 1981 rer. whom she has an unnatural fondness attempt at a political thriller is certainly as for; the film contains an odd scene of Old horrible as any of DePalma's other films West saloon girls participating in a race us­ (though as always he overdoes things-the ing drunken cowhands as their horses. murder of the hooker in the train station Mon.23: California Split, this 1974 Altman restroom for one thing) but John Lithgow film is one of the best screen treatments is a good villain and the (new! adult! over­ of gambling fever (along with Demy's La weight!) John Travolta (the film tries to do Baie des Anges and characters like Louis for him what Murder My Sweet did for Dick Jouvet in Les Bas-Fonds and Dame Edith Powell) are both very good. Wed.11 : Eyes Evans in The Queen of Spctdes). but it was Without A Face, Georges Franju's exquisite not a success at the time. Like the Demy French horror film about a deranged plastic film, it is wistful about fortuna imperatrix surgeon trying to restore his daughter's mundi, and concerns two characters (Elliott destroyed face is visually gorgeous (without Gould and George Segal) who nearly beard ever being self-consciously "poetic" about Chance in her lair; Bert Remsen(!) appears it), and contains some sequences that even as a drag queen named Helen Brown ("Is the candid violence of today's movies that Helen ... Gurley ... Brown?" Gould asks haven't surpassed; the photography is by him), the wonderful soundtrack is by a corp­ the great Eugen Schufftan, the score is one ulent-jovial gambling saloon entertainer of Maurice Jarre's best-before he went named Phyllis Shotwell. Films are by either hopelessly Hollywood; with Pierre Brasseur, season subscription (the new season be­ Edith Scob and Alida Valli; not to be miss­ gins early January) or by $1 .50 admission; ed. Thurs.12: The Tenant, minor and often they are shown in Bobet Hall. laughable Polanski about a rather repress­ New Orleans MuHum of Art, City Park, ed young man whose psyche is slowly ag­ 488-2631. Sat.7: The first part of a two part grandized by the suicide who lived in his series of Japanese experimental films of the apartment previously; the large and famous past 20 years; the titles: Navel and A-Bomb, cast includes Shelley Winters (as the con­ Heliography, Complexe, Ultramint, Inside cierge!), Melvyn Douglas. Jo Van Fleet, Television, Mist, Born to Run, The Shadow Isabelle Adjani, while Polanski himself plays of A Doll and Alman. Sun.8: Mizoguchi's the lead. Thurs.17: Foreign Correspondent, 1953 Ugetsu. Sat.14: the second part of the 1940 Hitchcock with famous sequences Japanese experimental cinema series: X, (the windmills turning against the wind, the Like A Train Passing-1, Like A Train Pass­ The Survivors at Snug Harbor. assassination in the rain, the plane crash­ ing-2, At Yukigawa, The Gage, Polaroid, still one of the best) and not a great deal Shelter, Meridian Transit, A Dance Party in

ATTENTION DRUMMERS

Electronic Drums Clinic

Tuesday, January 24th Call for Information and ReseNations

Steinberger S 1199 Palste 400L ZlldJian 70 ·oH THE Hamer OLQ GuiUrs 3-r~ 7(. off MUSIC STOP MXR Pitch SftftftOO 4425 CHASTANT Transposer 777-- METAI RIE, LA. 70002 (504) 455-2 168 STORE HOURS ~ ! 414125 Ill . MON.-THUR. 11 :00-7:00 .. l J CHASTANT I~ FRI. 11 :00-8:00 " TRAN SCONTIN E NTAL SAT. 11 :00-7:00

WAVELENGTII I JANUARY 1984 29 910 N. Carrollton Sun.1-Mason Ruffner 7 Days A Week Fri.6-Tim Williams Band 482-2680 Fri.13-Mason Ruffner e 482-9843 Fri.20-Bourr F ri.27-Renegades

Jerry Lee Lewis on Austin City Limits, Jan.29.

the Kingdom of Lilliput, Still Movie and piternal farce about some impecunious Spacy. The shorts begin at 3, Ugetsu at 2; theatrical types holed up in a hotel room all are free with Museum admission. while trying to raise enough money to put Prrt•nl•, 5339 Prytania, 895·4513. on Their Show as well as pay the hotel bill; Through Jan.5: The Return of Martin it once made an uncharacteristic and unin­ Guerre, directed by (an unknown quantity spiring screen vehicle for the Marx to us) Daniel Vigne, set in 1557 and with Brothers. Gerard Depardieu as a (no doubt loutish) Mln•c•pelll'a Dinner The•tre, 7901 S. moyen-age Enoch Arden-a peasant retur­ Claiborne, 888-7000. Through Feb.12: ning from the wars-which reminds us of Hello, Dolly! which might be described as Billy Wilder's great suggestion for the film the triumph of the Star Vehicle. he most wanted to make: a Middle Ages Pl•yera Dinner The•tre, 1221 Airline romance about the Crusades beginning Highway, 835·9057. From Fri.6: The Wit· with the knights going off to fight the ness for the Prosecution; Agatha Christie Saracens and locking their wives into their got almost as good mileage out of this as chastity belts. "The rest of the story," said out of The Mousetrap: it began as a short Wilder, "centers on the village locksmith, story, then became what is known as "an played by Cary Grant." Fri.6 through international stage success." but all of us Thurs.19: Koyaanisqatsi (a Hopi Indian film in our dotage remember the Billy Wilder or something like it...why the Prytania will movie with Marlene Dietrich leaning for­ BLUE STREAK STU play this for 2 weeks and then book, say, ward in a fright wig and asking-in Teutonic The Draughtsman's Contract or Fassbin· cockney-"Want to kiss my scar, ducky?" Run by Musicians, for der's (obviously) monumental Berlin Alex­ and Elsa Lanchester as Laughton's nurse anderplatz lor one is both mysterious and displaying the walking shorts he will wear Otari Multitrack extremely irritating. From Fri.20: Pauline at i11 Bermuda and proudly exclaiming, ''Wil· the Beach, by the much overrated maker fred the Fox they call 'im, Wilfred the Fox and 'h track of lake fables and fake moralities Eric Roh­ he is!" or Laughton torturing people on the mer, who (when not working from an "ori­ stand with the reflection in his monocle. But ginal" screenplay) made one of the best I guess I should shut up about this. films of the Seventies, La Marquise d 'O. S.enger, 524-0876. Tues.17 through TUCP S.rlea, McAlister Auditorium, Sat.21: Oliver!-the English have always 865·5143. Mostly new films. Sun.15: A adored the Broadway and Hollywood musi­ Streetcar Named Desire. Wed.18: Kelly's cal, but despite Coward and Novello and the Heroes. Fri.20: The Lords of Discipline. Cochran Revues and the Chariot Revues, Sat.21: Superman Ill. Sun.22: The Dirty and Jack Buchanan and George Formby Dozen (Robert Aldrich's subsequently and Jessie Matthews in the movies, could much-copied 1967 film about a crack never somehqw get it (although they got military team made up of convicted crimi· other things quite as good) and the reason nals). Wed.25: Heaven can Wait. Sat.28: for this was always that the English theatre The Twilight lone. Sun.29: El Cid (the 1961 world wasn't, well, Jewish enough; Lionel 488-3976 extravaganza-distantly related to the med­ Bart who wrote Oliver! is Jewish and he ieval Spanish poem and the Corneille almost brought off a big splashy American drama-with Charlton Heston and Sophia musical, from thoroughly British source Loren, and if I recall rightly, Hurd Hatfield material (and what source material could as the villain; not the best of the early Six­ be grimmer and less musical?), and along ties spectaculars but not the worst either.) with Sandy Wilson's pastiche The Boy Friend, it is probably one of the only British January Schedule musicals that will, ahem, endure in the repertory. Thurs.26 through Sat.28: , with Della Reese whose gos­ Sun.l .... New Year's Tipitina's Contemporary Arts Center, 900 Gamp, pel-inflected nasality is part of the world Fri.6 ...... Jimmy's 523·1216. Thurs.5 through Sun.22: Runa· now; this ought to be different from those ways, a musical (from the old Del Shannon old days on The Gong Show when Della Sat. 7 ...... Maple Leaf hit?) by Elizabeth Swados. Gall the C.A.C. was almost as evil as Jaye P. Morgan. The Railiators Fri.l3 ...... Dream Palace for times and admission details. choreography is credited to Mercedes El· Sat.l4 ...... Tipitina's Le Petit The•tre, 616 St. Peter, lington, who is no doubt of ducal blood. To receive the Radiators' 522-2081. Saturdays and Sundays, 14, 15, Tickets lor both shows start at $1 0; call the Chimes s.""' Rouoe Saenger lor dates and times. monthly newsletter, write: Thurs.l9 ...... 21 and 22, and Sat.28: Hansel and Gretel, Fri.20 ...... Jimmy's that old tale of child abuse, witches, ovens The•tre M•rlgny, 616 Frenchmen, Fish Headquarters and trails of breadcrumbs ("By implication, 944·2653. Thurs.12 through Feb.18, Come Sat.21 ...... Dream Palace P.O. Box 791027 the story tells about the debilitating conse­ Back to the Five and Dime, Jimmy Dean, Fri.27 ...... Maple Leaf quences of trying to deal with life's prob­ Jimmmy Dean. Call lor performance dates New Orleans, LA Sat.28 ...... Rad's Anniversary lems by means of regression and denial, and times. 70179-1027 which reduce one's ability to solve prob­ Toulouae The•tre, 615 Toulouse, Tipitina's lems," says Bruno Bettelheim and you 522-7852. Wednesdays through Sundays at 504-488-{)493 know he ain't kidding) set to music; a Le 7:30, One Mo ' Time, which threatens to Petit Children's Corner presentation. Fri.27 become New Orleans' answer to The Fan­ through Sun.29: Room Service, that sem- tasticks, beginning at 7:30. 30 WA VELENGTII I JANUARY 1984 TUESDAYS: LADIES NIGHT 8:00-12:00 PM Two Free WEDNESDAY: DRAFT BEER NIGHT 25° A GLASS $2.00 PITCHERS TIIUJUDAY: 50' OLD STYLE LONGNECKS 9 PM-12 AM FRIDAYS: FREE OYSTERS & 25° DRAFT BEER 5PM-8PM SANDWICH SHOP=~:Boats· • ALL NEW PATIO NOW OPEN 4801 MAGAZINE 899-9228

Pytho by Tom Young at Marlo VIlla Gallery. photographs and a 30-minute film. Longue Vue Gardena, 7 Bamboo Road, 488·5488. Decorative arts; Sun.8 at 3, Pie Aaron-Hastings ellery, 1130 St. Dufour speaks on The Battle of New Or· Charles. 525·5858. Sat.7 through Thurs.26: leans (which he covered as a cub reporter; pa1nt1ngs by Robert Landry, Jr. Sai.28 John Chase did front-line sketches for Old through Feb.16: new work by Mary Meyers. Hickory as well); Sun.15 at 3: Norwegian Academy Gallery, 5256 Magazine, embroidery 1n The Playhouse: Sun.22: 899·8111 . Sat. 7 through Thurs.25: work by Charles Mackie lectures on New Orleans Robert Helmer and madman-across-the· silver. Sun.29: Planting and prumng roses, water John Hodge. Sat.28 through Feb.15: the first in a series of Specialties In Hor· new work by Xavier de Callatay. ticulture. All lectures free w1th Museum Arthur Roger, 3005 Magazine, 895·5287. admission. Sat.7 through Fri.27: 36/nches-not a por· Louisiana State Museum, on Jackson no revue, but a selection of work by gallery Square and elsewhere. At the Old Mint on art1sts not exceeding 36 • in height. From Esplanade, New Orleans Jazz and Carnival Sat.29: Ed Whiteman's reconstructed In New Orleans. At the Presbytere, conti· papers (and Cousin Harriett, here is the nuing: Spirit World: Photographs and Jour­ Boston Evening Transcript). nal by Michael P. Smith /{'!!hA!fzZCLUB , and Louisiana, Ex· ~nug Bienville Gallery, 1800 Hastings Place, ploration and Settlement, which is carlo· 523·5889. Sat.7 through Fri.27: Paintings by graphic in nature. 626 FRENCHMEN • 949-0696 Fred Trenchard (a good deal resident in Merlo VIlla Gallery, 3908 Magazine, Hawaii these last few years which could be 897-8731 . Sat.7 through Sat.28: Pre-Colum· JANUARY MUSIC SCHEDULE because some of Fred's mmore opulent bian sculpture and paintings by Tom Young, creations have often looked deranged who instructed your humble servant in art REG. WED. FEATURE des1gns for Hawaiian shirts). at about the same t1me-it seems now­ SOLO PIANIST NIGHT -9 PM Contemporary Arts Center, 900 Camp, as those Pre-Columbians were knocking out REG. THURS. FEATURE 523·1 216. Sat.7 through Feb.5: Exposition their stelae. Sat.28 through Feb.15: Pain· THE SURVIVORS-9 PM In Black, works by contemporary black art· tings by Rosalee Ramm and marble furni· ists in Lou1siana. Also: paintings and draw· lure by Bruce Benett-this latter, mtrigu­ SATURDAYS-11 PM ings by Alex FRIDAYS-11 PM O'Neal; Contemporary Minia· ing as it sounds, would not be the sort of 7TH-CALIENTE tures II, a juried show of work no bigger thing to lounge on in any state of undress. 6TH-PELLERA, TORK, w/RICK than a foot square, or trapezohedral or New Orleans Museum Of Art, City VIDACOVICH SEBASTIEN whatever. On Sun.8, Dr. Semella Lewis will Park, 488·2631 . Through Jan.15: A Myriad 13TH-CONSENSUS 14TH-JAMES DREW, lecture on "The History of Black Art in of Autumn Leaves: Japanese Art from the EARL TURBINTON America." Kurt and Millie Gitter Collection; and QUARTET Galerle Jules Laforgue, 2119 Decatur, through the end of January, A Classical Ap­ 20TH-ELLIS MARSALIS 21ST-DAVE LIEBMAN 945-7379. Mon.2 through Sat.28: paintings, proach to Photography, by Leslie Gill. drawings and sculptures by Andrew Bas· Optima Studio, 2025 Magazine, PERFORMS HORACE QUARTET cle who is (some of the time) sorcerer's ap­ 522·9625. Sat.7 through Wed.25: paintings SILVER prentice to Ida Kohlmeyer. by Carolyn Harrison. Sat.28: a photography 27TH-JAMES MOORE'S 28TH-ASTRAL Galerle Slmonne Stern, 2727 Prytania, invitational, juried b y local photographer URBANITES PROJECT 895·2452. Through Thurs.5: Christmas Hank Nielsen. Miniatures. Sat.7 through Thurs.26: large Tllden-Poley, 4119 Magazine, 897-5300. SUNDAY-5 PM CONCERTS scale sculpture by Arthur Silverman. Sat.28 Sat.7 through Thurs.26: paintings by Larry 22ND-KEMP·JOHNSON through Feb.16: figurative paintings by Williams (no, not that Larry Williams) and QUINTET & THE IMPROVI· Robert Hausey with a group show by John Louisiana Photographers, curated by Opie, Dino Pelliccia, Melodie Guichet. Josephine Sacabo. Sat.28 through Feb.15: SATIONAL ARTS QUINTET A Gallery Por Pine Photography, 5432 sculptures by Terry Weldon and paintings 29TH-A TRIBUTE TO DUKE Magazine, 891·1002. Turn of the Century, by Margaret Wirstrom. ELLINGTON glimpses of the belle-epoque by Steiglitz Tulane Pine Arts Gallery, Newcomb REG. SUN. FEATURE-9 PM and Steichen among others. Campus. Sun.15 through Feb.5: New and THE PFISTER SISTERS O.apert Polk Art Gallery, 831 St. Peter, Kineto: Graphic Images. photographs by Bar Open Daily-• PM 524·9373. Through the end of the month: Norman Boothby. Restauranl open -kdays 6 PM -12 AM contemporary folk artists from the south, UNO Pine Arts Gallery, Lakefront Cam· Weel

W AVELENGTII I JANUARY 1984 31 perial again, I guess because we had done so many a song and thought it would be good for me. I didn't Shirley & Lee things with him.'' According to Shirley, seven singles pay it any mind until she called me and said she had were released and solo sessions of both her and Lee a prepaid reservation for me to fly to New Jersey (cont'd from page 18} were recorded. [Englewood] and for me to come out and record the "We broke the team up around 1962," says Shir­ song. Well, I told her I couldn't just walk out on ''They put 'S e, ley in a whisper. It seems there were some bad feel­ my job after everybody'd been so nice to me. I told ings between the two former "Sweethearts of the her I'd call her back after I talked to my supervisor. S e, Shame' out Blues. They kept out of touch except for a rock 'n' I talked to my supervisor and told her I had a chance roll revival show in New York in 1972, until Lee's to make a record, and she got a replacement. So I without even a B side. I death from a heart attack October 26, 1976. "Let's got on the plane that night at ten o'dock. just say there were some words between us and leave "The next day Sylvia said, 'Take it easy, Shirley, cut it on a Wednesday, I it at that. " we'll cut it tomorrow.' I said, 'No; that lady was nice was back to work on a enough to let me off, the least.I could do is be back fter the duo split, Shirley and her son moved on time, because it was a pre-recorded back anyway, Friday, and by the to California. ''I'd wanted to raise my son in so we went to the studio that afternoon and that's A California because it was dean and there was the first time I heard 'Shame.' I heard it about four weekend it was a on less prejudice than elsewhere. I wanted to raise him or ftve times and I said, 'Okay, let's do it.' Hank seller.'' right, I was tired of giving him to someone else to Ballard came in and we tried to get it together but take care of. I just stopped singing, I had royalties it seemed like Hank couldn't get it. ordinary kids. Then "Let The Good TimCher sessions. we sang it. We did a couple of more but it seemed you hear what he said?!' We thought this was a good She also did some duets with that Huey like it wasn't getting any better, so we took the ftrst idea for a song, so we went home and wrote our parts Meaux leased. one. for it. We'd been strictly R&B up until then, but During 1968 and 1969. Shirley recorded for the ''There was a disc jockey in New York that came 'Let The Good Times Roll.' went pop." in the studio that night and heard us. He got a press­ "Let The Good Times Roll" was a lot more than ing of the record, and the next night, as I flew back a subtly suggestive song. Shirley's nasal, little-girl to California, he started playing 'Shame' on the voice continually expresses her desire to "rock all radio. The studio got calls like they'd never had night long," while Lee guarantees Shirley he's got before. When I got back home, they were already "what it takes to thrill your soul." Obviously they calling me to come back. weren't singing about going to the high school sock-' "They put it out without even a B-side. I cut it hop! on a Wednesday, I was back to work on a Friday, "Feel So Good" followed "Let The Good Times and by the weekend it was a million seller." Roll" right into the , incof(>Orating similar sexual ovenones. The parents might not have hame, Shame, Shame," issued on Vibration liked it, but the teenagers sent Shirley and Lee's Records, proved to be an instant world-wide hit. record sales into the millions. SCut in late November 1974 , Shirley had already "It was real exciting," says Shirley. "We had so made three trips to Europe before Christmas. In ret­ much work, we only had one day off a month for rospect, "Shame, Shame, Shame" must be con­ a couple of years. We'd do a show, then get on the sidered among the earliest examples of what would bus and drive to the next place. We did the Apollo, be known as "disco music. " the Brooklyn Paramount, the Uptown- we practical­ Vibration followed the single with a hastily pro­ ly played everywhere and with everybody. duced album. Besides containing a mixed bag of "It was a lot tougher being on the road in the material, it featured a horrendous cover that pictured Fifties, because you couldn't stop just anywhere you Shirley pointing her finger at Richard Nixon! wanted. We slept on the bus a lot of times and sent "Ugh!" comments Shirley. "I didn't like it. They out for our food.'' Shirley also recalls playing in Lit­ wanted to get it out so fast, they used demos. We cle Rock during the riots in 1956. The riots spread went to Europe and they put it out before we could to the show and the band was forced to abandon finish it." their instruments and luggage to escape the Little Shirley was amazed that people in Europe knew Rock auditorium in helicopters. she was one half of Shirley and Lee. "Every place Shirley and Lee stayed on with AJaddin until it I went I had to do 'Let The Good Times Roll.' They folded just before Eddie Mesner died. "Eddie gambl­ Whizz label with "" (Alfred Swift). knew everything about me, they had all my records, ed a lot," relates Shirley, "Everything just went over "kid Games and Nursery Rhymes," released by they knew who played on them, who engineered to Imperial-records, contracts and all." Shirley and Alfred, did quite well. Another release them, where they recorded them. I couldn't believe Shirley's original hiatus at Imperial proved to be followed on the Double Shot label, "Snake In The it. , short, but not too sweet. "I could never get things Grass," credited to Shirley and Shep. "I don't know But back in America it was a different story. together with Imperial. They recorded a couple of why record companies always wanted me to record ''Nobody knew. I never was asked to do any of those things on Lee by himself, but they wouldn't record with a man," speculates Shirley. "I guess because old tunes. Nobody tied the two together, even when me. So Lee got his release ftrst and then I got mine.'' I'd always done it, or because my voice is so high I came back to New Orleans.'' Morty Kraft approached the pair about redoing they feel they have to balance it.' ' Shirley toured off "Shame, Shame, Shame" un­ "Let The Good Times Roll" on the Warwick label. Session work followed with Tami Lynn, Jackie til the middle of 1976. Mter that, she returned to "Morty brought us up to New York, and they had DeShannon, and even on the Rolling Stones' Exile California briefly, before moving to New York to be a big band in the studio. I mean they had twenty­ on Main Street. Shirley can also be heard oohs and near the studio. ''We were going to do a revelation nine instruments there, and sheet music all over the ahhs on Dr. John's Gumbo album, and accompanied record- between gospel and pop- but they never place. I couldn't understand it because all the best him on his 1971 European tour. could get it together. I stayed around for about a things we ever did were simple. I thought that stuff After that, she faded even further from the public year, and then just decided to come home in 1979.'' just was terrible. My voice was so high I was out of eye, taking a job as a girl Friday for Playboy Records. Today, Shirley lives by herself in a comfortable it." "Nobody knew who I was, I just wasn't interested shotgun, only a few blocks from where she grew up. As poor as the Warwick sides sounded, three of in singing. I took the job mostly to stay busy. Occasionally, she'll get requests to go back to the the singles that were released from the album made " I was working the switchboard, and I had access nightdubs to sing, but she always politely refuses, the Hot 100 in 1960 and 1961. "I've Been Loved to the Watts line. I'd call up all my old friends when content to sing spirituals at home and in church . Before" rose as high as #88, the remake of "Let The it was free. That's how I got in touch with Sylvia ''Really, I just want to sing spirituals,'' she says ftrm­ Good Times Roll" made it to #48, and "Well-A, Robinson [co-owner of AJI Platinum]. We met at the ly. "I've written a few hymns and I'd re:Uly be inter­ Well-A" halted at 1177. When Kraft sold Warwick, Apollo when I was with Lee and she was part of Mick­ ested in maybe recording them. Gospel is what's in Shirley and Lee were without a label until Imperial ey and Sylvia, and we'd been friends ever since. We my heart now. I owe so much because I was protected came back into the picture in 1961. hardly ever talked about recording, just checking on for so long. That's why I think God gave me a talent: " Dave Bartholomew asked us to come in with Im- each other. One day she said she was working on and I should give him a little back. •

32 WAVELENGTH I JANUARY 1984 classifieds WANTED Disc·a·teria 8-tracks ··Experienced'' Salesman ATTENTION Extensive Outboard FENDER Telecaster, 1967, white, maple to sell musical instruments: Stonee's Studio is now offer­ Complete range of services neck, excellent condition. $400. Jeff, band instruments, guitars. amps, ing a co•plete eight track 943-9334. P.A. 's, electric , Small scale video fadUty. Rates will stay the General production services synthesizers, drums, same for January and REASONABLE, professional recording accessories, etc. AFFORDABLE services. Demos, radio spots, or World's Feltruary. Call for details. by appt. 288-6107 Fair sumission tapes. Call Gilbert Hether­ Apply Amps, Drums, Piano A: wick, 522-9470. WERLEIN 'S for MUSIC Synthesizer Included 605 Canal Street $15 ""Hr.· 3 Hr. Mi•. MUSICIANS CtWeUe lhlpes Working band seeks creative instrumen­ Mrs. Etienne .... 524-7511 talist. Vocals helpful. Rockin' C&W. Extension 50 C.USIOIUJe 832-0581 , 861-1665. (Mon.-Fri. only) (504) 467-3655 SINGLE male, 26, 5 ' 8 • tall, honest and intelligent with sense of humor wants to meet woman with same traits for friend­ REGGAE-REGGAE-REGGAE EXPERT DRUM INSTRUCTION ing: 833-9853, 486-2741, 241-7282. ship, dating. Jay, P.O . Box 1272, Slidell, RAS Records, P.O . Box 40804, Beginning to advanced, all styles-rudi­ LA 70459. Washington, D .C. 20016 (301) 564-1295. mental, orchestral, jazz, rock, Latin. In­ BLUESMAN-crazy ragtime and blues Free catalog wlfirst purchase. $8 LPs. 12 • dividual or class instruction. Call for ap­ from Wall City. 60-minute cassette $6 ALEMBIC lead guitar (not a bass) $1 350. discs $4.50. 7 • 4 5 rpm $2. Price includes pointment, Drum Studio, 523-2517. cash/check toT. Starr Posrfach 909 1000 Michael 889-0922 10 a.m . to 5. p.m . shipping. This week's top five (12/15): Berlin 4 1 West Germany. 1. Don Carlos and Gold, Raving Tonight ESTABLISHED high energy rock band is FOR SALE, RolandJuno-6 synthesizer, 6 LP. 2. LeRoy Sibbles. On Top LP. 3. jim­ seeking experienced lead vocalist and gui­ WORK FOR WAVELENGTH months o ld , perfect condition. $800. my Riley, Bang Bang 12 •. 4. Wailing tarist /vocalist in the vein of Priest, Ozzy Lucrative part-time work- experienced 482-4 11 4. Souls, Souls and Power LP. 5. U-Brown , & Pat Travers. Originals are welcome. For advertising sales people needed. Please Jam It Tonight LP . more details, contact any of the follow- contact Rhonda Fabian

cational relevance of the arts. ''There are a lot of peo­ a paradoxical point in his career where the successes ple who don't believe in the arts as being serious. of his some of his former students, most notably his Marsalis They think it's play time, with the Play Dough or two eldest sons, has spurred increased public atten­ (cont'd from page 27} whatever. tion to his work. "I think the American public is in a process of The new year fmds Ellis Marsalis moving into high growing, in a way, and I'd hesitate to estimate how gear. A select handful of wealthy arts patrons, plus kit to demonsuate how a drummer plays fills to im­ many years are involved. Ultimately, I think we 're a few freeloading journalists, will exchange toasts on part rhythmic definition to the band. The student going to have to come to the realization that the arts New Year's Eve to the strains of the Ellis Marsalis drummer, obviously tense, works through whatever are no less intellectual than math and science, and Trio at a gala Symphony benefit at $150 a ticket. he's asked to do with great solemnity. The teacher, that interaction between the areas is inevitable. It's Paradoxes being what they are, he'll be back at for his part, keeps the distance between performance just that it has been compartmentalized by some Tyler's, the uptown jazz joint, two nights later at and expectation in scale with a series of genial wise­ people who, maybe even for the right reasons, did his regular Monday night gig, a buck ftfry at the cracks. While pointing up how far these kids must it without fully understanding. And in some cases door. More than ever, it's one of the great bargains reach to meet professional standards, he's establish­ I think that the aims and objectives of music teachers in American music . Ellis will play at Blues Alley in ing a camaraderie of shared expectations. are not as realistic as they could be: People with Washington, D.C., with the Wynton Marsalis Quin­ Oasses completed for the day, Marsalis settles back serious attitudes who are anti-jazz, which was always tet-" My son has hired me to play for a week in at his desk to talk about his work. As he speaks his dumb-but today it's even dumber. his band" - and pick up some more national ex­ gaze wanders, now and then, to a Duke Ellington ''If a person decides that he wants to be a concen posure with a Marsalis family concen on National score he's preparing for a performance with the New artist, a pianist or violinist, and understands the odds Public Radio'sjau Alive. Back home, he'll perform Orleans Philharmonic, a burden he'll shoulder once that's stacked against him, fine. If a person decides a uibute to Duke Ellington with jazz singer Ger­ he fmishes explaining such matters as how one goes that he wants to be a jazz artist, and undertsands maine Bazzle and the New Orleans Philharmonic. about teaching jazz improvisation. "It's like teaching the odds that are stacked against him, okay. When He's also doing an Ellington concen at Snug Har­ a process, like teaching a language. You can look you have people in positions of authority in major bor, the Marigny jazz Mecca, and an evening of at it in two ways. One is the technical parts of it. institutions who are so totally ignorant of anything Horace Silver compositions at the Snugs. A new There's the part that has to do with sound reproduc­ other than European music-and in some cases I album, Syndrome, is out on the Elm Records label; tion and vibration. If you're playing a uumpet, you believe they're even ignorant of that-you have an it features several of Ellis' compositions and was pro­ have to learn how to get the air through the horn. attitude which is being postulated which supersedes duced by another of his sons, Delfeayo, a trombonist how to form the lips, and all that. the essence of the educational process, which is really studying at Berklee School of Music in Boston. "And the mechanics of whatever it is you're try­ to better the quality of your overall life. (There's yet another musical Marsalis, by the way­ ing to do. By that I mean, you organize the subject ''If I had to talk to a parent about a child coming Jason, a seven-year-old violinist with perfect pitch, matter so that you teach the vehicle of expression. here, the essence of the situation would be that if who'll probably be spotted at some of these gigs, I have found that it's easier to teach blues as a begin­ the child has a serious interest in any of the arts, it bopping quietly in his seat and keeping time with ning form . So it's almost like teaching somebody should not be viewed as an either-or situation. Either a Bic pen.) And of course Ellis can take up any slack how to make a container. and then after they learn you take this or you take that. The student should time by working with his NOCCA students toward hgow to make the container, what to put in it. Well, be allowed to grow as a person. The arts play a signi­ the Loyola Jazz Festival. blues as form is what I've found to be the easiest ficant part in the way that one will grow. Not a bad January, all in all. place to start with somebody who knows nothing " Self-motivation is encouraged here, because the One of the advantages a mature artist enjoys is about improvisation. So we start learning blues scales, only way you can really help the whole of a produc­ perspective, the ability to view one's shifting fortunes which relates to that form. We listen to sound record­ tive society is to create very strong individuals inside with equanimity. Ellis Marsalis reflects, ''My career, ings of people who have played in this form, and of that." quote unquote, has been spent in New Orleans do­ play various different rypes of blues pieces, and talk ing various and sundry things. By that I mean, I've about their expression, their ideas, how these ideas uong artists can direct their energies toward never really ueated music like a career. I was in and manifest themselves. I try and get the students to social benefit, an idea that Ellis demonstrated out of it, teaching school. And sometimes when I imitate what they hear on the recording so that they Sas well as expounded. In his nine years of was in it, it was on jobs that I had to do just to make can begin to simulate the same thing in a prcatical teaching at NOCCA, he has helped create, with his a buck, and I had to try to make the best out of situation that they would have to be in. You set up colleagues Lorraine Alfaro and Dr. Ben Braud, a whatever that situation was, to keep a creative spark objectives, if you will, objective criteria that you're small, highly individualized public school music pro­ going, because it's very difficult sometimes. I've seen going to test on." gram that has realized substantial dividends, as the some fellows just have the creative spark ... just kill­ In the current educational climate, school arts pro­ best of its graduates have won conservatory scholar­ ed off. And I don't think it's anybody's fault but grams themselves are facing some severe tests of ships and professional acclaim. After playing jazz theirs. You have to be responsible for seeing that relevance. Marsalis is forthright in outlining the edu- professionally for almost thirty years, Ellis has reached the spark still goes.'' • WAVELENGTH I JANUARY 1984 33 Frontal nudity in the T-P? Betsy Mullener is snake for a necktie while staying in a brand new a demo at Studio Solo produced by Backbeat and writing a story on Wynton Marsalis for the Dixie Roto house by the roadside made from rattlesnake hide cover boy Vance DeGeneres, who is interested in pro­ and George Dureau is doing the pictures. Hopeful­ ... Allen Toussaint can be heard singing the very ducing any bands in Pirandellian Search Of such ly Dureau will shoot Wynton the way he shoots other popular Saints cheer "Ain't No Stopping Us Now" (cheap). Between basketball practices, the Backbeats young black men, naked and in good light ...We on B-97 FM ... Tony Clyburn of WHMD Rock 107 are writing bunches of new songs and corresponding received a neat cassette of Marcel Richardson, Con­ FM in Hammond sends a station profile that says: with Elliott Maiser, Neil Young's producer, on future nor Shaw, and Walter Payton from an August gig ''Our music is tailored to recognize and reflect the projects. at Snug Harbor. Great version of ''Straight No Chas­ unique musical heritage of New Orleans and the Attenzioni! There's a new venue for local bands er" ...The Raffeys (who have been on this page more delta areas. ' ' Don't hold your breath waiting to hear in Fat City called Spaghetti Eddie's. Proletarian hill­ than any other band in the world) have finished a Huey Smith or Robert Johnson, though ... The lobot­ billyationist Johnny J. and his notorious Hitrnen cop­ new ten-song EP called "Eep Snorpsh Now!" At the omous Mr. Skull and Final Academy played a Christ­ ped a two-night Christmas gig there ... Reggae buffs board was Richard Bird who has a very mobile Vi­ mas benefit special at the N. 0. Adolescent Mental will keep their eyes peeled for upcoming gigs by sionary Studio and a band called Siren. Hospital on Nov.30. former 1-Three-erJudy Mowatt and a benefit featur­ N.O.'s answer to Elvis C.'s anti-saltpeterish "On Gospel Soul Children Live In Nashvzlle has just ing African Dreamland .. .John Broven reportS from The Beat'' and the Violent Femmes' onanistic been released (a certain contributor to this magazine England that Stuart Colman did a ten-minute James "Blister In The Sun" ("Big hands I know you're the still looks back with anything but fondness on their Booker tribute November 13 on that bastion of air­ one'') is the brand-new 3-D Beat featuring former rather idiotic reaction to a story about the gospel at wave otthodoxy, BBC Radio London ... N.O. song­ Look-ers Joe Bennet, Paul Crout and Rick Kipker. the Jazz Fair he did about them a decade ago-but writer David Doyle has completed an album called They will open for the Models Jan.17 and not one perhaps that set ofG.S. Children has grown up now, Goodbye with Jimmie Spheeris and Paul Delph pro­ of them has hairy palms ...West Coast correspondent in several senses of the word) ...There 's more Jazz on ducing. The album was recorded in L.A. and will Nancy Weldon says Club Lingerie in SFCA will start Sunday afternoons (that hallowed period usually be released on Damaged Goods Records. a seven-week music series called Fnday Night in reserved for cruisin' down the river, or beer busts at This month's leis-draped fanzine spctlight shines New Orleans onJan.13. Freelance writer Bill Bendey gay bars): John Vidacovich, Tony Dagradi andJim its omnipresent beam of literary light on Novus (P. 0. will bring in Lee Dorsey, Irma Thomas, Art and Singleton will be raising some racket at Tyler's dur­ Box 152, Honolulu, HI 96810), a wide-ranging and Aaron Neville, and other local talent ... our Texas ing tea time-4 to 8, but whether cucumber sand­ well-produced little rag that seems to adequately hotline tells us that relocated-in-the-Lonestar wiches, tipsy cake, biscuits and cups of pekoe and cover the Hawaii music scene (a scene we 're honest­ poetaster and vocalist Ron (Music From The Big oolong will be making the circuit, we really couldn't ly not too familiar with, even though our apprecia­ Tomato) Cuccia has been "born again" -as what, say .. Ray Ganucheau, formerly of Apt.B, is now tion of Gabby Pahuini and Arta Isaacs is as complete we asked, and the line sputtered and went readying a solo act and will open for the Backbeats as any average continental American). Most of these dead ...and our International Globe Hopping Cor­ on January 20. Whether Mrs. Ganucheau, the former fanzines contain great homemade cartoons that poke respondent (didn't know we had one of those, huh?) Barbara Menendez, fondly remembered by many for fun at a variety of hardcore and other and Margaret Williams sent a flyer from the Bluegum her energetic renditions of the Pony and Hully Gul­ this one is no exception. The first frame of "Uncle Hotel (in Australia?)-"a rather Tip's-ish place ly, will participate is conjectural at press time ... Mrs. Ed's Music Store" opens with a plasmatic little char­ where they only charged the equivalent of about four Bates, which is a band and not Tony Perkins' old acter asking Uncle Ed: " Hey Uncle Ed, got any U.S. dollars to see ." Marge had just mummy dearest ("So you're puttin' me in the fruit copies of 'You Filthy Swine' by the Herptones?" walked 47 miles of barbed wire and used a taipan cellar, you think I'm fruity? Huh, boy?"), recorded Aloha. •

Spec:lal Jan. Attractions l"rl.l - Rockln' Dopsle ti~~ry',~ ~~-:~·.. :~·~r · ..J,. : ~~~-~~- -, llt The Twisters Sat.2 - Zeke l"lshhead ·; llb ;l ~ lq\ ·. 7\ l I J.:.. · • ' J · I ~) l"rl.6 - Anson l"underburgh !~ .. , . -'"'1> : _... . ; ... . .: llt The Rockets .~ (. .... "-· ' . ·"'- ~ ~ Sat. 7 - Radiators .:-( • ".( - <..,(. ' 'i'~ Sun.8- TBA ~ ~~ Regular Features Mon.9 - Terry Manuel : Tuesdays - Ll'l Queenie l"rl.13 - Gatemouth Brown Wednesdays - Mason Ruffner and Sat.14 - Beausoleil the Blues Rockers Sun.l5- TBA • student nlte - no cover Mon.16 - AI l"arrell Sales ••• Servlce •. .Instruction w/valld university 10 l"rl.20 - txuma The only shop In this area dedicated exclusively to Sat.21 - Rockln' Dopsle Thursdays - Bruce Daigrepont llt The Twisters Drum•rs & Drumming 8t Bourre Mon.23 - Zeke l"lshhead All MaJor Brands • Complete Teaching Facilities • CompetHive Prices Shows 10 p.m. weeknights l"rl.27 - Radiators 10:.30 weekends Sat.28- TBA Sun.29 - lOth Anniversary of Maple Leaf BIG CHRISTMAS SALE IN PROGRESS 8316 Oak Street Andrew Hall's Society Jazz Band - No Cover 2013 WILLIAMS BLVD. 466·8484 866-9359 Mon.30-Terry Manuel Ultra onic ~ tudio , NEW ORLEANS' FINEST RECORDING STUDIO It's no secret that the best sounding records are made at Ultrasonic. And no wonder­ comfortable surroundings, state of the art equipment knowledgeable people and years of experience. Now- Digital mixdown at no extra charge. 7210 Washington Avenue New Orleans, La. 70125 504 486-4873

34 WAVELENGTH I JANUARY 1984 JANUARY 1984 MUSIC STARTS AT 9:30 MONDAY-THURSDAY 10:30 P.M. FRIDAY-suNDAY

~- r-- , ~ ~ - ~ ...... 1 - = - ...... 2 3 4 5 6 - 7 THE SA TIS- LEROI CLOSED BUCKWHEAT RED RADIATORS FACTION BROTHERS ZYDECO ROCKERS

8 9 10 11 12 13 14 WALTER TIP'S 7TH CLOSED J. MONQUE'I: MOSE ALLISON & ' WASH- BODIDDLEY BIRTHDAY BLUES BAND ALLISON INGTON & with the THE Dis- & Radiators & TRACTIONS JOHNNY OFFSPRING special guest ADAMS Earl King 15 16 17 18 19 20 21 THE CLOSED J. MONQUE'I: An Evening with BLUES MEDI- TBA THE NEVILLE BROTHERS BAND DAN lUCKS TATIONS

22 23 24 25 26 27 28 J. MONQUE'I: THE HANDS DIRTY RADIATORS' CLOSED BLUES BAND &THE DOZEN TBA MARCIA 6TH ANNI- MODERNS BRASS BALL VERSARY BAND 29 30 31 Benefit for CISPES with J.MONQUE'D AFRIKAN BLUES TBA DREAMLAND BAND

501 Napoleon Ave., comer Tchoupitoulas- Phone 899-9114 cELEBRATE YOUR BIRTHDAY AT RECORD RON'S

524-9444 Open daily 11-7 • We buy-sell-trade