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Wavelength Midlo Center for New Orleans Studies

2-1984

Wavelength (February 1984)

Connie Atkinson University of New Orleans

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' \ I I For ISSUE NO. 40 • FEBRUARY 1984 ISSN 0741 • 2460 New

''I'm not sure, but I'm almost Orleanians positive, that all music came from New Orleans. · · - Ernie K-Doe, 1979 who love table of contents • Cover photo by Rico. muszc Features Women In Music by Almost Slim ...... 15 Subscribe Family Tree by Jon Newlin & Bunny Mattl;lews16 In time for Marcia Ball by Bunny Matthews ...... 18 Carnival, Seven Women by Bunny Matthews . . ..21 Jazz Fest Wynton Marsalis by Kalamu ya Salaam ...... 22 and Dear Jazz Fest by rico ...... 25 the World's Fair Band Guide Hizzoner pulling strings. compiled by Allison Brandin .. . . 27 Departments February News ...... 4 For only one dollar a month, Letters ...... 7 WAVELENGTH brings you the best of Golden Moments New Orleans music plus art, ftlm and the by Almost Slim ...... 8 theatre-delivered your door. With Cinema thousands of events to choose from in by Jon Newlin . . .. .8 1984, you're going to need us more than Art ever. Don't miss a single issue! by Virginia Levie ...... 10 Rare Record by Almost Slim ...... 12 Reviews ...... 13 Listings ...... 34 You're going to need W AVELENGTH Classifieds ...... 41 Last Page ...... 42 zn 1984! ~" ...... Member of •.•...... •.•...... •.....•...... ~ .... . Network enter my subscription to WAVELENGTH, Pllblishcr, Nawnan S. Srou. Editor, Conrue Awruon. A!oociate Editor, Virgon12lcvoe. YES, New Orleans EditorW Assist~.nt , AIIJSon Brandin. Art Director, Julia Nud. AdYertisin& Sales Music Magazine, at the special rate of 12 issues for only $1 2. !bnaJn, Rhonda Faboan Ad•utising Sala, Ty Adams. Distribution, Joe Torczon. Hampcon Wew. Contribucoa: Eddy Allman, Zc:ke Fishhead,Jon Foose, Tad jones. Mail your check to WAVELENGTH SUBSCRIPTIONS, P.O. Box 15667, VirJmta Lrvtc, Jay Manm, Bunny Matthews. Jon Newlin, Ric Olivier, Kalamu ya Salaam, Shepard Samuels, Gene Scar.unuzzo, Hammond Scou, Almosc Slo m, Kenh New Orleans LA 70175 or CALL US- (504) 895-2342 and charge if! Twnchell, Nancy Weldon. Wolloam D White. 0 $ 12 one year ($20 foreign) 0 $20 two years ($30 foreign) 0 $28 three years ($40 foreign) Wnekwgth os publoshed monthly on New Otleans. Telephone ()04) 89)·2342. Mail 0 renewal 0 payment enclosed charge to: 0 MasterCard 0 VISA JUbocropuons, addraschangesco Wn

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Wavelength I February 1984 3 c State Museum, Amistad Research The Power, Center and the New Orleans Urban The Glory, Folk Society are hosting a series of Saturday morning discussions at the The Scene-Boosting Presbytere. On February 11 , local photographer and folklife fan ex­ Those of you who presume folk­ traordinaire Michael P. Smith will culture is exclusively provincial moderate a conversation on might do well to take a look over "Culture Power in the Inner City" your urbane shoulder. Graffitti art­ with Howard Becker of North­ ists and break dancers have made western, Johnnie "Kool" Stevenson national news with their inner city of the Scene Boosters Marching folk expression. In New Orleans, Club and other New Orleanians. Mardi Gras Indians and the paint­ The series will conclude March 10 ings of Sister Gertrude Morgan ex­ with a symposium on ''The Power emplify folklife within city limits. of New Orleans Music.'' Now To focus public attention on the there's a subject dear to all our cultural riches lurking in the dense hearts. fabric of city life, the Louisiana -Virginia Levie

Sculptor Coco Robichaux, standing; Prof. Longhair, memorialized visit friends and, with the help of Prof. Longhair fellow countryman Colin Strick­ land, to make a recording. While Busted At Tip's in New Orleans, the London-born clarinetist had the opportunity to The scene was vaguely reminis­ perform with some of his favorite cent of those old newsreels (the musicians by substituting for the champagne bottle that refused to ailing Raymond Burke in Kid break time after time as Bess Thomas Valentine's band at Preser­ Truman hurled it at the to-be­ vation Hall. christened vessel, etc.) as a variety Since his first trip to New of local notables beheld the Orleans more than twenty years dedication and unveiling of the ago, the 41 -year-old musicians has bust of Professor Longhair at noticed some changes. While the Tipit.ina's on December 18. The general appearance of the French occasion was also an excuse for Quarter is the same, there are dif­ Professor Longhair's Memonal ferences in the music scene. Many Mambo, and the air was filled of the older musicians whom he ftrst met back then like Kid with the sweet smell of burning Howard, George Lewis and Sammy leather. Pictured here are, from Penn, are gone. In addition, accor­ left to right, Darrell Walker, ding to Rimington, there was more sculptor Coco Robichaux, Ricky Stephen Urquhart and John Barr: "Cum on feel the classical noize!" of the older style jazz at different Castrillo, Deacon John Moore, places. Sammy also notices a Sam Henry and Longhair's grand­ and Urquhart play at house parties, change in the traditional jazz au­ son. Also on the premises but not Good Readin' weddings, art openings, and other diences: ''Now there are more in the picture were Earl King, big­ quiet, civilized social functions. tourists than when I ftrSt came in Tonight drink-of-water John Rankin, J.D. Recently they added the perfect '61. The music wasn't as well Hill, Ed Volker, Ziggy Modeliste, Watching a guitarist read music musical accent to the opening of a known then ... well, it was to certain Art Neville, the always incendiary can be a fascinating experience for new Medi-Action Clinic downtown people. Now everybody knows Ernie K-Doe, John Mooney, the non-reader. Gradually it sinks on Baronne Street. Many of the about Preservation Hall." George Porter, Gary Vosbein and in, though, that reading music is grand openers were as amazed with On the subject of New Orleans ). Monque'D. Unaccountably ab­ an acquired ability just like reading the duo's playing as with the fact jazz Sammy has some interesting sent: Governor and Mrs. Treen, prose with the hands taking the that they were standing in a doc­ observations: " [New Orleans jazz] Betty Guillaud, Diana Bajoie, place of the mouth. "I could tor's office that stayed open seven always hits me in an emotional Walker Percy, Philippe Entremont, learn to do that," you say to your­ days week. way. It has a lot of feeling in it. a Sonny Francis, Muriel Francis and self, ''given twenty or thirty you've picked up the caviar That's what drew me to it in the So Lindy Boggs. years. '' and ordered the Dom Perignon for ftrSt place. It's not too pushy. It's Stephen Urquhart and John Barr your big white-tie get down in the very relaxed, quite melodic, yet has both read on classical guitar and Garden District, but you just can't a great deal of freedom." As for their refined renderings of 18th decide on the music. Slick Leo's Sammy Rimington: the survival of traditional jazz, the and 19th Century duets can soothe already booked for a hot break spin Limey Son Ot veteran of early Ken Colyer and the most .frazzled nervous systems. at the Famous; Bengt Weinie and Chris Barber bands is not worried: Both teach classical guitar locally the Awesome Rods have headed George Lewis ''The musicians I know like [Kid] and Barr hosts a popular show on back to Sweden to cut a hardcore Thomas and [Kid] Sheik will never WWNO FM that features the in­ album of Roy Brown tunes; and Internationally renowned British change. They have always been the strument. Curiously, Barr also has The New Leviathan's bus broke jazz musician Sammy Rimington same and they always will be. I his own rock band together. down in a time warp. Time to call spent the ftrst weeks of 1984 in think there are a lot of things hap­ (Hopefully, not too "intelligent" a Barr and Urquhart. "Have you New Orleans. Rimington, best pening, a lot of parades going on rock band; this Baroque stuff may heard the news, there's good known for his beautiful and ex­ and some young guys coming up be awfully beautiful, but it ranks readin' tonight ... " citing George Lewis-influenced that are doing a great job." pretty low on the funk scale.) Barr - nco clarinet playing, was in town to Rimington enjoys New Orleans' 4 Wavelength I February 1984 people almost as much as its drum sound. How many people do to the major labels and the only Dozen], I thought, 'Gee, why music: ''They've been very nice to you know who have carpet all over way to do that is to have the best don't I just work with them.' me. Things are very friendly down their living room walls?" asks of everything." "What I've done so far is I've here; it's slower than places like Glenn Himmaugh of Pace Sound They already have the best peel­ taken some gospel numbers and New York. I enjoy coming here Co. and the upcoming Pace ing silhouette painting of a ''lovely old hymns and things like that, every year. It's a great pleasure to Studios. lady'' in town. and had those transcribed for their meet the musicians and Pace Sound has provided sound -rico instruments. So far it doesn't quite everybody." reinforcement for local concerts have the Dirty Dozen sound, In the future Rimington plans to over the past decade, and assem­ which is something that'll have to bring Kid Thomas and Louis bled five large scale P A systems. be worked on down the line. I Nelson over to the Lugano Festival Their regular gigs with Cox Cable's have a feeling that once they get in Italy. He, along with Strickland, Music City video program and as used to it, they'll kind of adapt it also plans to book Kid Thomas on the Neville Brothers sound com­ and put a little more feeling into it another of their famous European pany have strengthened Pace than what's written down on tours later this year. Studio's reputation. Glenn Him-· paper, which'll make it good, -Michael G. White maugh plans to use Art Neville as which is the only reason to use house producer for a variety of them. Otherwise you could just projects. "Pace Studios wiJl have hire any old horn section." Keeping Pace all the resources of Pace Sound at -nco its disposal," says Himmaugh, "in­ With 24 Tracks cluding our remote truck, which is A German, 16-track now, with 24-track capa­ Back in the days of Jimi Hendrix bility. We've worked very closely Two Danes there was a popular studio called with Sea-Saint and Studio In The "Electric Lady" Studios, I think, Country, in terms of providing And LiiJian and all the big timers used to sound reinforcement, but I think New Orleans' own Lillian Boutte record there. Well, New Orleans is the 24-track remote unit will put took a break from a busy European getting a "lady" studio of its own; us in a class by ourselves. And tour to return home for a week or sitting on the rustic cobblestone of because we've been a sound com­ two last month. Lillian's show, Bayou Road is a funky old building pany for so long, we've stayed up ''Lillian Boutte and her Music with a slender female silhouette on the latest developments in the ~-Minded Friends," has been playing Scan­ painted on its peeling walls. A technology.'' dinavian festivals and cabarets since partly obscured sign advertises the Davtd Byrne The main studio at Pace will be May 1983. So far, her globe­ "Lovely Lady" beauty salon and a medium-sized five-sided room Hey David Byrne, Mr. Talking hopping has landed her in Den­ gives no hint of the sound repro­ with variable acoustic damping. Head, in town to work with the marlr, Switzerland, Holland and duction concepts that brew within. Adjoining are two smaJl isolation Dirty Dozen, shake booty at the Belgium, Germany and Norway "The day of the heavily-carpeted booths, one fully damped, one Glass House, and see a drive-in (where she recorded a New Orleans recording studio is over. The trend variable. All walls are triple in­ daiquiri stand, what's happening? gospel record with the Magnolia lately is toward a brighter, more sulated and heavily soundproofed. "I was asked a while ago to do Jazz Band of Norway). live sound with drums closer to the Himmaugh claims to be sparing music for a theatre piece that this In case any New Orleanians are front, and that's what I'm shooting no expense in his construction job. sort of avant garde director is do­ curious about why Lillian is playing for with this studio: the ultimate "We want to sell finished products ing. His pieces are generally very to packed houses in Europe, they long, so he divided it up and dif­ can sample her talents starting ferent parts of it are being written March 31 at the Mediterranean and being produced in different Cafe at 1000 Decatur St.-the site parts of the world. His productions of the old Morning Call coffee tend to be like a series of very slow shop. moving tableau, sort of like pic­ Lillian will have accompanying tures that move really slowly, where her Music Friends consisting of the lighting and everything is real renown Thomas L'Ettienne of Ger­ beautiful. I'm involved in one sec­ many on clarinet and both tenor tion called 'The Knee Plays' and alto sax, Hans Knudsen of because they join some of the other Copenhagen, Denmark, on piano, sections together. along with compatriot Soren "I saw the Dirty Dozen a few Houlind on drums. Banjo duties years ago and thought that they are handled by Arild Holms of were real good. Originally I had Oslo, Norway, and Bob Culver­ wanted to write music for brass in­ house of London, England, will be struments for this thing, and when on bass. 0 Q I remembered them [the Dirty -Fred Hatfield a Irma Thomas, Aaron Neville, Wardell Quezergue caroling New Orleans style.

~Fats Domino, Walldn' To New Orleans, Pathe Marconi 0 Holy to have done a couple of years 1546621 re-release ago," Quezerque explained, "I ~Irma Thomas, Time Is On My Stde, Kent 010 (collection Night In condensed them for a smaller of 16 sides recorded for Minit and Imperial 1964-65) New Orleans group and changed the key for the ~ Fats Domino, Get Away wttb Fats Domtno, Ace CH90 vocalists on the program." (reissue of ABC 510 196 5) Vocalists Irma Thomas, Aaron Ms. Thomas' performance was ~ Fats Domino, Wbat A Party, 15-46631 (reissue of Neville, and arranger Wardell especially inspiring; her rendition Imperial 9164, 1961. Quezerque were three featured per­ of "0 Holy Night" held the holi­ ~ Huey Piano Smith & Clowns, Tbe Imperial Sides, formers in a holiday concert enti­ day audience spellbound. Mr. 15-46731 tled ''A New Orleans Christmas Toussaint showed up with a ~ Marcia Ball, Soulful Dress, Rounder 3078 Carol," which included Allen typically sequined outfit and a Linn ~ Kent Jordan, Terms of Endearment, CBS Toussaint and Art Neville. The drum machine in tow. Local music concert was co-sponsored by the fans who missed the concert can ~ Uoyd Price, Mr. Personality Revisited, Charly Records Contemporary Arts Center and the rest assured that the program will CRB 1052 1984 Louisiana World Exposition. be repeated next year, according to .,.. Tbe Larry Williams Sbow featuring Johnny "Those arrangements were for a C.A.C director Don Marshall. "Guitar" Watson, Pathe-Marconi re-release Edsel 119 television show that I was supposed -nco ~ Tbe Best of Sblrley and Lee, British Ace CH47 Wavelength I February 1984 5 Bas Clas: Donnie Picou's septum-heavy vocal inflection is much closer to Elvis Global Politics Costello or late Bob Dylan then Jo­ El Sonnier or even Zachary Not Chanky-Chank Richard, and not a word in French. "Bas Clas" is sort of a Cajun Lyrics concern global politics and way of saying "low class," and is romantic detente, not flowing also the name of an outspoken Laf­ bayous and rockin' at the fais do ayette-based rock band led by do. But let us not forget that this brothers Steve and Donnie Picou. is a band of modern young men Geoff Thistlewaite on bass and Jon who probably watched Batman as Bossiere on drums (a former New kids; the days of Governor Jimmie­ Orleanian) provide rhythmic Davis had passed and gone. "We bottom. don't speak French or anything and The instrumentation is standard our mom is from up north," Don­ contemporary rock fare: huge drum nie casually explains. kit, electric guitars and bass. The Bas Clas is one of the most timbre is aggressive and the volume politically active bands in Loui­ high. Structurally, most of the siana. Their monthly newsletter material has a more-than-three­ goes out to around a thousand chord melodic twist and sincerely people and urges them to take ac­ Southern upbeat tempo, although I tion on issues from nuclear disar­ must admit the usual ''I've heard 25-year-old welder's helper between Lafayette and Southwest Loui­ mament to chemical waste dumps, it all before'' yawn was upon me here and Cameron and preaches for siana," recalls Donnie Picou. " For but the tone is always one to one for several tunes at a recent Bas the working class without undue some reason the people out there and down at the grassroots: a short Clas opening gig. romanticism: just love to hear songs about Texas, entry in the recent newsletter read: The Bas Clas sound is driving johnny gets two weeks off with so we played a lot of songs about ''Donnie has seven puppies-mostly and full, a thick half-Dylan-half­ pay Texas. But we decided to play what Labrador blood-that need homes. Clash stew of spiral phasing But he doesn't get too for away we felt in our hearts and get ac­ The dogs are six weeks old and guitars, sibling harmonies, and a He's back on Monday ready to cepted or rejected on the basis of ready to go. He also has 2 solid mod rock bottom. "Spy vs. go that." kittens-1 male and 1 female. Call Spy,'' a slinky funk number with Ready for another hitch don't Considering their South Loui­ him at 873-6815." Maybe Bas Clas long, sustained fllls and a bassline you know siana roots, Bas Clas is a perplex­ is as much a part of the sprawling you could bump to, is typical of a He 's Serfin ' ingly un-ethnic band, and at a rice prairies of Southwest Louisiana , Bas Clas socially-conscious-but-let's­ Serfin' USA time when bands from the Morrells as the potlickers and tom cats that not-forget-that-every body-came­ ''The fust bands that I was in to (gasp!) Joe " King" Carrasco walk the headlands at night ... even here-to-dance song. "Serfin, USA" played sort of a cajun-country style freely mine the vein of American if they do sing about spies and could be about almost every other of chanky-chank music around musical eccentricity, lead singer serfs. - nco

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6 Wavelength I February 1984 letters te dle:eai:::to=-=r------....._,...._...... --..-...--...... -.... ____.------

To the Editor: ests are the records that are not availa­ side two Chicago packages, this year's Walter Washington doing the main In the November issue of Wave­ ble in Czechoslovak shops and have no Blues Estafette brought several artists role. Then, Earl King entered the length you did an article on a band other way to to complete my home from Louisiana to the stage. stage doing a professional set, called ' 'Satisfaction, ' ' sounds like a discotheque with LPs issued in USA, First there was Tabby Thomas and although most people would have great band and record. The reason I England or West Germany, please will his Mighty HouseRockers who open­ preferred to see him solo. am writing to you is to find out where you publish my readiness to cooperate ed the event at 3 in the afternoon. I'd Last Louisiana act was the ramblin' to send for a copy of this record. I in exchanging records. I am sure you seen Tabby before in his club, "The act of John Delafose and the Eunice gather they must be on Four H 101 , hardly know anything about our Blues Box" in Baton Rouge, and I was Playboys. They played authentic but I cannot find an address for the Czechoslovak groups and popular anxious to see him perform again. His zydeco, and they sure got the audience company. I would very much appreci­ music in socialist countries, with some band opened with a Magic Sam on its feet. The quality of their perfor­ ate any help you could give me in exceptions as Karel Gott, of course. boogie. Then Tabby entered the stage mance was, however, not comparable tracking them down. Being here in And I am sure there might be some and he really proved that he paid his with many other zydeco acts that have Santa Cruz, I hear very little good collectors in your country who would dues as a blues musician. With songs been touring here like Clifton New Orleans style music. Thanks to like to complete their collections with like his own ''Nose Wide Open,'' he Chenier, Roc kin' Dopsie and Queen Wavelength, I was able to obtain a LPs from socialist counuies. added a very personal note to the Ida. copy of Live at Humphree 's by A I am seeking friends willing to ex­ festival, getting a lot of response from Anyway, Louisiana has played its Train. Thanks for taking the time to change LPs with me. I can offer LPs the crowd. The fact that he plays both part in the Dutch Blues Scene and I read this; if you can get me the ad­ from the socialist counuies, new wave, piano and guitar (being best on piano) already heard word from some book­ dress or get the company to send some rock, folk, jazz, classic music. Further guaranteed a varied show by Tabby, ing agencies to bring over Tabby info along it would be great. Keep up rarities from Beatles, Led Zeppelin, who is a pure and great singer as well. Thomas and his band with all the the good reviews. Stones, Hendrix, etc. issued by our Silas Hogan, from Scotlandville, Louisiana blues-harp players. Also houses-Supraphon, Opus, etc. La., entered the stage together with there might be a Louisiana blues Rob Mullen Henry Gray. Hogan did two songs, ac­ package coming to tour Europe in '84. KZSC Ludwig Kos companying himself on guitar and he And the world famous Northsea Blues Santa Cruz, California Hornicka 4109 still reminds me in a very favorable Festival in July will bring us Irma 430 03 Chomutov way of the great Lightnin' Hopkins. Thomas, Ernie K-Doe and Allen Czechoslovakia Bad part was that after these two Toussaint while negotiations are still To the Editor: songs, Henry Gray took over the main going on with Clarence "Frogman" You may be surprised on receiving role. Gray is good, but we've seen him Henry and Clarence " Gatemouth" this letter from Czechoslovakia. Let To the Editor: several times before in The Nether­ Brown. me introduce myself just in short. On the 5th of November, the an­ lands. And Hogan has never been I am 27 years old and have been in­ nual Blues Estafette (a 12-hour blues here before. Rien Wisse terested in rock music, folk and blues event) was held at the musiccentre 'A Taste ofNew Orleans' has been Block Magazine for 13 years and have been collecting Vredenburg Uuecht, drawing a crowd in The Netherlands before. They 7600 AE Almelo this kind of music. As my main inter- of approximately 2,000 people. Out- brought a swinging stage show with Netherlands

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Wavelength I February 1984 7 JACK PAYNE'S goloen moments in new orleans lle rock 'n' roll r\\\t()IUILII~

IJ2t()IUti71E After a decade-long career d''{)~ downspin, James Booker begins to turn things around. Following a SHOWROOM stretch in Angola and a persistent LOUNGE struggle with a drug problem, heap­ pears at the 1975 Jazz and Heritage Festival where he is introduced to a wider and enlightened audience. Not long after, Booker is contracted to Island Records for whom he records an excellent solo album. In 1976, he em­ barks on his first tour of Europe, thanks to German promoter Norbert Hess. While in Europe, he records two excellent live sets for the Aves and Tbe One Nightspot Blue Star labels. 4 This poster is from Booker's first Not To Miss In Poster from Berlin commemorates New Orleans European tour where he touted Booker's- successful visit. Presents himself as '' the black Liberace.'' It is being donated to the Maple Leaf, Oops Dept.: Last month's Golden where Bopker spent his most memor­ Moments erred in citing Joe Assunto able New Orleans musical moments. as the owner of Ric Records. It was of "A Night In Old New Orleans" -Almost Slim course Joe Ruffino.

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501 Bourbon Street (Corner St. Louis) 524-4299 KINK-0.-RAMA OR DEPRJV-0-RAMA .s justpossiblethatsometopicsmay From Police H. Q. ot be appropriate for the standard Eelodramatic treatment they get in in Moscow to the the movies-Uncommon Valor, a Transylvanian play­ demotic idee fixe which is not the trashiest picture I saw over the holidays ground of the Living (an honor safely carried off by Lasse Dead to boudoirs in Braun's Kink-0 -Rama, caught one porn pix, the verdict HOTTEST MUSIC CLUB IN rainy eve at the Paris) but is possibly remains the same: THE GREATER N.O. AREA the most dangerous. Here's the low­ down: Gene Hackman is an old Army Dental Work for boy (Korea, career, etc.) whose son was Featuring music Wed •..SUn. 10 P.M.-ttl MIA in Vietnam and as the years pass Everybody! 1808 Front ~!2. Slidell, La. (a prologue shows us the helicopter (504) ow-7020 taking off without the kid who stayed stake but a war to be refought and behind to help a friend-son of gooks to kill. moneybags Robert Stack as it turns He takes them down south of Gal­ out, but that's getting ahead of the veston (bankrolled by Stack whose son game), Hackman's obsession in cut­ is also missing) and they practice, oh ting a small swath through military do they practice, and in between are Call Beebo's Deli Circumlocution Offices reveals that No treated to some (curiously well phras­ For Your Catering Needs One Cares, that the reiterated " nego­ ed) speeches by Hackman about how tiations about the prisoners are still be­ society at large perceives them as slobs Beebo's mtimate Delivery Service ing carried on" smells of equine because they committed that most un­ manure. So what does he do? In a American of acts , They Lost. (Even All Items Delivered To Your Location move paralleled in recent film only by Gore Vidal, in his essay on West Deli Meats, Deli Salads, Cheese Trays, Seafood, Pizza, Beer, Sand­ Tom Skerrit and his Southside Philly Point, lets us know what lousy tacti- wiches, Wine, Liquor, Soft Drinks and Vegetarian Dishes. buddies in Fighting Back (largely un­ . cians our military leaders from seen due to the colossal stink raised by Washington on are and have been­ its obvious ethnicity. both pro and they barely won when outnumbering BEEBO'S con) who came to the conclusion that the British three to one- and how the if you don't like the people in your military is really just a great P.R. DEI.ICATESSEN neighborhood, shoot 'em (hear hear), Machine.) Well this really gets to the Hackman goes off about the country vets-a biker for low comedy, a andre-recruits his son's old Nam com­ muscleman, a sort of Bert-on-Soap GROCERY pany to bust into a POW camp in Laos type, a black doctor, a hypersensitive 7329 Freret (Comer of Lowerline) • 866-6692 and set everyone free-after all, with artist (who makes sort of Tingueley­ 8 a.m.- Midnite, 7 Days a Week the vets , there's not just sentiment at Dada constructions out of car parts

8 Wavelength I February 1984 and is played by Fred Ward who also as Marat dead m hts mo. Wolfe expir­ expands the bounc: ··es of catatonia as ing on the Plams of Abraham . an Amerindian :.... Stlku.:ood) and a :\[eryl Streep remains a personal irri­ Jan-Michael Vincer1r rvpe whose father tant-like Peter Sellers (although she is (perhaps-there , no real follow-up 1s much less amusing), she seems an on this) in the same POW camp. The impersonator not an actor. She has it results are as expected-screaming all Down: che accent. the postures. the Laotians M-1'd bv the score, noble way of handling a cigarette or a can wounds and even nobler self-immola­ of beer, the hairdo. But it all seems tions, detonations, a handful of terri­ like carapace-nothing inside, just an fied prisoners who look something like extraordinarily s killful, uninvolving the Margaret Bourke-'White pictures of turn or routine, not a performance. Buchenwald, an O.Henry ending. There is , however, absolutely sterling Ted Kotcheff, a decent action direc­ small-part character work by Sudie tor and also not bad with comedy, has Bond as Thelma, in the ftlm 's best nothing much to do-how much performance, and Diana Scarwid as talent does a director need to show che mortuary-beautician, a beautiful­ bamboo shacks blowing up? Bits from ly rounded job in just a few scenes. such unfondly remembered (by me) movies like The Great Escape and Gorky Park is the first picture I Bridge on the River Kwai keep pop­ remember with a credit line for " Ca­ ping up. Gene Hackman scowls a lot davers"-they' re swell , too, easily the and Reb Brown flexes his muscles and best thing in this laborious non-mys­ shows off his (in Genevieve Charbon's tery about some murders (particular­ deathless phrase) "42nd Street rinse," ly grisly ones) committed in Moscow's and there's a great deal of the cloying big public park. Under the baton of mtxture of grand-old-flag, gun­ relentlessly dull Michael Apted (even powder, and {ltterally o nly) guts. with a script by Dennis Potter of Pen­ What's creepy about this show is this: nies From Heaven, but you'd never (rhetorical questions but worthy of be­ know it), the one thing that might ing sounded anyhow): what will peo­ have been of interest here-Russian ple whose sons. fathers, nephews, police routine-is catholicized i nto uncles. etc .. really are in POW camps Movie Police Routine. You m ight as (maybe) think of this travesty? What well be at home watching Edward Dy­ will those who missed the whole bless­ mytrk's Confessions ofB oston B/ackie ed thing think when this heterogenous (a much better movie) on TV. There's bunch of goons so quickly drops wives, arguing among superiors. friction bet­ jobs, everything, and head back to the ween police and KGB, a noble sacri­ steaming jungles for a bit more patri­ fice or two, some double-dealing, why otic gore ? In the light of certain recent one old codger tells William Hurt International Incidents ( as Henry (more relentless dullness, as a character James might have called them), what named something like Arkady Rain­ can anyone sane think of this sort of coat, with that over-earnest hippie­ r r r) r ,r global vigilanteeism ... which is just ter­ !..J. ctS seducer voice of his that suffocates any rorism from Our Side instead of scene he's in) that he'll never be the J J "eco Theirs? , cop his father was. Some sables-the Let freedom ring .. . but Uncommon clue to what mystery lurks at the bot­ Valor is the sort of picture that makes tom of this swirling convolution­ r tAo!,e ur tAoneY; one understand (for a change), the make wonderful noises and dart about censorial mind . most picturesquely {they make great capes and hats too, I hear) and Lee for ,.o (.&''P u know, or can imagine, what Marvin skulks about as a rich , sinister godawful strain it must have American. been to get two and one-quar­ Some of the bad people also have ( f Select from Thousands f ter hours of epic ruuggle-cum-redneck bad teeth, and there is an amusingly­ sitcom out of the Karen Silkwood set-up Russian version of the story , which is , on the surface, not one N.O.A.C. complete with "exotic" j ~~,~~~:s~::~ fraught- to use a delicious old verb in buffet-tomatoes and oranges amidst current disfavor except for Gothic the salmon and sturgeon, and also a f Many OUT-OF-PRINT Titles novel blurbs- with drama, high, low Russian rock band playing "Twist and or simmering . Szlkwood is a nice­ Shout' ' as well as the hulking non­ r & COLLECTOR'S ITEMS looking, not particularly interesting presence of Brian Dennehy (I haven't movie, which I gather Mike Nichols had any use for him since he was so j Rock • Jazz • Classical was at furious pains to give some life damned mean to Sylvester Stallone in to; whether it meant having Kurt Rus­ First Blood- another Ted Kotcheff ( Comedy • Soundtracks sell run around with the top button pro-Vietnam-vet epic by the by, but of his jeans undone or setting up some hardly an incendiary one). I imagine f & More!!! Vermeer-deHooch-lit scenes of Cher the "hook" {to use a term I wish j (as a kooky dyke!) rolling joints in the would die out) with Gorky Park as bare kitchen of a clapboard house. By novel and film was a detective story the time the end rolls around- a but with Russians, not the Barney Mil­ goony tableau of Meryl Streep dead ler-87th Precinct crew, sifting clues, behind the wheel of her little white dusting for fingerprints, putting rr Honda (smushed, I guess, by capitalist thumb to nose at their superiors, put­ j greed and pro-nuke anti-labor in­ ting tails on people. The evidence is triguers-Kerr-McGee is, from all that's it's One World after all- at reports, as thrilled over this picture as least in detective fiction. Still , there the Cubans were over Scarface), one are those cadavers ... realizes the presence of a heroic-folly 3129 Gentilly Blvd. 3627 S. Carrollton Ave. 601 Terry Pkwy. mentality. This closing shot is, in its The Keep, an arty and incoherent 282-3322 482~1 361-5656 j much, much lesser way, as emblematic occult drama- not a thrill or jolt, but

Wavelength I February 1984 9 805 Royal St. 522-3258 a great many fancy angles and sound was directed by Lasse Braun (once a effects-directed by Michael Mann, name to conjure with in European mixes the pulp elements of Nazi smut circles), although I doubt he beasts and the Carpathian Undead directed the framing device where a with Wagner (which is pretty pulp to living-doll of a marriage counselor begin with) and the power of buried Theatrical Make-up shows sullen husband and repressed or released talismans which change ef­ wife what they are missing in life. In Beards-Wigs-Masks fect according to who has them. between all of this are some films they There's some excrutiatingly handsome are allegedly watching (of past case Color Hair Spray production design by John Box-a Ro­ histories), which are creepily tinted Glitter Make-Up manian village of wonderfully prickly and appear to have been filmed in a Complete Line of Mardi Gras Masks chalets and a round church painted all deliberately archaic manner. These are round with a kids' imitation of Fra really something-everything and Angelico's blue and gold saints. For everyone in them is gross in one wav Open 7 Days A Week Through Mardi Gras the longest time I thought the Good or another and while they aren't anv­ 10% Off With This Ad Nazi (played by Jurgen Prochnow, thing really outlandish (virgin ravish­ who really ought to have some dental ed by hideous elderly man while de­ work done) was named Klaus Voor­ mented shepherd grandson watches; man, but in a movie this dumb such woman humiliating husband first with in-jokes would be even more outre various bodily functions and appara­ than possible. (I'm told at least 30 tuses then with another man-who minutes-probably exposition-was certainly puts her husband to shame chopped out to make The Keep less where it counts, but-again-needs soporific.) The monster is a sort of dental work), the effort at making Conw thing in a Vesalius-designed them really look like something that wet-suit with red Christmas-light eyes might have been fished out of a tin and mouth and a deep gravelly voice; of nitrate at Magnus Hirschfeld's long­ RANDALL also, parts of him occasionally light up lamented Institute for Sexual Science New Orleans • London and the result is something like those (did it, like the Kinsey Institute, have old Visible Man models you used to a vast collection of such audio-visual build as kids. With extensive cutting aids?) is laudable and curiously ghoul­ 813 Rue Toulouse and the soundtrack erased, this would ish. These are indeed the sort of stories 524-3378 make a swell video for some long­ that fill the ultimately tedious pages winded neo-Nazi new music group. ofStekel and Krafft-Ebing, and it's in­ teresting to see such things done in­ TOUGH ENOUGH stead of simply Bored Housewives or d finally, Kink-0-Rama, a Randy Nurses or Hookers In Love. In film that cries out to be seen short, no blood or entrails but much Afhould it ever surface again at semen and urine- my kind of picture, the bottom of a porno double bill; it I guess. •

400 F'R~NCH art DAUPHIN~ QUART~R AT CONTI NOON-TILL THE ART SCENE AT HALFTIME he art season in New Orleans, Halftime show: rather than being one furious Patriarchs Tgallop from October to June, , Saving separates itself into roughly two heats. Graces, Bad Boys, Mter a thunderous start in the fall which carries through to December, stupefying MONDAYS - ROCK-A-BILLY & OLDIES REVUE the pull of the holiday season eventu­ photographers, and 10 p.m. ally cools down the pace. Artists, a urologist turned TUESDAYS - BAR BRANDS & DIXIE 2 FOR 1 patrons, and gallery directors are just plain distracted by the holidays and formalist sculptor. 8-10 some thoughrful directors pause to, THURSDAYS - BE A LADY AND HAVE YOUR well , consider the commercial aspect FIRST TWO COCKTAILS ON US of the season and the art business. who brought us painted carpet to find SUNDAY AFTERNOONS - LIVE BANDS Miniature shows are more likely to be a way around the group show theme found this time of year than any other. NO COVER 4 TILL bind. This year, Roger settled on a In January or thereabouts, the season dimension, one side only, as a prem­ cranks up for its smooth downhill run ise. With artists, being the recalcitrant into summer. Here's a look at what's lot they are, not even this common Following all Ticketmaster concerts available at halftime. element is always apparent. Still, the your ticket stub is worth one cocktail Arthur Roger, fresh from his coup exhibition has the clean, brisk look at the Hmel Intercontinental, began that we have come to expect from Ar­ the calendar year with a show of his thur Roger. stable: 36 Inches. Most galleries get Of particular interest are a high tech LOUIS CASTEIX FRANK COVACEVICH around to this sometime in their neon swing by Carol Stoops Hurst schedule but unless the artists natural­ (which lent a note of tension to the 523-9170 ly form a group, the actual show can opening, expecting, as you did some look like potluck. But trust the man looped gallery goer to give it a test

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Arthur Rogers' hand-colored potted palms: Best use of dead foliage by a local art gallery.

run), an assemblage by Reiter who evi­ of corporate plaza art, offering a cool , dently took the thirry-six inch admon­ almost mathematical pleasure. In this ishment to heart, and a classic AbEx school, which borrows from minimal­ drawing by Paulette Whiteman. (I ism as much as abstraction , it is not guess with a DeKooning retrospective even necessary for the artist to fabricate at the Whitney and Rothko 's life as his work, it is only necessary that it be a TV docudrama, we can talk about perfect in all its surfaces. Here, Silver­ classic Absrract Expressionism.) man still has a ways to go. The percep­ Ever since Robert Gordy turned tible welds and occasional drips that over a new leaf and started cooking on are par for the course in more earthy his new etching press, things have works do not pass muster here. been looking up. In the plain brown The upscale aspirations of Tilden monopnnt here, the caricature style Foley have catapaulted them from figuration of his earher work has been their old space on Royal Street to boiled down into a basic emblematic much larger quarters on Magazine. image, almost tribal. Other artists, They are now the only the private gal­ twenty in all, include an acrylic by lery in town big enough to view large ~nug /{'!!~A!tCLUB Dub Brock, just your basic techno­ scale modern sculpture and painting punk mermaid poolside maidens {this in their proper perspective and for this 626 FRENCHMEN • 949-0696 sounds more interesting than it is) and they deserve to be commended. Their a full blown Steve Rucker, lights and fi rst show of the year takes advantage FEBRUARY MUSIC SCHEDULE sound even, but less to the point than of this unique prerogative with an REG. THURS. FEATURE usual. exhibition of large paintings by Larry THE SURVIVORS-10 PM However, we can't pass on without Williams. Williams' canvases are of noticing the changes wrought in Ar­ the Marks-A-Lot school of abstraction, FRIOAYS-11 PM · SATURDAYS-11 PM thur Roger's potted palms. In a season sometimes obscuring words, other 3RD-GUITAR WARS 4TH-RAMSEY McLEAN noted for it, he has excelled in the times layering up marks into a cloud wtBRAD CATRON, STEVE & THE LIFERS tasteful use of dead foliage. The cli­ of color over a thin ground. Solid and MASAKOWSKI, matic excesses that wrecked bougan­ unpretentious, they are a welcomed JIMMY ROBINSON 10TH-TREME 11TH-AL BELLETTO & villea and ficus all over town hit the sight as you enter the gallery. In the 17TH-PELLERA, SEXTET PLUS ONE potted palms to the left and right of back gallery area, local photographer TORKANOWSKY, 18TH-JASMINE his front window. Their spiky, dessi­ Josephine Sacabo curated a show of • VIDACOVICH 25TH-BROOKLYN cated arms got cosmetically redone, New Orleans photographers. 24TH-KIDD JORDAN CONSERVATORY proving, I guess, that every cloud has Crowds love photographs, par­ . ELEKTRIK BAND JAZZ ENSEMBLE a silver lining, or in this case pink and ticularly of other people, and they silver and gold. react to them curiously, as the gar­ THUAS.2NO-FIRST ANNIVERSARY PARTY WI Not all artists start out waiting rulous opening night reflected. In­ THE SURVIVORS tables and working construction ; still , deed. the sight of a honey blond in SUNDAY-S PM CONCERTS a forty-year-old urologist-become­ a black cocktail number reenacting her 12TH-FRED KEMP - SMOKEY sculptor is a bit out of the ordinary, stance as the model in the photograph JOHNSON QUARTET even for this most haphazard of pro­ on the wall behind her, while her 19TH- THE DIRTY DOZEN & fessions. Arthur Silverman is just such copiously clothed and abashed com­ THE SURVIVORS an odd case and his sculptural rhom­ panions endeavored not to compare, REG, SUN. FEATURE boid~. trapezoids. crosses and triangles obviously, the rwo versions presented TUTS WASHINGTON m 3-D aluminum and bronze went on them, offered a more complete con­ Bar Open Daily-4 PM Yiew in January at the Galerie fusion of art and H e than I usuallv f!e5laur~M ope~> wee~oays 6 PM - 12 A.M Simonne Stern. The sculptures de­ catch at the movies. Despite some we~~ends ~lif\ the "rnove zed imagerv- fishnet sweat. bot­ e r h t " the home turf t m~. muscles, o 1a pe-ln!e"-wtthout

\\ en 1 11 -::!r THE BWE ~ coming up with anything new. Many ''Our Lady of Darkness, '' have a visual of Lee Crum 's fall into this somewhat presence that holds the viewer, the slick category; however, the one mildly stylistic variety made an overview dif­ nasty, cigarette smoking, high-heeled ficult to see. nude had that personal edge that Carolyn Harrison is one of the foun­ others lacked. ding members of Optima Studio and ~ a solo exhibition of her recent work rt scenes, like any small town, easily filled the gallery there in Janu­ have their standard characters ary (Saving Grace category). Optima A that function as vital organs, is the most independent and indepen­ keeping life in the system. Three ar­ dently minded space in town and Har­ tists representative of three types es­ rison must be given a great deal of the sential to the health of any art com­ credit for keeping this creative and munity were presented at various gal­ necessarily turbulent craft afloat. The leries in January-the Patriarch, the studio serves not only the artists it ex­ Bad Boy and the Saving Grace. hibits but also a small community that Tom Young, New Orleans veteran has come to depend on 2025 Maga­ of the turbulent New York School and zine Street as a forum for the open ex­ longtime professor at UNO, qualifies change of ideas. The paintings on

~ ··~ as a Patriarch. He opened this year for view, all abstract in the original sense the Mario ViHa gallery, alongside a of the word, break down recognizable NANcY WILSoN B.B. KING show of pre-Columbian art. His can­ imagery to satisfy the demands of the FEB 1-FEB 15 FEB 16-FEB 25 vases are large, with an elder statesman canvas. She pushes her paint hard, kind of brevity, carving up space with creating pieces where the visual infor­ BILLY EcKsTINE color. Sparse, direct, the clear primary mation is spread like a web over the FEB 27-MAR 13 and secondary colors plus black pro­ entire surface, rather than at one single vide the works with their substance focal point. and structure. Lastly, I have been waiting for some Fred Trenchard, for almost a gener­ enterprising young artist to fully ex­ ation, has played Bad Boy to New ploit the scrubbed ruined look of old Orleans' art scene. Revolt is func­ ancestral paintings and it looks like Blue Room Reservations 529-4744. Cocktails & dinner/ tional. Complacency dancing to the Bill G ifford Orchestra. Entertainment sours creativity Robert Landry, Jr. has the job. In charge. Shows nightly 9:00 and 11:00 excq>t Sunday. and as an artist Trenchard has thrown Aaron Hastings this month (a gallery his weight against prettiness and with the unlooked-for distinction of THE FAIRMONT HOTEL toward content. The Expressionism, representing more local art directors OTHER FAIRMO!IIT HOTELS IN SAN FRANOSCO, Nco-Expressionism, and violent figu­ than any other), his paintings inten­ DALLAS AND DENVER ration that are the wave of the Eighties tionally jumble aged umbers and have been simmering in Trenchard's ochres with the skewed aerial perspec­ work for the last two decades, even tive of pre-Renaissance landscapes, also down to the violent greens, murky throwing in baseball, childhood fig­ ochres and stewed yellows. But in try­ ures, airplanes and cenain obvious/ ing to p resent a retrospective this awkward painting devices, such as January at the Bienville in a space not separating his figures from their com­ suited for it, Trenchard may have fur­ plicated backgrounds by a pale tita­ ther confused his case. The paintings nium blush. Landry's work has always and drawings dating from the Sixties had an eccentric appeal, but with this cover many stylistic evolutions, usually new batch, he has strengthened his TUESDAYS: LADIES NIGHT represented by only one or two works. work with subtlety while retaining its 8:00--12:00 PM Two Free Though some paintings, for example quirky core. • WEDNESDAY: DRAF"I' BEER NIGHT 25' A GLASS $2.00 PITCHERS THUltSDAY: 50' OLD STYLE LONGNECKS 9 PM- 12 AM FRIDAYS: FREE OYSTERS & 25' DRAF"I' BEER 5 PM--8 PM SANDWICH SHOP =~Boa!&, ALL NEW PATIO NOW OPEN 4801 MAGAZINE 899-9228 Jewel King ROUND ABOUT TillS TIME I LOST AT WERLEIN'S LOVER BLUES KORG Imperial 5177 Jewel King was the ftrst artist recorded for Imperial by Dave Bar­ POLY-61 OUR BIGGEST SELLING tholomew in 1949. She had an im­ I s ALSO WE HAVE 7 GREAT mediate hit from the initial session STORES FULL OF PEAVEY SYNTHESIZER with "3 x 7 = 21." She was given ( AMPS, P.A.'Sb t GUITARS AN PRICED UNDER $1500 the opponuniry to do a national tour BASSES AND COMPARES FAVORABLY TO BRAN with Dave Bartholomew's Orchestra ~ SELLING FOR TWICE AS MUCH. COME IN but turned it down, choosing instead exhibited by Charles Brown and Amos t FOR A F REE TRIAL AND BE AMAZED! to work locally with her husband, Milburne. "Round About This Time" bandleader Jack Scott. Ms. King is a pleasant shuffle with a slightly ris- couldn't follow up her hit but she did que lyric that's quite snappy. ''Lost ~ 605 Callll St. .. 524-7511 Bloxi,Edglwlllf388-4070 Most major ukalde ...... 831-2621 Balon Rouge ... 926-6800 have other releases on Imperial, in­ Lover Blues," on the other hand, is " 01kwood ...... 362-3 131 Jackson. MS ...353-3517 credit cards The Pllza Ill cluding this one from 1952. Both sides taken at such a dirge-like tempo that t uke Forat .. 24H830 accepted. of this were influenced by the then­ one can't wait for it to end. J popular West Coast blues sound best - Almost Slim I

12 Wavelength I February 1984 Fats Domino is a hybrid of Seka and Pat Benatar­ REELIN' make that Seka and Stephie Whitesox AND ROCKIN' (as sexy as Pat Benatar tries to get in Charly 1054 (England) her videos, she's always seems about as tempestuous as the turnip greens at Wise's Cafeteria). Are you man Unfortunately many listeners have enough? Are you woman enough? _. /'~ L~('V- -~ ~/-. written off Fats' post-Imperial ABC Down on your knees, filthy slave­ -U/'--(/--v_--.,--- releases as commercial tripe of little lick this album cover! merit. Nevertheless, in between the -Bunny Matthews un~ecessary chick singers and dragging • DINN£ A • LATI SUPP£ R • W t I Kf ND B,_.ur"c ~i

smng section, Fats' magic shines 344i? 51 (.HA R tl~ A VE...NUE H.l [ PHON! 895·4400 through just like always. This album Huey "Piano" Smith collects sixteen tracks recorded in THE IMPERIAL SIDES Nashville between 1963 and 1965. Pathe-Marconi 1546731 There are a couple of remakes, in­ cluding ''Red Sails In The Sunset'' and "The Fat Man," plus covers of The first thing you' II notice after "Kansas City," "Love Me," and listening to this LP is how little (if at ''I'm A Fool To Care" (yes, look out, all) Huey's music changed after leav­ N(fy Ortdms Joe Barry!). Also of special interest are ing Ace. There's still the same old Fats' renditions of Chris Kenner's shave-and-a-haircut beat, with Huey's "Land of A Thousand Dances " playful piano snippets interspersed tftkifkarmonio "Paclcin' Up," "Something Y~u with plenty of vocal interplay. Got," and Big AJ Downing's "Heart­ Although Bobby Marchan's distinc­ Philippe Entremont, Music Director break Hill" and "Land of Make tive soprano is missing from the Believe." Clowns, his place is admirably filled SATURDAY NIGHT POPS didn't really change his style, by Gerri Hall and Curley Moore. Fats FELICIANO Andrew Massey there's still plenty of that warm Although the group's Imperial sides JOSE Saturday, February 4 Conducts vocalizing and 6/8 piano triplets. failed miserably, it wasn't for lack of The Orpheum at 8:00 p.m. However, in the hands of producer trying. "I Didn't Do It," "Behind 525-D500 Felton Jarvis (who also did terrible The Wheel,'' ''Able Mabel' ' and Orpheum Box Office & all Ticketmaster Outlets things to Bill Doggett, Ray Charles "Somebody Told It" have the same Ticket Prices: $10, $12, $14, $18 spark that all the earlier hits did on Supported by a grant rrom the Louisiana State Arts Council and Uoyd Price), it is often surroun­ and the National tndowment ror the Arts ded by questionable accompaniment. Ace. Perhaps it just sounded dated for Still this is an interesting and enjoya­ the early Sixties. ble album that deserves the attention The bulk of this album has been of all Domino fans. compiled from unreleased material, - Almost Slim but nothing here sounds unrehearsed or amateurish. One of the album's real treats is "Psycho," based on Hit­ chcock's movie and spiked with hilari­ Leather Angel ous vocals. Anyone who enjoys Huey's USE _kinko·~ WE CAME TO KILL hits will find this LP an unexpected Miami M-20 treasure. John Broven's sleeve-notes are an added attraction. -Almost Slim A monumental achievement! The best record on the current market by Lloyd Price the best American band currently in [ COPIESil business! Duh, where do I begin? MR. PERSONALITY F OR t~~q Leather Angel, "The Queens of REVISITED I Leather Rock," is a band composed Charly 1052 of four awesomely slutty California girls and I mean awesomely! Morse or The only bad thing I can say about ELse! Peckham 's definition of sado-maso­ chistic pornography (in Art and Por­ this one is that most tracks presented nography: An Experiment in Expla­ here can be had in one form or an­ nation) fits this quartet like a spike­ other in the local record store cut out heeled boot: '' ... women, usually but bins at rock bottom prices. Neverthe­ not always naked- bound up in in­ less, Mr. Personality Revisited contains credibly complex and intricate net­ sixteen numbers originally released on work of ropes and straps, usually of ABC between 1958 and 1960. This is black leather, often enough suspend­ a "Greatest Hits" package, and con­ ed from a hook in the ceiling like a tained here are Price's biggest in­ side of meat.'' As nasty as the girls cluding "Just Because," "I Want To in Leather Angel look, you'd need a Get Married," "Personality," and chain-cutter and a locksmith to get remakes of "Lawdy Miss Clawdy" and their pants off, which is the ultimate "Mailman Blues." While many (in­ ··SPECIAL COOPOtiS· · appeal of such fetishistic dressing and cluding myself) will take exception to behavior anyway. It ain't easy and the sugary arrangements and unneces­ therein lies the fun. sary female background singers, The band's music is slow and beneath it all is some hard-driving 1So/oOFF grinding, the recording sounds like it R&B with plenty of the good old New was done on a cassette. Krissi North, Orleans touch. A pleasant offering BAND FL~ the drummer, attains a nice, macho from Kenner's favorite son. (Sorry, 581-2541 John-Bonham-on-tin-cans son of pro­ Aaron Broussard.) 801 Howard Avenue Location Only pulsion and lead singer Terry O'Leary - Almost Slim

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coordination. /

504-947-5443 p.o. box 19004 n.o.,la. 70179 WOMEN ------IN ______, NEW ORLEANS MUSIC BY ALMOST SLIM

New Orleans has always had a soft spot in its hean for its female vocalists. As far as rhythm and blues is concerned, the history of female vocalists goes right back to one of the city's flrst national rhythm and blues hits, "Since I Fell For You," recorded in 1947 by Annie Laurie. Annie Laurie's string of great late Forties hits on Deluxe and Regal paved the way for other New Or­ leans songstresses. Before the Forties ended, ''Chub­ by" Newsome had scored with the rowdy "Hip Shakin' Mama," Erline Harris with "Jump and Shout'' and Jewel King with the swinging ' '3 x 7 =21 , ' ' all of which predated even Fats Domino's flrst recordings. Originally, female vocalists were provided by or­ cheStras and R&B combos of the Thirties and For­ ties. It was expected that a sultry songstress would provide the contrast to the instrumental portion of the show and the male blues singer. No band was worth its salt if it didn't carry a female vocalist, so naturally they got plenty of attention when the record companies invaded New Orleans looking for talent. The Fifties produced the powerful blues voice of Christine Kittrell, who is best known for her hit, "Sitttin' and Drinkin'. " One of the decade's most successful and distinctive New Orleans voices belong­ ed to Shirley Goodman, one half of the R&B duet, Shirley and Lee. Other memorable records were wax­ ed by Bema-Dean with "He's Min~, " Stella Johnson with ''Yeah Baby'' and Blanche Thomas. Out of this blues-cum-rock-n-roll era emerged Irma Thomas, whose roots were deep in the blues, but whose dis­ tinctive voice appealed to young audiences. Com­ pletely adaptable, Irma has been able to adapt to soul and even disco successfully. One of the lost heroines of the Fifties was song­ writer Dorothy LaBostrie, who penned some of the finest songs of the decade including Little Richard 's " Tutti Fruiti," Johnny Adams' "I Won't Cry," Ir­ ma's "You Can Have My Husband" and the classic "Rich Woman" by Li'l Millet and the Creoles. To­ day her whereabouts are a mystery. One distant rela­ tive recalls she was in a bad car wreck and might have moved to Kansas City, but this is speculation. The Sixties provided a cornucopia of female talent in New Orleans. National hits were scored by Bar­ bara George with "I Know," Betty Harris (who really Sister Mary Barnett only recorded here) with ''Cry To Me,'' Barbara Lynn (see Betty Harris) with ''You'll Lose A Good Thing.'' Charmaine Neville Three New Orleans girls formed New Orleans' The Dixie Cups, even topped the Billboard Hot 100 with "Chapel Of Love" in 1964. While the above-men­ tioned were lucky enough to have national hits, other deserving singers like Gerri Hall (ex-Raelet and Clown), Mary Jane Hooper, Tarni Lynn, Marie Bou­ barere, the Rouzan Sisters, Shirley Raymond and Cathy Savoy also had fme records. New Orleans' Jean Knight led the charge into the Seventies with "Mr. Big Stuff," which was one of New Orleans' biggest records during a quiet decade. Rose Davis, Mathilda Jones and Cynthia Sheeler also had great records. As the Eighties dawned, many of the "old line" female singers found new strength. Irma Thomas and Jean Knight both recorded new LPs, with a new voice, Carla Baker, ready to make waves. •

Wavelength I February 1984 'There's A Certain Girl I've Been After A Long Long Time ... '

Patois-singing Lizzie Miles

-JAZZ SINGERS -­ Germaine Bazzle laVerne Butler lady BJ Margie Joseph Angelle Trosclair Carla Baker Charmaine Neville leslie Smith Tomato Stephanie Sieberth lillian Boutte The One Mo' Time ladies (Topsy, Thais & Kuumba) Fran Comisky Pat Mitchell

GOSPEL----­ Mahalia Jackson Bessie Griffin (holds the record for inducing fatal seizures with her singing) Aline White Christine Myles Elizabeth Eustis Betty lafayette (Mount Moriah Choir') Gertrude Spears (The Humble Travelers) Ruby Ray (New Orleans Spiritualettes) lois Dejean (Youth lnspirationtJI Choir')

"The Creole Songbird" Esther ~igeou

R&a----­ First Generation Annie laurie Jewel King Miss LaVell Shirley Goodman Aletra Hampton Second Generation Irma Thomas Bernadine Bema-Dean Washington Gerri Hall The Dixi-Kups Martha Nelson Sadie Blake Betty Lastie Christine Kitrell Stella Johnson Third Generation Jean Knight Rose Davis HOT MAMAS & FOREMOTHERS ------..-+­ Tami lynn First Generation Betty Harris Esther Outside of That Bigeou lizzie My Man O'War Miles Fourth Generation Ann Cookie Mama Cook Mathilda James Genevieve Haven't Got A Dollar To Pay Your House Rent Davis The Electric AGB (All Girl Band) Memphis Minnie ("Born in lou'siana and raised in Algiers ... " Brooks Juanita but not a local artist except by nativity) Thl d G . Sharon Henderson r eneratton Pepper Elskoe Second Generation Blanche Thomas leigh Harris Blue Lu Barker Angel Baby Cinnamon

16 THE YOUNGER OENERAnON Becky Kury Marcia Kavanaugh Radlauer Susie Hitler (Huete) Allison Young LOUNGE LADIES Rebecca Nice Mimi Guste Debbie of The Batteries Zelda Rose Barbara Menendez Henrietta Lee Boggs Carolyn Odell Janice Medlock Suzie Malone Charlotte Champagne Cindy Chambers Lisa Sherman Toxic Shock The Pregnant Men Cher and the lmpolites C.C. Mitchell Hot Mama Blue Lu Barker · PATRONESSES Connie LaRocca (recording) Roberta Grace (recording) Allison Kaslow (promotion, management) Sandra Jaffe (clubs) Barbara Hoover (clubs, promotion) Cyndi Christian (promotion, management) Rosy Wilson (clubs) Dianna Chenevert (management) Pat Jolly (promotion, photography) Preservation Hall pianist WWOZ's BB Dugas Jeanette Kimball

INSTRUMENTAUSTS Sweet Emma Barrett Billie Pierce Sadie Goodson Edna Mitchell Jeanette Salvant Lil Hardin Armstrong (by marriage only) SONGWRITERS Margaret Kimball Dorothy Tutti-Fruiti laBostrie Jeanette Kimball Ruth Bells In My Heart Durand Ethel Merwin's All Girl Band "Naomi Neville" Patrice Fisher Emily Remler Diane Lyle SHOWBIZ The Boswell Sisters (Connee, Martha & Vet; when the act broke up in the mid-30's, Connee went solo for the next 25 years) Dorothy Lamour (Miss New Orleans of 1931 and sarong girl) June Preisser (in the ZierJfeld Follies as a child; later appeared 10 such Forties ephemerae as Babes on Swing Street, Junior Prom, Sarge Goes to College) Becky Allen The Pfister Sisters Miss Sarong herself. Dorothy Lamour SU~ECTSFORFURTHERRESEARCH Patsy Vidalia Bobby Marchan Eddie Bo (as Olive Oyl on Check Mr. Popeye) lenny Zenith The Sluts (theoretical girls?) Wotnen In

OUTSIDE NEW ORLEANS Southwest Louisiana Cleoma Breaux Theresa Falcon (the Mo Tucker of early Cajun music) New Orleans Emma Dell Lee ' Grace Broussard Carol Fran Little Miss Peggy Doris Matte Margo White (Marguerite Wright) Katie Webster (Katherine Thorn) MuszC.· Queen Ida Guillory (as if Clifton needs a consort) Baton Rouge The Parallelles Texas Barbara Lynn Ozen A Fatni/y Tree Marcia Ball

Wavelength I February 1984 17 She Lives There And Eats Here ...

Irma's still the Queen but tall Texan Marcza Ball is Heir Apparent to the New Orleans Musical Throne

PHOTOS BY RICO

BY BUNNY MAlTHEWS

espite the unpleasant predictions of 1984 once to make '84-has been meeting Irma Thomas,'' Ball For the last twelve years, Ball has lived in Austin and espoused by George Orwell, Austin-based says. performed along what she calls the ''crawfish circuit'' Dvocalist/pianist Marcia Ball figures it might "I like her. She's just the way she is. I felt this of Dallas, Houston, Lake Charles, Lafayette, Baton go down as her best year yet. Ball, fiance Gordon immediate rapport. Irma seems like somebody who's Rouge and New Orleans. Fowler (son of chili champion Wick Fowler) and their from the country and from a big family. She reminds "I live in Austin and I eat in New Orleans," Ball three children (one is hers, two are his) will move me of a roommate I had when I lived in Baton jokes. "But I wouldn' t want to live in New Orleans into a spacious new home, Rounder Records releases Rouge- she says what she thinks. I just really en­ and try to work there all the time. In fact, .I can't Ball's Soulful Dress album in February, Cox Cable joyed meeting her. even live in Austin and work there all the time. We will broadcast a taped recital to its subscribers this "The fust time I saw her play, I was 13 and she make it because we travel and we're fortunate that month and on New Year's Day at the Fairmont wasn't that much older. She was playing on a we've got the circuit that we've got. Hotel in New Orleans, Marcia Ball's lifetime dream package show in New Orleans at Municipal Auditor­ "You can't work in your hometown. Every musi­ came true. ium. I don't remember anybody else on the show cian has to be a road musician or they have to drive "The high point of this year-I think it's going · but I do remember Irma and she was pregnant at a truck. If you don't want to go on the road, you the time. That helped me out twelve years later when can't make it." I was playing music and pregnant. Irma walked up Concerning the maintenance of one's sanity after on the stage and you could hear gasps from the extensive roadwork, Ball says, "It's easy. I don't have audience. any problem. I don't drink that much. "I was the same way. I'd sit down behind the "I decided when I fust moved to Austin and piano until maybe the last three or four songs of the started playing in bands here that I was going to be night. Then I'd stand up and people would go spending a lot of time in bars and when it seemed 'Ohhhh!!' " like music was going to be a serious thing-that I really was going to have a career, I just thought about Because there was no hospital in her hometown it: do I want to be this kind of person or not? I didn't of Vinton, La., Marcia Ball was born across the state­ want to have that kind of personality. line in Orange, Texas. (Clarence "Gatemouth" "Like Huey Meaux says , 'I don't wanna have to Brown, curiously, claims to have done the reverse­ get up in the morning to do something- to take a seeing his fust light in Vinton and promptly jump­ drink or to snort something.' I'm in training for the ing across the border to Orange.) She commenced 1984 World's Championship. I can't be messing piano lessons ("not exactly classical") at five and her with my body! favorite childhood singers were Fats Domino, Ray ''And_ besides-having a kid will clean you out Charles, James Brown, Joe Tex, Wilson Pickett and, right away. All of a sudden, you've got to take care of course, Irma Thomas. Until she departed Vinton of yourself. I can' t get stinking drunk and stay out at eighteen to attend LSU, Ball confined her own ' til 6 o'clock in the morning and get him to school singing to the shower. on time and be anything. It used to be so uncool In 1968, she joined the Baton Rouge mainstream to say that or act like that when everybody was out rock band known as Gum, covering Summer-of­ partying as hard as they could and killing themselves Love-era selections from Grace Slick and Janis Joplin. (Cont'd on page 20)

18 Wavelength I February 1984 ;:;-.;· >:•"'' ~>··'!" ~~~· . ~ ~~ '=' =.}L~ >~~ .. ~~~~ ·• Z· ~§ ~:;.~~~:· » ~· ~ >:· •'•' ·~ ~"''"":'! ;:.:.;:;·

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(Cont'd from page 18) as fast as they could. putting the word out and.people will start calling. an organ player, Nick Connelly. Stevie Vaughan "I've got it made actually. I'm spoiled. I love to People will really think about it." played guitar on one song and David Murray, play and I've got to play. And I love to be at home another good guitar player in town, played on and I get to come home. I'm not away from my kid all's latest band-bassist Don Bennett, guitar­ another. That's about it. too much-that would drive me insane. I've got it ist Kenny Ray, drummer Wes Starr and horn­ "I did three originals and the rest of 'em are by made. I count my blessings every day. Bman Mark Kazanoff-is featured on the Soul­ all my favorite people except Irma. I did a B.B. King "In Austin, there's not a great long legacy of ful Dress album, which was recorded at Third Coast song-actually it's aJoe Sample song-'Made Your women in music but right now and recently, women Studio in Austin and produced by Denny Bruce. Move Too Soon'; 'Don't Want No Man ' by Bobby have had some of the better bands in town. We did Ball cites the following album specifics: "It's Bland; an EttaJames song, 'I'd Rather Go Blind'­ a benefit for a club last year and it was my band, very ... very specifically right now. We're doing everybody's favorite; and a Laverne Baker song, 'Soul Lou Ann Barton and her band, Angela Strehli and material that we do in the live show. It sounds on Fire.' The title song of the album, 'Soulful Dress' her band, a band called Tex Thomas and the Dang­ real-it's almost unenhanced. In some songs, we've is a song by Sugar Pie DeSanto. ling Wranglers with Chris 0' Connell singing and added a horn section but it's all low-keyed. It's very "Sugar Pie DeSanto is from San Francisco, a con­ the Supernatural Family Band with Connie Hancock. basi~ ... very basically Marcia Ball's band playing temporary of Etta James- in fact , they do shows "Austin has a lot of musicians and there's com­ mustc. together. Irma was telling me that she went on tour petition but it's not heated. It's in a generous spirit. "We used the Mighty Big Horns, who are a horn with Sugar Pie DeSanto and Rufus Thomas. She said If I need a musician, I can go out in clubs and start section with a band in Austin called the K-Tels, and between Sugar Pie and Rufus, she thought she was going to wet her-y'know, just die from laughing. It hurt she laughed so much. I've never met Sugar Pie and I've never seen her live.'' The mention of Marcia Ball's only previous album, Circuit Queen, released by Capitol in 1979, causes the singer to make a horrible gagging noise: " It was at the time when all the labels were kinda dabbling in progressive country-when Jerry Jeff Walker and Asleep At The Wheel were doing their thing. I went to Nashville and kinda got produced, which was not my intention but just what happened. I got into the big machine." Fortunately, she adds, the album is now out of general circulation. Good songs-good, old songs- are constantly sought by Ball : " Anybody , at this point, that I can find, I'm devouring-in terms of music. Anything that happened before about 1968, I'm totally infat­ uated with. "I discover people all the time. Two years ago, I didn't know who Smiley Lewis was- boy, what a revelation! I go through life always finding some­ body else that I didn't know about-finding Sugar Pie DeSanto and little Milton and little Walter and Lonesome Sundown, one by one. I grew up in Vin­ Wine lovers say that a day Our imported wines are Wine clears the palate and without wine is like a day without unusual and special. too. Our allows you to taste your favorite ton and I'd never been to the Gold band Studio in sunshine. At the Whole Food selections are from the wine lists foods from the first forkful to the Lake Charles-all of a sudden, I realized where the Company. we specialize in the of the most popular restaurants last. That is its magic. At the Thunderbirds were getting all that shit." fruits of the california sunshine: in New Orleans. We even have the Whole Food Company, you can As far as functioning in the male-dominated realm cabemet Sauvignon. Chardonnay, exclusive house wine of a famous talk to us about wine. You will of popular music, Marcia Ball decrees: "I don't think Riesling, Petite Syrah, Pinot Noir, dining room. appreciate the moderate prices. being a woman has mattered. If anything, it's and Zinfandel from the best of Many of our selections are helped. I think it's a matter of personality. I might've the small vintners. Our under $5. gone farther in the music business had I had a dif­ uncommon collection includes So come to the Whole Food ferent kind of personality but it wouldn't have mat­ wines by Fetzer, Robert Mondavi. Company for the greatest variety tered if I was a man or a woman . I'm kinda more Napa Creek, Wente Brothers, of natural foods in Louisiana. And home-oriented and not particularly pushy. Rutherford Hill, callaway, Clos du add wine to your shopping list Bois. and the amazing organic We feel like our selections will " I am career-oriented- ! do this not only because fruit wines of Paul Thomas made become your favorites too. I love to do it but because I have to do it. I need from the Bartlett Pear. and the it. But careerwise, I never packed up and went to Washington Raspberry. ,. L.A. and knocked on doors, and said, 'Hey, take / ..:q>' - me- do this, do that. .. ' " •

~ )-. ''I make a real good gumbo. I make a real dark ,. ·- roux. There's no secret to it. I usc oil and flour­ Crisco and regular old white flour- just like any­ ~(. body else, in a black iron skillet usually. I do it real slow and I make it real dark so the flavor of ~ - 1. the roux is there. Then it doesn't matter what you put in it. One of my favori tes is chicken and oy­ sters. My seafood stOre in Austin gets oysters from Amite. "Don't put brown rice in your gumbo-graze on your own time. Cut your okra up real small 3135 Esplanade Ave. 7700 Cohn St. so it's not floatiog in big green globs. 9 am.·9 p.m. Mon.-Sat. - 9 a.m.-6 p.m. Sun. 9 am.·9 p.m. Mon.·Sat. - 9 a.m.-6 p.m. Sun. •'The thing about it is that I don't make a New 943· 1626 861-1626 Orleans gumbo- 1 make more of a Cajun gum· bo. Gumbos, like French dialects, vary from town Senior Citizens· Day- Every Tuesday 10% off. to town. Mine tastes not like roy mother's or like either of roy grandmother's but more like tb gumbo of the woman who used to cook for mt~ gt'2ndmother when !was growing up. You can feel it but it

20 Wavelength I February 1984 Seven Women PlHli(Hol<.\PII:-. B) Bl '.'.) .\1 \IIIII \\'-

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mpeter Wynton Marsalis has a;tained phen­ When did you first start to deal with classical menal success in the music world. In addition music? Ti winning numerous awards, including top When I was thirteen, I had a tape of [Maurice] honors in Downbeat magazine for two years in a row, Andre. I said , 'Damn, that's ' bad.' " in january 1984 Wynton Marsalis became the first What was "bad" about it? musician to be nominated for a Grammy award in At first I didn't think it was a trumpet. I thought both classical and non-classical music at the same it was a flute or something. It was a piccolo trumpet. time. The following is from a january 4, 1984, inter­ I didn't know a trumpet could sound like that. view with Wynton dun'ng which he talks about his Before that I didn't even listen to classical music. goals as a musician, his development as a trumpeter We had one of those record anthologies you get from in both the classical and the jazz idiom, and his ap­ Disney or somebody with classical composers on it. proach to music. I couldn't stand that record. But eventually I came

ILLUSTRATION BY GEORGE DUREAU Wavelength I February 1984 But you dtdgo on to play classical music with the Talking te-W'rntem Marsalis New Orleans Symphony. Yes, I won a couple of the youth concerts they had when I was fourteen. I was "sad." I only won because no one else could play. Then I would go to classical music camps in the summertime. Dzd you ever have any problems dealing with the theory of music? Double Tonguing, No, theory is the simplest thing in music. People don't understand that. A lot of people don't have the discipline to sit down and figure something out, but that doesn't make it hard. The hardest thing about music is playing it. By now, every musician Triple Tonguing, should know theory. It's ju~t like reading music. Reading music is not hard to do. There's nothing creative about it, and because you can read doesn't make you a superior musician, but in 1984, every musician should know how to read. Slum"ng When you went to the and summer camps what dzd you get out of them? I could practice there. I wasn' t there to party, I was there to learn how to play. Phrasing Do you think you practiced more than most peo­ ple your age? No. Maybe, a little bit more, but not that much. I practiced, but mainly I thought about what I wanted to play. I would figure things out. ''I'll play this, this way. I'll play that, another way.'' But you see that's bad in a way because sometimes you think · things out too much so you might miss a lot ofother stuff. But that's mainly what I did. I would figure out what I was going to practice and why. Each thing I would do in practicing, I did for a reason. For ex­ ample, I would do certain things to practice double tonguing. That was another good thing about be­ ing in summer camp. I was in an environment where ' I could practice all the cime. If I stayed home, I wouldn't do anything. I would just hang out. Dtdyou develop your trumpet playing in stages? For example, dt"d you say at this point I'm going to learn fingenng, and then at another point I will/earn double and tnple tonguing? I wouldn't say that because those things are something that you have to keep practicing all the time. When I was in high school I could double tongue berter than I can now because I never have to double tongue now. My practice would be in stages, but at the same time everyday I would work on each. aspect of it. So you had broken trumpet playing down into vanous aspects? Yeah. Double tonguing, tripling tonguing, slur­ ring, phrasing, tone, articulation, breathing. But I had a lot of good teachers. Do you think having good teachers made a big differe,zce? Yeah. My daddy [jazz pianist Ellis Marsalis] was here, John Longo, George Jensen, Bill Fielder, Norm Smith, John McElroy. I would ask people questions plus I would buy a lot of books. Had you made up your mind at that time that you wanted to be the best all-around trumpet player? Definitely, by the time I was thirteen. So you weren't interested in any one style oftrum ­ pet playing, you just wanted to be the best that you could be in all styles? Definitely, and it was mainly out of practicality. Who was playing jazz trumpet at that cime? Nobody was playing jazz, so I never thought about playing jazz. I learned to play it out of novelty because none of my peers coula play it. My daddy played it but to respect classical music. It took me three or four After you began studying with instructors and had that's the only reason. years before I really could enjoy listening to classical learned to appreciate classical music, what was the Dzd you senously think about playing classical? music . I would get bored because the music was so next step in your development? Didyou want to play No, because it wasn't practical. long. European music is long. In America because classical? So at this age dzd you senously consider making our culture is so quick, it's hard for us to sit down I never really wanted to play classical music. It's a living as a musician? and listen to music for thirty-five minutes of the same strange. I wanted to be "able" to play classical but I considered being a musician and I thought I thing. I didn't want to play in an orchestra. I knew that would be playing in studios. People buy records and So when you heard Andre what did you do? would get boring. I didn't think of playing solos you can see that; it's tangible. You know, Earth, I said , "I want to learn to play like that." I got because who does that except Maurice Andre? So, Wind & Fire, or whoever, and they list the trumpet a teacher, fust. John Longo was my flfSt teacher. I thought of playing in studios as a session musician. player. Then Dale Fielder was another teacher I had. He I never thought about playing jazz because nobody Why dzd you reject playing in an orchestra? showed me different things. I knew was doing that. (Coni 'd on page 24) Wavelength I February 1984 23 Because a lot of times that's like having an No. I know it's not like that. We have a vibe here Dtd winning the contest with the symphony en­ assembly-line job; especially trumpets, you never get that they don't have in other places. Well, we say courage you to go more in a classical direction? to play. It's nerve wracking. You have to sit there ''shedding.'' We just have a thing in New Orleans. No. See, there wasn't but one direction to go in. all that time and then come in for one or two notes, So when you say ''shedding • • you don 't mean There weren't any gigs to play jazz, so that automa­ and you have to hit it just right. I couldn't stand practicing with a book, you mean working with other tically was out. Why play jazz when you couldn't that. That makes you nervous; that's why a lot of musicians? gig? We had a funk band, use to play all the time. trumpet players drink. It's a nervous job. Right. Interaction. We rehearsed and played gigs. Matter of fact, I used Do you think there is anything unique in New What dtd they think oflittle Wynton Marsalis who to tell my brother I thought we were going to have Orleans that contn"buted to your view on develop­ was jazz pianist Ellis Marsalis' son and who was a funk band when we grew up, seriously, to make ing yourself as an all-around trumpet player? always going to camp for classical music? money or something. But who plays funk on trum­ In New Orleans, everybody's vibe is about prac­ I don't know. They must have thought I was pet? That's for saxophones who have all the solos. ticing. All the bands: John Fernandez, Alvin Batiste, strange. Plus, I didn't really play a lot of New Saxophone is the supreme horn in fusion. Freddie my daddy, John Longo, K.idd Uordan]. Everybody Orleans music [traditional jazz]. I never played that [Hubbard] put out a couple of little fusion sides, but would say, "Practice, practice. Learn this, learn because I thought that was like "tomming," stupid he wasn't playing that much on them. Tom Browne, that.'' Even the little funk bands, everybody would stuff. If I could go back and do that again, I would man, he has records that he doesn't even play on, practice and play. definitely learn how to play that music. But, as far they were all the rhythm section. They just used You don 't think it's like that in other places? as what people thought, I don't know. Tom's name on the cover but he didn't play much of anything on the record. There wasn't anything else for me to do. A lot of people don't understand. When Lee [Morgan] was NEW FROM BLACK TOPI growing up, Clifford [Brown] was still alive, Miles [Davis] was playing. Horace Silver had a band, Art STEAMROLLIN' R&B FOR Blakey had a band, Max Roach , Mingus, so there was a role model and you could say, "Yeah, let's YOUR MARDI GRAS play jazz." But when I was growing up there wasn 't any of that. After you graduated from NOCCA [New Orleans Center for Creative Arts], what was next? I went to New York. Then I went to Tanglewood next. Tanglewood was supposed to be the best camp. It was strange that I went there. That was just luck. Why do you say that? Ronnie Earl First of all , you have to be eighteen to be in the and the Broadcasters Tanglewood program and I was seventeen, so I didn't "Smoking" BT-1023 figure they would let me in anyway. Plus you had to have an audition. They had an audition at UNO while I was in New Orleans. It was raining that day, and I had to go on the bus. I mean it was really rain­ Anson Funderburgh ing and I got soaking wet. I was never so pissed off; and the Rockets "She Knocks see, I don' t like riding buses and I can't drive. By Me Outl" the time I got there the cat was gone. You know , BT-1022 from Hickory and Carrollton out to UNO on the bus is a long ride. I came all the way back on the bus and said, "forget Tanglewood, I guess I'm not going.'' Later I was in New York auditioning forJulliard. The Cold Cuts I was staying with Charlie Miller, a cat from New " Meat The Orleans, and I was walking down the street and I Cold Cutsl" BT-1021 got totally lost. I walked by the Wellington Hotel Johnny Reno and and there was a sign out front that said "Tanglewood his Sax Maniacs "Born To Blow" auditions.'' So I just walked in with my horn and BTEP-1025 started playing. What did they think when you just walked in off the street? At first, Gunther Schuller said I had to be eigh­ teen. I said, " Well, man, you just ought to let me Cont 'd on page 40

'Louis Ar1nstrong had to practice, Miles, Bird, T1·ane Anson Funderburgh and the Rockets had to practice. "Talk To You By Hand" Buckwheat Zydeco's You hear fantastic BT-1001 "1 00% Fortified Zydeco" stories about cats just hat,ing it: ll'ell, /'111 here to ~bo · bcp ...... _lo<. ICT!,OIOIC tell vou that 's M.ywood Mart 1017 PIMMrll St J.ek.Son MS ~10100FI.a 8l'f"d bulishit. · """' Baton~. l.A Black Top Records are distributed in the U.S. by Rounder Records. One Camp St., Cambridge, Mass. 02140 fph. 617-3SW700)

24 Wavelength I February 1984 Dear jazz Fest:

he people of Louisiana have some sort of on­ going love affair with festivals. Maybe we just Tknow how to have more fun than the rest of the world, or maybe Mardi Gras has a way of rub­ bing off on the rest of the year. Seems like the por­ cine squealings of Basile's greasy swine festival have barely died down when the rotund Cajuns down in Galliano are vying for another oyster-eating crown by seeing who can wolf (suck? cram?) down the most oysters in a two-minute cholesterol-consuming frenzy. Louisiana also plays host to two of the world's great music festivals: Festivals Acadiens in Lafayette and the New Orleans Jazz and Heritage Festival. The Jazz Fest just seems to get bigger and better every year (some would argue that the two terms are inherent­ ly contradictory) and the sheer volume of organiza­ tional and logistical muscle needed to pull off such an event is a year-round job. Now we'd never dream of telling the NOJHF peo­ ple how to spend their money, but the temptation to fantasize about one ultimate, transcendent, mind­ blowing day at the Fair Grounds is often too much to pass up. Why, just last night I drifted off and dreamed that Dr. John was banging the 88's behind Snooks Eaglin's screaming red guitar and bone­ chilling voice. No sooner had they finished than the Blasters and Lee Allen took the stage as a banner went up proclaiming ''A Day Of Louisiana Rocka­ billy." A procession of some of my favorite singers came forward, every one of them dressed in pink and black leather: AI Ferrier, Johnny Jano, Frank Lowery. Then the alarm clock rang ...

"IF YOU COULD SEE ANYBODY YOU WANTED AT lliiS YEAR'S JAZZ FEST, WHO WOULD IT BE?"

Ken Keene (Frankie Ford's manager): " We'd like to do a big show and call it 'Frankie Ford's South Louisiana Show' or something and get the cream of the crop of this area. Johnnie Allan, Dale and Grace, Tommy McClain, Rod Bernard, Jivin' Gene, Phil Phillips-! believe Phil is a Seventh Day Adventist STEVE TAYLOR and can't play on Sarurdays, but we'd like to get him up there. These are all South Louisiana people and, really, none of them has been there, with the exception of Frankie. I could get all the artists and BY RICO even the band and a horn section, 'cause most of this material, like Frankie's, would require horns. him do 'Bon Ton Roule ,' and 'Crawfishin' ' and chance last year and blew it, but I'd like to see Alben It could be a dynamite production." 'Route 90.' He hasn't been handled and promoted Collins at the Jazz Fest. He showed up (at the River­ Ralph (Rock Adam) Adamo: " Pop Combo, the properly and things haven't gone too well lately, but boat President ]last year but he had a fight with his Backbeats, I think there is a little more room for new I'm gonna really try and get this guy out there. He manager, and his manager wouldn't let him play and music there than ever before, and those guys sound told me on the phone he's still sharp as a tack and put Lonnie Brooks in his place. I'd like to see Katie tighter than ever. Who was that guy who was sweep­ I'd like to see him out there for Carnival, or the Webster there. This fella Sam Myers has been to ing up at Tupelo's for a while?'' (''Alex Chilton!'') World's Fair, or Jazz Fest ... something." town a couple of times, but has only had a decent "Yeah, Alex Chilton, people have been talking a Quint Davis Oazz Fest producer): "That's band behind him once. I just heard a tape of him lot about him lately, and Jay [Beninati] if his band's something like asking Lee Iacocca what's his favorite that blew me away. He's the type of harmonica still together. ' ' kind of car or something. I'm looking forward to see­ player who could make people like Kim Wilson and Wardell Quezerque: "Well, I'm an ex-trumpet ing the Festival as a whole, and within that are a lot George Smith stop and take notice. He's ftxing to player, and when you name trumpet players, that's of people I want to see, but as producer of the Fair, do rwenry-nine dates on the West Coast with An­ for me. Diz, Miles Davis, has he ever been there I can't say right now. You'll know soon enough, son [Funderburgh and the Rockets) in a battle of the before? I think he would be great to have there this believe me. " blues. I'd like to see Little Milton get another shot, year, but probably hard to get. I've heard Wynton Vincent Fumar (Times-Picayune music critic): "I and I'd like to see a whole Louisiana Caravan with [Marsalis] on T.V., that would be real nice if he could could give you lots of names, but they're all dead, Lonesome Sundown and a lot of people like that come down, being a local guy." which would definitely have an influence on whether together. ' ' Lynn Abbott (photographer): "The Fairfield Four, or not they'd be booked at the Jazz Fest." Bunny Matthews (Times-Picayune music critic): " I they 're a gospel quartet from Nashville, Tennessee. Almost Slim: "Katie Webster, Raful Neal, G.G. will not attend the Jazz Festival this year unless three They·are a perfect example of the classic gospel style Shinn, BooZoo Chavis, Lonesome Sundown. The of these acts are booked: Madonna, Meat Puppets, of the Forties." Whitstein Brothers, who live up around Alexandria Minutemen, Seigneur Ley Rochereau, Seigun Ade­ Mason Ruffner (blues guitarist): "Guitar Slim,Jr. and play the old style country duets. Lazy Lester, I wele, Moussa Doumbia, The Fall , You've Got Foetus plays around town and not too many people know know where he lives up north, and Bunny Matthews, On Your Breath, and William S. Burroughs. As for about him. You could probably get him up there of course.' ' none of these acts being Louisiana acts, well, what and talk him into playing some of them old blues Hammond Scott (record producer): "This sounds do you call Pete Seeger? In the words of Bob Marley: like his daddy did. Clarence Garlow, I'd like to see like a broken record, especially since the boy had his 'Children, get your culrure.' " •

Wavelength I February 1984 25 I'E:BRUARY ------lVNioR W: ~!G::R

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BY VIRGINIA LEVIE

ith globular copper coffeepots fuming, Sterno ablaze on the sidelines, the assem­ :ely how bled the crowd in the LaSalle Hotel W ball room tuned to a decorous hush as resident New Orleans com­ poser James Drew with conductor Andrew Massey • • and members of the New Orleans Philharmonic Or­ chestra performed Drew's recent work, Courtyard Music. norate To the tts left rear of the performing opentng area, Drew, fif­ tyish and tweedy, stood behind the instruments he originated for this piece. Long black cylinders mounted on individual stands, the instruments resemble a row of telescopes aimed, shoulder level , at the audience. On each cylinder, at the end far­ Courtyard thest away ,f from the audience, a flat metal "tongue" Music hangs down. By tapping the metal strip of one of the cylinders with a round mallet, Drew sounds a tone for the other performers. Massey, as conduc­ tor, signals the piece to begin. Traditional instruments like cello, flute, and bass Ll, the instruments are there, a percussionist in back plays a set of shallow stainless steel bowls as well as a cymbal. Drew moves continuously behind Qis instruments, like a hand up and down a keyboart:l, batting the metal tongues with a round mallet and triangular wire brush. The tones of Drew's instruments are scarcely audible, in­ forrnance tended instead are to modify the voices pon- of the other in­ struments. Massey signals the changes (indicated by "boxes" on the score) by raising his fmgers, 3,2,5, like a pitcher. The languorous moves forward without Q ..~"r.~r\t-1,7 crescendos, contemplative rather than ;,...C't-rt concrete. The 11_ piece, as Massey had explained earlier, combines and sculptures by New Orleans artists like Gordy, . nely Reinhart and New Orleans gallery "the sensuousness of harmony with owner AI­ the dissonance Reiter, Kohlmeyer from the first floor lobby through thur Roger. of mixed effects." In Drew's words, "We were after the rooms and suites on the fifteenth floor. Granted In the visual arts, "corporate an abstract image.' ' an" has a nasty repu­ the Hotel Intercontinental did a lavish job of presen­ tation, usually synonomous with the Avant garde music and a Symposium on Imagina­ spineless stuff ting the affair but the basic notion of concentrating that gives abstraction a bad name. During the morn­ tion, all free and open to the public, are not the on local talent might seem an obvious one for a large ing, various theories were brought forward as to why usual way of announcing the arrival of a new cor­ coporation, new to the region, to take. Sadly, that this time the outcome was different. But painter, porate business. But that is precisely how the Hotel is not the case, in New Orleans or elsewhere. The musician, notorious New Orleanian George Schmidt, Intercontinental chose to commemorate its opening idea, in fact, is so novel that it drew a television crew whose marvelously reactionary Carnival on January 14 . The performance of Courtyard Music paintings from PBS' MacNeil /Lehrer report-to cover the event hang in the downstairs pub like a kind of visual was built into the Intercontinental, the instruments time on the basis of its focus on local artists. machine, perhaps put his blunt finger on the truth. used in the Saturday afternoon performance are port­ The Symposium on Jmaginahon was an all-day af­ "In this town, maybe ever since it started , the peo­ able versions of the piece that is permanently install­ fair, headlined by author Dr. Rollo May late in the ple with money haven't had imagination and the ed on the fifth floor, in a courtyard that gave the afternoon. In the morning, the visual artists whose people with imagination haven't had any money piece its name. The courtyard, the process of design­ . works hang in the hotel discussed individual creati­ What has happened here is they've fmally given ing it and the music, the unlikely assortment of peo­ vity and corporate support, joined by New Republic some of the people with imagination some ple involved, from sculptor to physicist of the , were topics publisher Jim Glassman, Honzon editor Kellee Con- money." of discussion for the aftemoon symposium. • In 1982, architect Steve Singler was faced with the task of creating a courtyard for a deluxe hotel in a city already riddled with courtyards. Additionally, the hotel site was smack up against the imposing and strictly vertical Pan American building. Singler knew he needed a new angle. He decided he wanted a space that would communicate. On a hunch, he assembled a group of local specialists for some brain­ storming, a real collaboration. All from different disciplines but sympathetic to the "fourth dimen­ sion," the group was comprised ofBingler, composer Drew, sculptor Lin Emery, physicist Robert Moriss, mathematician Ron Knill and later, painter Patricia Whitty Johnson. What they came up with was an urban balcony garden, situated midway up the struc­ ture with two large free-standing sculptures by Emery, a yet to be completed fountain by Whitty Johnson and Drew's sounding tubes. The trees move in the wind but the sound is practically impercep­ tible, prompting the viewer to inquire if anyone had heard the emperor's new sound? All major hotels require some sort of distinguish­ ing feature, whether it's a revolving restaurant or a glass elevator. For its opening gambit, Hotel Inter­ continental decided to go ahead with contemporary New Orleans artists. Besides James Drew and com- . pany, the hotel is filled with paintings, drawings, 27

COMPILED BY ALL! SO:\ HK:\ :\ DI :\

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The Models Rock 'n' roll. Larry Le Bon Temps de Ia Ville Clement 469-1325. Mike Ciravolo, Johnny Indovina, Charley Bouis, Steve Cajun, oldies. (318) Platte Fuxan, Gary Attardo. 363-2184 or 363-4619. Terty Guillory, Warren Fontenot, Milton Pitre, John­ Jay Monque D' Blues ny Lyons, Harry Fontenot. Band Blues. J im Hymel866-8233. Ll'l Queenie & the Skin Monsters Shock Rock. 835-2834. Twins ' 'Modern American Dance A.G. Parr, George Neyrey, Jimi Ray, Music." 242-8604. Leigh Harris, Bruce Brent Roser, Robert "King" Sim­ McDonald, J ohn Magnie. mons, Bubba Clement. Lillian Axe Heavy metal. Big J James Moore's Urban· Productions 488-8821 . ltes Contemporary big band. Jason Patterson 944-2369. James Moore, Limit. Dance music. The Paul McGinley,John Mahoney, Tony 808. Christian Paul, Jeff Oteri, 271-3 Klatka, Jim Singleton, Willie Richard Ladner. Ultra onic Singleton,John Vidacovich, Mike Pel­ London Rock 'n ' roll. Richard lera, Tony Dagradi. 737-7566. Richard Cox, Danny Brom­ John Moore R&B, ely, Emmett Haas. Deacon oldies. Omni Attractions 899-8297. ~ tudio, Justice New country. Lone Oliver Morgan R&B. Omn.i Tom Ordon (51 2) 476-8195. Maria Attractions 899-8297. FINEST RECORDING STUDIO McKee, Ryan Hedgecock. NEW ORLEANS' Mount Pontchartraln It's no secret that the best sounding records The Lotions Reggae. Rock Arts String Band Bluegrass, folk, (512) 327-5320. are made at Ultrasonic. And no wonde:-­ country. Pat 838-9063 or 522-8625. comfortable surroundings, state of the art Louisiana Repertory Pat Flory, Bill Thomson, Dianne people and Jazz Ensemble Classic New Potin, Paul Kioebge. equipment, knowledgeable Orleans jazz. Omni Attractions years of experience. The Moving Targets "Intel­ . 899-8297 ligent new wave dance music." Keith Now - Digital mixdown at no extra charge. Luv Rakers Sixties. PBL Produc- Twitchell 821-1015. Geoff Baldwin, 72 10 Washington Avenue New Orleans, La. 701 25 504 486-4873

Wavelength I February 1984 31 Steve Cronvitch, Chuck Gwartney, sax. Ken Keene 392-4619. Guy Duplantier. Philip Paul & Patrol Top 40. Mrs. Bates Bates Dance Music. Big J Productions 488-8821. Roger 888-4976. Leslie Beter, Dudley Blanke, Roger Burg, Bobby Charlet, Billy Pendleton & Earth Margaret Lancaster. Top 40. Big J Productions 488:8821. My Three Sons Jonathan Penny Lane Pop rock. The 891-3654. Jonny, Mutzi, David. Music Agency 467-1949. AI Mixon, Austin Sicard, Don Bascle, Gary Bas­ Sam MyersJBIInd Sam) & de, Jim Lockwood. Blues Ban Mississippi Delta blues. Malcolm White (601) Ed Perkins R&B. Pie Produc­ 35 2-0286. tions 283-4746. The Naked Fokes "Techni­ The Pfister Sisters Close harmonies, swing. Jason Patterson For Booking Call Perry at 733-0571 or 837-2326 cally resplendent, psychedelic porch funk music." Jerry 895-8721. Lynette 944-2369. Holly Benstad, Suzie Johnson, Jerry Schumacher. Malone, Yvette Voelker, Amasa Miller, Eric Glaser, Bruce Rayburn, Nasty Nasty Rock 'n' roll. Big Ken "Snakebite" Jacobs, J Productions 488-8821. Polo Top 40, funk. Bill & Carol BLUE STREAK STU Jo-Nate and the Retro­ Mauffray, 523-2773 or 273-0960. bates Sixties bebop pop. John 837-4749 or 482-3232. Nathan B.F. Pop Combo New music & Ar­ Gurley, Andrew Dalio, Rick Poston, menian polka dancing. Bruce Otari Multitrack John W. Tobler. 861-4272 or Steve 454-6141. Lenny Zenith, Bruce Blaylock, Steve Fisher, National Flash Progressive Gary Parky. bluegrass. Stan 1-641-5696. Stan D'Aubin, David Boots, Perry Berry, Preservation Hall Jazz Kirk Magnuson. Band Traditional jazz. Allen Jaffe 522-2841. The l(jd Sheik Colar Band, The Neville Brothers R&B. the l(jd Thomas Valentine Band, the Pamela Gibbons 486-4009;Jay Gerns­ Humphrey Brothers. bacher 947-5443. Aaron, Art, Charles and Cyril Neville, Brian Stoltz, Willie The Press Rock 'n' roll, new Green, Darryl Johnson. wave. Allen 944-3787. Allenjackson, Ron Riggle, Jeff Falkenstein, Pete New Breed R&B. Pie Produc­ Winkler, Jeff Laufer. 488-3976 tions 283-4746. Pressure Reggae. Rock Arts New L.A. Rock 'n' roll. PBL Pro­ (512) 327-5320. ductions 891-0614. Prisoner Rock 'n' roll. John New Leviathan Oriental Sieben (504) 641-3749. Trey Kelley, Fox-Trot Orchestra Fox­ Frank Morris, Chuck Cannoll, Kevin trots, rags, cakewalks, New Orleans Kincade, Doug Gachiara. Tin Pan Alley. Dexter Thompson 866-3528. Seventeen members in­ Prototype 15 ''Postmodern cluding vocalist George Schmidt and originals, eclectic covers." ( 205) Music Director John Craft. 344-5192. Brian H ughes, Lisa Deloach, Edwin Cleverdon, Anhur New Orleans Saxophone Pacetti, David Cahill. SOUNDSYSTEM DESIGN & SALES Quartet Contemporary jazz. Tony AUTHORIZED DEALER FOR: 947-6012. Tony Dagradi, Earl Turbin­ Quick Sliver R&B. Pie Produc­ ton, Fred Kemp, Roger Lewis. tions 283-4746. The Newsboys Pop. The Quick Zipper Rock 'n' roll. Big Music Agency 467-1949. J Productions 488-8821. Nine Miles Reggae, blues, rock. The Radiators Fishhead music. Omni Amactions 899-8297. Chris Ed 488-0493. Ed Volker, Camile Bau­ Polacheck, John Barr, Moe Rocco. doin, Frank Bua, Reggie Scanlan, I Dave Malone, Glenn Sears. Nitro Rock 'n' roll. Big J Produc­ tions 488-8821. Rank-n-FIIe New country. Tom Ordon (512) 476-8195. Kip l(jnman, Nothing Personal Rock, new Tony l(jnman, Jeff Ross, Slim Evan. wave, oldies, "done tastefully." Kent or Terry 733-4760. Terry Lead, Boom­ Jimi Ray Acoustic folk rock. (305) Boom Kolinski, K.D.G., Scotty 298-3590 or 837-0160. Whitetrash, Moe. The Rebels Rock 'n' roll. Big) Harold Dejan & the Olym­ Productions 488-8821. pia Brass Band Jazz, tradi­ Red Rockers ''Rock beat with tional parade music. Omni Attractions a message." Ron Rainey (213) 899-8297. 859-0661. Darrin Hill , John Griffith, One-Us Reggae. Bevan Brathwaite James Singletary, Jim Riley. 466-9573. Redllne Heavy metal. Big J Pro­ Original Camellia Jazz ductions 488-8821. Band Traditional jazz. Omni At­ The Renegades R&B.Jimmy tractions 899-8297. 948-9078. George Porter, Jimmy Our Design Anthemic Pop. Ballero. HWY. 90. BOUTTE, LA . • 1-785-0119 (504) 635-423l.Joe Fuller, Ross Seehr, Johnny Reno & the Sax Russ Coss, Rob Coss. Maniacs R&B, rock 'n' roll. MAIN STREET • LAPLACE, LA . • 1-652-5565 Johnny Pennino & his Hammond Scott 895-7239. Tenor Sax New Orleans tenor Reunion Rock ' n' roll. 895-0540

32 Wavelength I February 1984 or 831-1731. Skip Dearie, Barry Ho­ 759 Pop rock. Paul897-2618. P.A. zemhal,Johnny Hozenthal, Carl Lau­ Caporing, M. Thomny,]. Thomny, derdale. D. Ward. Tom Rice Acoustic guitar. The Sheiks Rock 'n' roll. Rob 241-6005 or 255-2160. 835-0269. Michael O'Hara, Leslie Zachary Richard Band Martin, Nick Ferber, Rob Sanders, Bil­ Cajun rock. (318) 269-9926. Zachary ly Stroud. HART Richard, Sonny Landreth, Roy Melton, The Shepherd Band Reg­ Dave Ranson, Mike Binet. gae. Sharna Yisrael895-5063. Seankh PRODUCTIONS Marcel Richardson Trio Ah Zee Zee Trueheart, Buck Davis, Contemporary jazz. Esther Taffaro Korach Benzion, Chafshe Ben Dan, 523-2517. Marcel Richardson, Conner Nahsee Shemuel, Maetofetz El, Who­ Shaw, Walter Payton. shave! ben Yisrael, Kazreayl, Kalomo Dg, Princess Marion. Tommy Ridgely R&B, 4/4 PBL Produc­ dance music. Omni Attractions The Shoes Sixties. tions 891-0614. P.A. Rentals 899-8297. for all occasions River City Dance pop. Rock Arts Barbara Shorts R&B , jazz, (512) 327-5320. show tunes. 561-8833. The Rock Outs "Parry rock. " Siren "Upbeat progressive rock, Bands - Clubs 887-6949 or 643- 6301. Wayne Tros­ new music, popular music." Keith Parties - Weddings, etc. clair, Stan Wayne, Mike Margiotta, Posey 733-7427 or Shepard Samuels Joe Santana, Paul Cowan, Jerry 899-3524. Dee Alvarado, Keith Posey, LaBloch. Richard Bird, Jim Beckwith. Daily, Weekly & Monthly Rates Rockin' Dopsle & The Ca­ SKOR 641-5600. Fifties. jun Twisters Zydeco, blues, Percy Sledge R&B. Big J Pro­ Cajun. Mr. Parsons 866-6789. ductions 488-8821. Huey "Plano" Smith R&B. ' 1-344-8257. for information call: Leslie Smith "Eclectic rockin' blues." John Page 891-4989. Mike BUTOIHART .. Pellera, Leslie Smith, Zigaboo 949-1510 Modeliste, Nick Daniels. 7 D11Js A Week Sneaux Rock 'n' roll. PBL Produc­ .._ . • tions 891-0614 ...... Snyper Hard rock. Vic (504) ·wv 340-5359. Carla Maenza, Vic Richard, . . ~ ...... Ill .,. .,...... 4 .. .,...... Ill ...... ·" ..•.. . Chuck Lipp, David Camp ...... ~-~_,. I • • : The Socials Ska, new music. • • , David 288-9283 or John 888-6725. • • • • • • • • • David Sussman, Poe Miles, Jimmy • • • • • Hondroulis, John Hondroulis. • • • • • • • • • South Top 40. Bill Mauffary • • • • • • • • • 273-0960. Paul Walther, Gerry • • . . Dallmann, Rick LeBoeuf, Kathy • • Boogie blues • • • Rockln' Sidney Wood, Darryl LeGendre, Mike • • Mr. Parsons 866-6789. • • • • • and zydeco. Bocage,Joe Trolia,John Stewart, Ike • • . . The Rogues "Beat music." • • • • • Watson. • • . . 835-7970. Glenn Grass, Doug Chate­ South City Rhythm R&B. • • • . . Moore, Stan Gelpi. • • . . lain, Tommy Roben (318) 232-9187. Roben Smith, . . Richard C. Rowley & the • • . . Gene Labbe, Mike Meche, Piene Ker­ • • • • • I Deep River Band Country. bage, Paul Williams, Eddie Latiolas, . . pop. 861-3800. Appropriate . . . Fifties, Tim Breaux, David Marr, Clark Alder- ...... musicians selected for each occasion. man...... -4 ...... -4 ...... Mason Ruffner & the Southwlnd Top 40. Bill & Carol Blues Rockers Blues, R&B, Mauffray 273-0960 or 523-2773. Mason Ruff­ rock 'n' roll. 866-6905. Sparkle Sixties, funk, top 40. PBL ner, Mike Stockton, Willie Cole. Productions 891-0614. Satisfaction Rock 'n' roll, funic Spirit of New Orleans Jazz. 486-8464. Slug Hewitt, James Hewitt Omni Attractions 899-8297. Laton Red Priest, James Paul Henehan, Martins, Chris Clifton, Teddy Riley, Hormel. Michael White, Chris Burke, Lucien Savage White Rock 'n' roll. Barbarin, Anthony "Tuba Fats" Big J Productions 488-8821. Lacen, Charles Barbain, Stanley Senergy R&B. Pie Productions Stephens. 283-4746. The Sponges ·'Original beat.·· Sensational Uptown R&B. 835-8953. Mick Fisse, David McGee, gospel, acapella. Jackie Darensbure- Rick Connick, Freddie Woodwonh. 529-7398. Herben, Jerome, O'Neal, Standards R&B influenced new Wilham, Tory. wave. John McConnon 443-2023. Sephiroth Rock 'n' roll. Pete Le­ Skeeter Hanks, Rusty McConnon, An­ vasseur(504) 392-0813. Bob Cathers, dy Veazey. Shawn Touro, Dave Ringuette, Mike Sting Sixties, new music. Big] Pro­ Johnson. ductions 488-8821.

Wavelength I February 1984 33 LE GARAGE Stone Jamm Funk. PBL Pro­ The Uptights Pop rock. Shep ductions 891-06 14. Samuels 899· 3524. Carolyn Odell­ Warren Storm Country. Big] Hill. Alan Odell-Hill. John Odell. Productions 488-8821 . Web Burrell. Stormy R&B. Michael Noto ~ ptown Blues Organiza­ R&B . Frank. 522-6543. Little 1-272-2782. Henry Sharp, Michael tion Noto, Deware Walker, Don Moore. Frankie King, Henry Keys, Archille R. O'Neal, Scott Sticks Sumner. Tim Manes, Charles Meyer, Tim Maurer, Ron Nolan. Vince Vance & the Storyville Stompers New Valiants Oldies. Omni Attrac­ O rleans brass band. 943-4 142 . tions 899-8297. Andy Stone, Sidney Woody, Karl , Ray , Janet, Snakebite, Arroyo, Tchoupitoulas. Sparky, Rico. Variety Oldies, country. Mike Storyville Ill Jazz Trio 436-8820 or Kerry 347-2408. Louis Ragtime, jazz. 9 43-4142. Woody, Santiago, George Robinson . Craig Walker, Edwin Creig, Rico. Dufrene, Kerry Bou­ dreaux, Tom Pennison, AI Heintz, Strait Face Rock 'n ' roll. Big] Mike St. Romain. LOOK FOR Productions 488-8821. Surfln' Jesus " The ultimate in Victoria Cross Progressive A NEW ALBUM stigmata." 241-2134. Low Life The techno-metaL Jeff 340-3948. Jeff Big Kahuna, Sean, Bobby Soui. Duarte, Paul Lambard, Jeff Houin, Jay Bonche. Survivors Contemporary jazz, Ernie VIncent The Dynamic gospel, R& B. Jason Patterson & the Top· 944-2369. Ramsey McLean , Sam notes R&B Pie Productions, Beau Jazz Henry, Reginald Houston, Charles 283-4746. progressive country and Charmaine Neville, Zigaboo VIrginia Wolfe Rock 'n ' roll. like you've never heard before Modeliste. Drumming Turtle Productions 945-23 13. Kathy Ardoin, Alpha de For Information on Beau Jazz Taken New wave, pop. S. Holland Kemp 282-8703. Corbett Kemp, Rouen, Arcie Breslin, Angelo Calabre­ Call 834-5711 or Write si, Dayna Franklin. P.O. Box 1472, K~i ne Manfredi, George McQueen, Metairie, La. 70004 Mike Donlon, Charlie Wiemann. Visions of Tomorrow Funk and roll. Bill & Carol Mauffray The Tangents Mississippi Produced by 273-0960 or 523-2773. Knight Recording Studio redneck R&B , soul and bop. Makolm White (601) 352-0286. Vital Functions New wave. ~ic 454 -1 ~29. Eric Padua, DavidJen­ Willie Tee R&B , jazz. Omni At­ rungs, Davtd Padua, Anne LivingstOn. tractions 899-8297. The Voltage Brothers These Days with Jewel R&B. Big Produwons 488-8821 . Bass R&B , jazz. Malcolm White J (601) 352-0286. Gary Vozbein Quartet Jazz Thoughtcrime "Techno-pop Jazz Contacts 891-0596. Gary Voz- · dance band." James 947-2752. Tom bein, Tim Green, Jimmy Carter, Eric Bolstad, James Quick, John Ross, Glaser. Roger Martin, Karlo Steele. Tuts Washington New O rleans piano. 943-9334. Irma Thomas R&B. Emil Jackson 245-1719. Walter Washington R&B. Omni Attractions 899-8297. Topcats Sixties through Eighties pop. The Music Agency 467-1949. The White Heavy metal, Dave Gamble, Sal Candilora, Buzzy ''tribute to Led Zeppelin.,; Big] Pro­ Beano, Rob "Countrv" Schulte Pat ductions 488-8821. Campbell. · ' The White Animals Psychedelic rock. Linda Sussman Toulouse Cruise R&B shuf­ 288-9283. Steve Boyd, Kevin Grav. fle. jitterbug. (318) 233-3042. Dana Ray Crabtree, Rich Parks. Tim CoaC:S. Duhon, Peter Bulliard, Lance La­ fargue. Sam Whitmire, Dale Tim Williams Band Country. Warnken. blues. 832-0581. Tim Williams, Greg Brmvn , Terry Kirn, Bayne Keenan. Trac One Funk. soul. PBL Pro­ ductions 891-0614. Nora Wixted Band Jazz, RAY FRANSEN'S R&B. Omni Attractions 899-8297. 2.2 New wave. 455-7460. Joshua Stone, Scott Shaw, Alita Apollo, Woodenhead New rock. DRUM CENTER Patricia Reis. 891-1328. Fran Comiskey, James Comiskey, Edgar Lipps, Jimmy 24K. Rock 'n' roll. Big J Produc­ Robinson. .._~ tions 488-8821. WWIW Unforgettable Or· Sales ... Servlce ... lnstructlon ~rinity Rock 'n' roll. Big] Produc­ The only shop In this area ch~stra Big band jazz. swing. dedicated exclusively to tiOns 488-8821. Davtd Smtth. 522-1450. Directed bv Drummers & DrJrrml~~g E? Lewis. band can be as large as 16 All • ajor trm:t:!s • Complete Teaching r: cltltles • Competitive Prices ~arl Turblnton Contemporary Jazz saxophone Ethel Siegel (202) pteces or as small as 6 as occaston 966-0003 or Jane Lawrence Curriss warrants. BIG CHRISTMAS S ALE IN PROGRESS (813) 294-1586. X·Span·X Dance p op . Rock Arts (512 1 ,:--)'"'\ 2013 WIL LIAMS BLVD. 466·8484 Up Front ~ew mus1l. 866-•-t41 or 866- 746. Rob~ t 1 hn~10n, B II Zebra Rm.k n' roll BtgJ Pr Ul· Maguc. uon t - 821

34 h Everyone will have a chance

Who Dat Say Dey Wanna !Play Dat World's Fair

The World's Fair is coming The Music Agency and finally New Orleans is an established booking and production service talent will have the spotlight. directly aff.tliated with First Take Recording Studio. There will be 12 stages with up to 14 acts a day on each. So, there will be ample op­ The Complete Package ponunity for every local act to $350.00 cash in. includes: 6·hour recording session photo session 8 X 10 B&W print Biography Presentation to But... You Must Have: World's fair Staff and dat's dat. A professionally fC(()tded

482-8505

AGENCY 467-1949 h THE MUSl C 0065 TS available t~trous St I Kenner, LA 7 Steve Monistere THE TOPCA 4305 Ca lt fornta . february listings

actlvlst-acapella group that spnngs readi­ Dream Palace, 534 Frenchmen, ly to mind: Channel 12 at 9 p.m. 943-6880. Fri.3: Li'l Queenie and the Skin Twins (aren't you relieved 11 isn't The Hilton Thursday,2 Sunday, 26 Sisters?). Sat.4 and Fri.10: TBA. Sat.11 : The Luther VanDroaa and Debarge, UNO The Commodores, Riverboat President. Radiators. Fri.17: Li'l Queenie. Sat.18: Lakefront Arena, 8 p.m. 10 p.m. James " Blood" Ulmer. Fri.24: Krewe of Cosmic Debris Ball, with Alison and the Friday, 3 Distractions and the usual amount of call­ UNO Coffee House presents Nap Mar· outs and call-downs and call-me-irrespon­ tin at 8 p.m., Alrgeade at 9 p.m., and sibles and call-me-bwanas. Sat.25: The Gilbert (That Sentimental Gentleman) Beaux Arts Ball with the Survivors- useless Hetherwlck at 10 p.m., with an open m1ke knowledge dept.: the original Beaux Arts ' session beforehand; at the UNO Universi­ New Orleans Philharmonic Sym· Ball in turn of the century Paris had sapphic ty Center, by admission; information at phony, Orpheum Theatre, 524-0404. peepshows for the pleasure of its visitors 286-6349. Tues.? and Wed.8: Serge Baudo conducts, (cf. H.P. Roche's Jules and Jim-the bassist David Williamson is soloist, in a pro­ novel-for details). Saturday, 4 gram of works by Tchaikowsky, Roussel, Bobby Cure's Birthday Celebration, 1801 Club, 1801 Stumpf Blvd., 367-9670. Ravel. Tues.21, Wed.22 and Thurs.23: An­ Wednesdays through Saturdays: Janet the scion of the Cure's Cleaners dynasty drew Massey conducts, cellist Stephen Lynn and Ya Ya. comes of age at last; assisting at this "yat Kates is soloist, in a program of works by Fairmont Court, in the Fairmont Hotel, bar mitzvah" will be Aaron and Art Elgar, Delius and Hindemith. By subscrip­ 529-7111. Tuesdays to Saturdays, Judy Neville, Frankie Ford, the ever lovely tion. although some tickets are sold to those Bobby Marchan, Jimmy Elledge, Duggan occupies the piano bench from 9 applying for them at the Orpheum's box of­ to 1. Sundays and Mondays: Pat Mitchell Johnny Adams, Dr. Bobby Mitchell fice or at the Symphony's offices. and Jerry Byrnes; at Bobby's Place on at the same hours. The Famous Door, 339 Bourbon, St. Bernard Highway Gust a block or two Mondays: WWNO 90-FM will present from Jerry's La Vie Lounge); $8. American Women In Jazz. focusing on 522-7626. Everyone of note, from Thack­ Jose Feliciano performing with the New Melba Liston, Sathima, Aminata Moseka, eray to Durante has passed through these Orleans Symphony Orchestra; Orpheum and Joanne Brackeen. charmed portals; Thomas Jefferson and his Theatre; information at 524-0404. Creole Jazz Band play Thursdays through Three Dog Night, Riverboat President; Tuesdays. Wednesdays are taken up by Art those among you with long grey beards who Rider's Jazz Band (are his brothers named recall how this group got its name (one C. C. and Easy?) who also enlivens weekend calculates the number of dogs one takes Andrew Jaeger's, 2708 N. Hullen. afternoons from 4 to 8. 455-6221 . Sun.5: Mason Ruffner and the to bed by the coldness of the nights. that Fat Cats, 505 Gretna Blvd., Gretna. Blues Rockers. is if one is an Eskimo) will realize that their 362-0598. Thurs. through Sat: Janis Grice Bistro Lounge, 4061 Tulane Ave .. appearance could not be better timed. and Gravey from 1O: Sundays and Wednes­ 482-9377. Continental, Wednesdays days: Jake and the Nifty Fifty. Sunday, 5 through Saturdays from 10 544 Club, 544 Bourbon. 523-8611 . z.z. Hill, Saenger Theatre, 7 p.m. Infor­ Blue Room, in the Fa1rmont Hotel. Wednesdays through Saturdays, Gary mation at 525-1052. 529-7111. Wed.1 through Wed. 15: Nancy Brown and Feelings. W1lson. who is of all singers perhaps closest Fool on the Hill, 1000 Bayou Black Dr .. Thursday, 9 to Dinah Washington. but 1s refined as well Houma, 851-6892. Call the club for listings. The Emerson Quartet, Dixon Hall, 8 and doesn't go in for so many wiglets and Pete Fountain's, In the Hilton, 523-4374. p.m. (someone told me they thought this falls. Tues.16 through Sat.25: B. B. King and Pete Fountain and his band, at 10 nightly; was a new music group-four old Emerson his adored redhead Lucille. Mon.27 through one show only and reservations probably console radios from about 30 years ago all March 13: the almost supernaturally ele­ a good idea. playing different things and then I told them gant and eloquent Billy Eckstine. Reserva­ Gazebo Cafe and Bar, 1018 Decatur, that John Cage had done all that at Dixon tions; dancing, as well. 522-0862. Alfresco; ragtime piano each Hall about twenty years ago and they said, Bobby's Place, 520 East St. Bernard afternoon and again as night is falling. oh.) Part of the Friends of Music series; in­ Highway, Chalmette, 271-0137. Fridays and Houlihan'•- 315 Bourbon, 523-7412. Live formation at 835-8541. Saturdays: Bobby Cure and the Summer­ music of a jazz nature outside on weekdays The Rites of Rex at the Historic New time Blues. from 7 to 11 saving Fridays; the music Orleans Collection In February Friday, 10 Bonaparte's Retreat, 1007 Decatur, moves inside on weekends and starts two The New Orleans Dance Performing 561-9473. Ralph Cox. every day except hours later. Company, Dixon Hall, 8 p.m. Admission Sunday. Jimmy's, 8200 Willow, 866-9549. Wed.1: February Parades information at 865-6121. Bounty, 1926 West End Pa rk, 282-9144. Vital Function. Thurs.2: Quick Zipper. Fri.3: S•turd•y, 18 Certainly the darkest and most " intime" of The Raffeys. Sat.4: The New Pop Combo. Saturday, 11 W.E. clubs. Fridays and Saturdays: Cross Thurs.8: Rock Island. F ri. 10 : The Chronics. Oz, St. Bernard (D) The Junior Philharmonic Society of Over. Sat.11: The Models. F ri.17: The Radiators Saturn, Kenner (D) New Orleans, Dixon Hall, 10:45 a.m. Bronco's, 1409 Romain, G retna, (but remember the astute observation of Sund•y, 18 Sunday, 12 368-1000. Through Sat.5: the Mississippi Anthony Trollope-who saw this band as South House Band, and again through the a child when visiting America with his Little Rascals, Metairie (D) Jasmine, French Market, 1 to 3 p.m. Free. rest of the month with the exception of the mother- "ln warm latitudes it is so natural Prld•y, 24 Carlos Montoya, Dixon Hall, 8 p.m.; ad­ following dates: Sat.5: John Anderson. to make an offer after the fifth dance. It is mission information at 865-5143. Atlas, Metairie Mon.6 through Sat. 18: Dillinger. the way of the people in those latitudes, and A Gospel Program, McAlister Auditor­ Cleopatra, Algiers/Gretna Carrollton Station, 8140 Willow, seems to do no harm.") Sat.18: The Back­ ium, 8 p.m. Part of the Black Arts Festival. Gladiators, St. Bernard 865-91 90. Sat.4: Mason Ruffner and the Information at 865-6121 . beats. Fri.24, Sat.25: The Neville Brothers Blues Rockers. Sat.11: Johnny Jay and the and The Renegades. S•turd•y, 28 Top, Mississippi Gulf Coast Coliseum; z.z. Hitmen in their From Alpo To Omega revue. Le Moulin Rouge, 501 Bourbon, Choctaw, Algiers (D) can any band that the Von Erich Brothers Sat. 18: Mr. Ruffner and his B.A.'s again. Pandora, Gentilly (D) use as their entrance music be all bad? ln·­ 524-4299. Toulouse Lautrec and Jane Avril Sundays: Bluegrass music from 7. Wednes­ Caesar, Metairie formation at (601) 388-8222. and La Goulue were in town lately and they days: Scott Detwailer at 9, Harlan White at were telling me that this wasn't the Moulin Shangri-La, St. Bernard 10. Rouge they remembered but they'd try to Octavia, Gretna Tuesday, 14 Duran Duran, LSU Assembly Center; the Columna Hotel, 3811 St. Charles, get used to it. Through Feb.4: Follies on Mecca triumph of attractive vacuity; wonder if that 899-9308. Wednesdays: Andrew Hall's Broadway. From Feb. 10 : A Night In Old Sund•y,28 creature from their video with the tights and Society Jazz Band from 8 (horn charts by New Orleans (hope the Spring Fiesta Alia, Algiers/Gretna (D) head like Bernie Casey in that gargoyle Nell Nolan). Sat.4: Russian Dressing, with Assoc. doesn't get wind of this ... ); shows Rhea, Metairie (D) movie will be hanging around? a circulating violinist (uh-oh, sounds like the at 8 and 10, nightly save Sundays. old days of Hans and Rudi at Kolb's). Rus­ Pontchartrain, New Orleans East (D) Maple Leaf Bar, 8301 Oak, 866-9359. Wednesday, 15 sian dinner and music by the Russian Tuesdays: Li'l Queenie and the Skin Twins; Okeanos (D) Rockln' and Rollin' with Phil Spector, Masters, free parking for troikas, too, no Wednesdays: Mason Ruffner and the Blues lcarius 8 p.m. on Channel 12-a look at the doubt. Rockers. Thursdays: Bruce Daigrepont and Mond•y, 27 Howard Hughes of rock 'n' roll: the man Deja Vu, 400 Dauphine, 523-9170. Live Bourre. Sundays: the Wabash Company Freret who devised the "Orchestral Wash, " tried music Sundays in the afternoons; we're told (sans cannonballs). Fri.3: Beausoleil. Sat.4: Hercules, Gentilly to make a star out of Darlene Love, and by our network of informers that the bands Gatemouth Brown. Mon.6: Art Neville and Thor, Metairie took the lyrics for "To Know Him Is To Love are young and that (for those elderly cus­ Terry Manuel. Fri. 10: Radiateurs. Sat.11 : Him" from his father's tombstone-if this tomers wheeled in in their patent chairs) Zachary Richard. Mon.13: Zeke Fishhead Tuesd•y, 28 latter story is only apocryphal, it shouldn't they bring back perfectly that dim period courtesy of Christiana Seafood. Fri.1 7: Ex­ Centurions, Metairie be. of Sike-A-Delia. uma. Sat.18: the J.Monque'D. Blues Band. Love, Kenner Dorothy's Medallion, 3232 Orleans. Mon.20: Art Neville and Terry Manuel. Pegasus Friday, 24 Snake-dancing, examples of adiposa dolo­ Fri.24: Radiatores. Sat.25: Rockin' Dopsie Billy Joel, LSU Assembly Center; ct. my rosa in motion for Botero-eyed girl wat­ and the Cajun Twisters. Mon.27: AI Farrell. Wednesd•y, 28 remarks re: 1123184 in our last issue. c hers. and Fridays and Saturdays. Johnny Meneffee•a, 1101 N.Rampart, 566-0464. Mardi Gras, Metairie Gotta Make Thla Journey: Sweet Adams and Walter Washington with the Sundays: The Three Notes of Sound from Babylon Honey I n The Rock, a profile of the only House Band. 11 to 3. Mon. through Sat. : Marguerite

36 Wavelength I February 1984 Montgomery from 11 to 3 p .m. Tues. Fred Camp and the Smokey Johnson Quar­ through Sat. : Janice Medlock from 7 to 10 tet, beginning at 5. Fri. 17: Pellera, Torka­ p.m. Tues. through Thurs.: Lee Aldridge nowsky and Vidacovich present Vowels In from 10 to 2 a .m., while on Fridays and Turmoil. Sat.18: Jasmine (whether that's Saturdays there is alternation with Sandy cape or Confederate jasmine, we leave to Hanson. Mondays: D'Auray from 10 to 2. you). Sun.19: The Dirty Dozen and the Survi­ vors. Fri.24: The Kidd Jordan Elektrik Band. Munster's Dance Hall and Bar, 627 Sat.25: The Brooklyn Conservatory Jazz Lyons, 899-9109. Call for listings. Ensemble, d1rect from Flatbush Avenue and Old Absinthe B.,, 400 Bourbon, pomts beyond. Thursdays: The Surv1vors. 524-7761 . Fridays through Sundays: Bryan Sundays: Tuts Washington at 9, opening a Lee from 8 until 2 a.m., relieved by the ur­ new week of Tee-Na-Na. sme Luther Kent until 7 a .m. when the Tlpltlna•a, 501 Napoleon, 899-9114. Fri.3: milkman's on his way, hey! Mondays and Irma Thomas. Sat.4: John Lee (put you in Tuesdays: Mason Ruffner at 9. Wednesdays my house) Hooker with the Robert Cray and Thursdays: Bryan Lee from 8. Band. Wed.8: Doc Watson (not the one that Old Opera House, 601 Bourbon. Sundays used to live on Baker Street). Wed.1 5: and Mondays: the Pontchartra1n Band from Room::JI o: Blues with King Koil mattresses 9. Tuesdays through Sundays: Aubry Twins and box spnngs and La-Z-Boy recliners on and the Fresh Air Band from 8:30. Satur­ special. Wed.22 and Thurs.23: Paul Butter­ day: Oliver and the Rockets from 2:30 un­ field. Fri.24: Junior Walker and the All Stars, til 8:30. Mondays through Fridays: Kathy proof that great art and poor dental work Lucas and the Loose Band from 4:30 until never date. 8:30. Trler•a, 5234 Magazine, 891-4989. Old Post Office, 4000 Downman Rd., Modern jaz_z, good raw oysters. Mondays: .15 242-9960. Saturdays: Bristol Sounds. Ellis MarsaliS and Steve Masakowski. Tues.: Grammy nominees, Roomful of Blues, Tlpltlna's, Feb Parkvlew Tavern, 910 N. Carrollton, Leslie Smith with Rick Daniels, Mike 482-2680. Fri.3: Mason Ruffner and the Pellera, Rudy McCormick. Wed.: George Blues Rockers in their Rockin'-Behind-The­ French, Torkanowsky, Ernst Elly, Wendelle Cotton-Curtain revue. Fri.10: The Rene­ Bruno1s (thought that was an aromatic bit gades. Fn.17: Tim Williams and a salute to of minced vegetables used as seasoning­ Judy Canova entitled Pigtail Heaven. Fri.24: you can never believe that Julia Child). Bourre. Thursdays: Germaine Bazzle. Fridays and Saturdays: The James Rivers Movement. Pennr Poat, 5110 Danneel. Sundays, Sundays: Tony Dagradi, Jim Singleton, John always open mike. Tuesdays: Airgear and Vidacovich. Taylor Barry. Wed.1 : Charles Nagy, Richard Weaaer•a, 1610 Belle Chasse Highway, Dulo and Jonathan Schwartz. Mon.6: Bev 361-7902. Country and Western. Mondays Bishop, Ed Young. Wed.8: Nagy, Schwartz, through Thursdays: Firewater. Tuesdays David Bordelon. Thurs.9: Malone, Richard and Wednesdays: the Gela Kaye Band. Dieter, MPSB. Sun.12: Dorothy Garter with Wlnnle'a, 2304 London Ave., 945-9124. her hammer dulcimer, Carlos Barrientos. Call the club for details. Mon.13: Tom Rice. Wed.15: Nagy, Schwartz. Thurs.16: Malone, Kieler, MPSB. Sun.19: Folk Music Sing Out. Wed.22: Nagy, Bordelon. Thurs.23: Ed Young, Malones, MPSB. Wed.29: Nagy, Schwartz. Antler's, 555 Jefferson, Lafayette, Thurs.30: Malones, MPSB, Check the 318-234-8877. near the entrance for specials. blackboard The Big Apple, Highway 1, Larose, Hotel Inter-Continental, Pete's Pub, 693-8688. Seats 2000! 523-5566. Every day from 5 to 8, trumpeter Carlos Montoya at Tulane's Dixon Hall, Watson, Tip's, Feb.S Booker's, 1040 Texas Ave., Shreveport. Doc Leroy Jones. 318-425-2292. Feb.12 , Plarer's Club, 399 N. Claiborne Chlef'a Southside, (formerly Trinity's), 528-9988. Thursdays: Reggae Night with 4365 Perkins Road, Baton Rouge. Band and Kush. the Shepherd 388-9884. Bar, 2031 Pontchartraln Hotel, Bayou Circle In The Square, Shreve Square, , 524-0851. Bruce Versen StCharles Ave. Shreveport. 318-222-2216. 5 until 9, during the week, and is join­ from Clancr•a undlng and Brick Street ed by Rusty Gilder on bass on Friday. Tavern, Shreve Square, Shreveport, 726 St. Peter, Preservation Hall, 318-227-9611 . 's and K­ 523-8939. Along with Galatoire Desperado Saloon, Highway 90, Paul's, one of the three places in town that Raceland, 1-537-364 7. consistently draws a long and deserved line Emporium, 2183 Highland Road, Baton outside; the only amenities are the musical Rouge, 387-9538. Sundays: Harold De jan and the Olym­ ones. Enoch'a-A Cafe, 5202 Desiard Street, pia Brass Band. Mondays and Thursdays: Monroe, 318-343-9950. Thomas Valentine. Tuesdays and Kid Qlbaon Street Lounge, Covington, Colar. Wednesdays and Fridays: Kid Sheik 1-892-7057. : The Humphrey Brothers. Saturdays Grant Str.. t Dance Hall, 113 Grant Riverboat President, Canal Street Street, Lafayette, 318-332-9569. , 524-SAIL. Sat.4: Three Dog Night. Docks Harrr•a Club, 517 Parkway, Breaux . Sun.26: The Commo­ Sat.25: The Sheiks Bridge, 318-332-9569. dores. . - Humphr.. •a, Shreve Square, Shreveport, leaport Cafe and S.r, 424 Bourbon, 318-227-9611 . 568-0981 . Tuesdays through Saturdays, Iron Horae, 403 Phillip, Thibodaux, Sally Townes. 1-447-9991 . 711 Club, 711 Bourbon, 525-8379. In the 209 Jefferson, Showroom, Nora Wixted and John Autin Jeffernn Street Cafe, 7. from 9 on Sundays and Mondays; each Lafayette, 318-234-964 other night, Randy Hebert. In the piano bar Mulate•a, Breaux Bridge Highway, Breaux from 8, Thursdays- Mondays, AI Bridge, 318-332-4648. Broussard. The 01' Corner Bar, 221 Poydras, Club Sliver Dollar, 1254 N. Claiborne, Breaux Bridge, 318-332-9512. 822-5226. Call for listings. Pam•a Place, Old Town, Slidell. llldell Hotel Bar, Slidell. Wed.1: Pappa J-•a, 12375 Florida Blvd., Baton Nightworks. Fri.3, Sat.4: Chance (James Rouge, 1-273-2376. Chance?). Sun.5 & Wed.8: Dock of the Bay Paradlae Club, 121 S. Buchanan, Music Co. Thurs.9- Sun.12: Skruples. Lafayette, 318-232-5313. Wed.15- Sat.18: Nick Parker. Wed,22: The Partr Town, Military Road, Slidell, Sheiks. Thurs.24: The Sting. Fri.24, Sat.25: 1-649-3867. The Topcats. Sun.26: Dock of the Bay Rubr'a Rendez-Vous, Highway 190 in Music Co. Mandeville, 1-626-9933. 949-0696. Snug Harbor, 626 Frenchmen, Ruatr Nail, 540 E. King's Highway, Wed.1: 1st anniversary party with the Olym­ Shreveport. pia Brass Band and the Dirty Dozen Brass , Lake Charles, Band. Fri.3: Guitar Wars with Brad Catron, Scarlett O'a, 1025 Broad Steve Masakowski and Jimmy Robinson 318-436-8742. (loser has to eat a po-boy made of used Sllck'a Mualc Hall, Highway 31, St. Mar­ picks and frets). Sat.4: Ramsey Mclean and tinville, 318-394-3867. the Lifers. Fri.10: Treme (how will they get Steak and Lobster lnn•a Plrealde all those people on that stage?) Sat.11 : AI Pub, 820 E. King's Highway, Shreveport, Belletto and his Sextet plus one. Sun.12: 318-868-5306. Tuts, Snug Harbor, Sunday nights

Wavelength I February 1984 37 Ste•mbo•t Annie's, Shreve Square, Michel Piccoli, Monica Vitti, Julien Ber­ Shreveport, 318-424-8297. theau. Muni (as one of the nurserna1ds at Tenth Floor, Shreve Square, Shreveport, the beginning-" Qu 'est-ce que c'est para­ 318-425-7539. phernalia?"), Jean Rochefort, innumerable Toby's, 1303 Grimme! Drive, Shreveport, others. Tues.28: A Report On The Party and 318-222-9903. The Guests, Jan Nemec's 1966 allegory of the totalitarian experience is (to our mind) the great film of the much-exaggerated Czech film renaissance: the metaphor is a large outdoor banquet thrown by an at-first­ Contempor•ry Arts Center, 900 Camp, avuncular-but-gradually-more-sinister host. 523-1216. Wed.8: An evening with experi­ where at first discomfort and then terror is mental filmmaker Peter Bundy. Wed.15: the result-the defectors, leaving the " par­ Steve Christiansen discusses "Crafting the ty," are hunted down. the candleabra are Short Documentary." Fri.17 through Sat.19: snuffed, hounds bay in the darkness. A lit­ Christiansen conducts an intensive produc­ tle masterwork. Wed.29: Sabotage, one of tion workshop entitled Louisiana Land­ the overrated British Hitchcocks (from a scape. Wed.22: Willard VanDyke, one of the Joseph Conrad novel!) but with virtuoso set­ founders of the Museum of Modern Art's pieces. particularly Mrs. Verloc's famous film department and mentor to such docu­ dinner-table murder of her husband, prece­ mentarists as Pare Lorentz, speaks and ded by her anguish over her dead younger presents his films. brother while audiences laugh at Disney's Loyol•' s Film Buffs Institute, Who Killed Cock Robin? Sylvia Sidney and 895-3196. Wed.1: Citizen Kane, Orson Oscar Homolka are fine, as are the old Welles' 1941 film about a deservedly lone­ bomb maker and his daughter among the ly and unloved newspaper tycoon-per­ minor characters (John Loder as the detec­ John Lee Hooker, Tip's, Feb.4 haps the most influential film of its period tive is not so hot), but this 1937 film unlike and certainly the most famous American The 39 Steps, Young and Innocent, and The sound film; with the Mercury Players­ Lady Vanishes, doesn't really repay endless Welles. Ruth Warrick. Joseph Cotten, Eve­ re-viewings. Films are by either season sutr rett Sloane, Dorothy Comingore as the hap­ scription ($15) or by $1 .50 admission: they less Susan Alexander ("I'm the one that are shown in Sobel Hall, Room 332. does the singin' ... I'm the one that gets the Pryt•nl•, 5339 Prytania, 895-4513. raspberries! "), Ray Collins, Paul Stewart, From Fri.20: Pauline at the Beach, by the Erskine Sanford, Agnes Moorehead, For­ much overrated maker of fake fables and tunio Bonanova and George Coulouris as fake moralities Eric Rohmer, who (when not the wolf of Wall Street, Walter Parks That­ working from an "original" screenplay) cher. Mon.6: La Nuite Americaine. a full­ made one of the best films of the Seven­ length bout of sweet nothings, Truffaut's ties. La Marquise d'O. Fri.3 through film about the (mostly nonexistent) drama Thurs.16: Experience Preferred But Not surrounding the shooting of a silly program Essential, an English comedy. Fn.17 picture called Je Vous Presente Pamela; through March 1: Carmen, the opera? the notable chiefly for Valentina Cortese's flamenco? the story done straight? Havmg t1gress-on-Demerol performance as the seen many Carmens at my great age (Chap­ character actress (if you ever had doubts lin's burlesque version, Geraldine Farrar in about the late Ingrid Bergman, you might the DeMille silent, Pola Negri in Lubitsch's shed them when remembering that Berg­ Gypsy Blood, Raquel Meller in the 1926 Jac­ man-accepting her supporting actress ques Feyder version filmed on location in Oscar for Murder on the Orient Express­ the Pyrenees with real gypsies. Rita Hay­ told the members of the Laughing Academy worth w1th Glenn Ford as her Don Jose, the that Cortese's nominated-but-that's-all per­ Karajan-conducted film of the opera with formance was so much better than her Grace Bumbry as a Carmen in blue jeans!, own). Otherwise. sappy and often unattrac­ and possibly a few others) I don't much real­ tive. with Jean-Pierre Leaud, Jacqueline ly feel like another one, but there are those Bisset, Alexandra Stewart, Dam, Jean­ out there who are still in their first youth and Pierre Aumont. Mon.13: Los Olvidados, perhaps they... Bunuel's 1951 "comeback" film about TUCP Series, McAlister Auditorium, cruel beggars and even crueler urchins in 865-5143. Mostly new films. Wed.1: Tender the slums of Mexico, D. F.; the film contains Mercies (Directed by the Australian Bruce so much shrewd psychology (and one of the Beresford, with Robert Duvall as a country screen's great dream sequences) and such singer: much lauded by critics who seem good amateur performances. that 1ts bleak­ to have been the only people who saw 11). Biakean sentiments seem perfectly normal. Sun.5: Psycho (Hitchcock's 1960 film still Some good chickens and dogs-the scene remains remarkable for its w1t, its sleazi­ of some dancing dogs is hard to get out of ness, its larky spirit, and its ultimately tragic the mind, as is the mangy old dog of the dimension; what it has spawned, how­ mind that stands for the main punk's pitiful, ever-the new candor of violence-is also ebbing life-force. Mon.20: Viridiana, bann­ remarkable, but deplorable; with Janet ed and denounced by Franco. this 1961 Leigh as Marion Crane. Anthony Perkins as Bunuel masterpiece is the story-told in Norman Bates. John Gavin as Sam. Mar­ bizarre pictorialist terms that seem more tin Balsam as Arbogast). Wed.8: Catch-22 and more like one of Max Ernst's collage (I may be one of the 3 living people-if you novels-of a girl who took a wrong turn at call this living-who didn't think this 1970 Piety; with Silvia Pinal, Francisco Rabal, Mike Nicholas disaster was a total d1saster: Carmen at the Prytanla Fernando Rey in the first of his courtly­ much of 11 is ghoulishly funny-especially lecher roles, and more fabulist symbolism the scene with the nurses changing the IV than seems possible in 80 minutes. Wed.22: bottles on hideously wounded men while Miracle In Milan, this DeSica-Zavattini fable discussmg methods of frying chicken­ is less exhilarating than it is depressing; the while a lot of it is shrill, labored and brutal. Milanese poor ride off on broomsticks Some of the performances are good- Alan because there is literally no place on earth Arkin. Paula Prentiss. Jack Gilford, Anthony for them. The idea of holy fools-the film's Perkins. Marcel Dalio, others-Jon Voight, ma1n one-has never appealed to us, but Orson Welles, Buck Henry-could not be there are a few glimpses of the legendary worsened). Fri.10: Trading Places. Wed.15: Emma Grammatica, a contemporary of Tess. Wed.22: The Warriors (Arthur Hill's Duse and Rejane. Mon.27: Le Fantome de high point: the teenage gang film as modern Ia Liberte, Bunuel's splendid self-indul­ poetic epic: stylized literally out of sight, but gence-literally his penultimate film­ every conceit works; quite probably a key about the caprices of chance. ranging from Seventies American film.) Wed.29: Local the Napoleonic War ("Down with liberty!" Hero. cry the patriots arranged like Goya's Third Of May firing squad victims) and a curious Don-Juan-like fable by Gustavo Becquer about a libidinous soldier and an irresistible statue to a final riot at the Zoological Gardens: not all of the strung-like-seed­ Contempor•ry Arts Center, 900 Camp, pearls jokes and non-sequiturs work, but the 523-1216. Thurs.2 through Sat.19: Pan­ film has great brio and a temperate fram­ tomime by Derek Walcott. ing that is pure classicism; the large cast Magazine, H•ppy Hour Clnem•, 2025 Nicholas, Glover & Wray, Snug Harbor, Feb.24 includes Jean-Claude Brialy, Adolfo Celi, 525-8339. Thurs.9 and Fri. 10: " Heart of the

38 Wavelength I February 1984 Poet," Richard Pierce's theatre/perfor­ rison Roots. Fri.24 through March 18: the mance piece, complete with dancers, cello, productions of mask makers local and soprano. national. Le Petit Theatre, 616 St. Peter, Galerle Jules Laforgue, 2119 Decatur. 522-2081. Through Sat.11 : Room Service, 945-7379. Through the end of the month: that sempiternal farce about some impecu­ paintings and drawings by Jackie Bishop. nious theatrical types holed up in a hotel Delgado P:lne Arts Gallery. Through room while trying to raise enough scratch Wed.15: paintings and drawings by to put on Their Show as well as pay the " Berge," a.k.a. Robert Jenkins Berguson hotel bill. Reservations. (have always liked artists' pseudonyms like Mlnacapelll's Dinner Theatre, 7901 S. Cham. Gavarni. Monsu Desiderio, Master Claiborne, 888-7000. Through Sun.19: of Flemalle. etc.-seems to provide a lit­ Hello, Dolly! which might be described as tle mystery to the whole thing, a whodunit the triumph of the Star Vehicle. Fri.24 air). Fri.24 through March 14: the commer­ through March 25: Cheater, directed by Bob cial art student show. Gault. Galerle Slmonne Stern, 2727 Prytania, Players Dinner Theatre, 1221 Airline 895-2452. Through Thurs.16: paintings by Hrghway, 835-9057. Tues.3 through Robert Hausey. Sat.18 through March 8: Thurs.12: Pure as the Driven Snow. a title New paintings and constructions by Robert whrch reeks of farce to us. Fri.17 through (Macho Ocean) Warrens who is. inciden­ Thurs.29: I Dol I Dol, the two character tally, probably the best painter of canines musrcal derrved from the play The Four since Sir Edwin Landseer. Poster. chronrclrng a long marriage but A Gallery For Fine Photography, 5432 never leavrng the trtular bower of slumber. Magazine, 891-1002. Human and Animal Saenger, 524-0876. Tues. 7 through Locomotion by murderer and pioneer pho­ Sun.19: Nerl Srmon's Brighton Beach tographer Eadweard Muybridge. Memolfs (sounds lrke rt could be some dus­ Gasperl Folk Art Gallery, 831 St. Peter. ty old volume of Tory reminisinces and 524-9373. Through February: contemporary grousrngs, but thrs rs, I thrnk, a relatively folk artists from the south, including David serrous work about adolescence and if Butler, Mose Tolliver and Juanita Rogers. youth knew and if age could and the rest Historic New Orleans Collection, 533· of it.) Royal Street, 523-4662. Feb.1 through Theatre Marlgny, 616 Frenchmen, March: The Rites of Rex. an exhibition 944-2653. Through Feb.18, Come Back to showing how the School of Design puts its the Five and Dime, Jimmy Dean. Jimmmy pageant together. both this year and in Dean. Call for performance dates and years past-this show should also dispel times. the still-circulating and still-stupid rumor Toulouse Theatre, 615 Toulouse. that those belle epoque floats couldn't have 522-7852. Wednesdays through Sundays at looked like the designs on the parade 7:30, One Mo' Time, which threatens to sheets. become New Orleans' answer to The Fan­ LaMieux Gallery. Sun.12 through Sat.25: tasttcks, beginning at 7:30. watercolors by Charles Pfitzer and glass­ Tulane Arena Theatre, 865-5361. ware by James Watkins. Mon.13 through Sat.18: The Maids, Jean Longue Vue Gardens, 7 Bamboo Road, Genet's play based on the quite-violent-but­ 488-5488. Decorative arts. much-adored-by-the-French-intelligensia Louisiana State Museum, on Jackson crrme of the Paprn Sisters who murdered Square and elsewhere. At the Old Mrnt on therr employer and her daughter, literally Esplanade, New Orleans Jazz and Carnival tearrng them lrmb from lrmb; one of the In New Orleans. At the Presbytere. through srsters was almost catatonrc to begin with the end of the month: La Bande Dessinee. but durrng the trral both of them began act­ contemporary French cartoons, courtesy of rng currous. the non-mute one claiming hea­ the French Consulate. Sat.11: Culture venly rnsprratron for the act. Power in the Inner City, the second lecture UNO Theatre Fri.24 through Wed.29: The in the Urban Folklife serres, at 10 a.m. Willis Family Preserved, a new play by Marlo VIlla Gallery, 3908 Magazine. Southern playwrrght Stacy Cretzmeyer; 897-8731. Through Feb.15: Paintings by Le Bandes Dess/nees, French cartoons hope this isn't about the Willis Family in the Rosalee Ramm and marble furniture by at the Louisiana State Museum comics-Ted, Katje and Dendi. Wed.1 Bruce Benett. Frr.17 through March 7: through Sat.4: The Collection by Harold Paintings by Kevin, Patrick O'Brien and Prnter. Grace Benedict. New Orleans Museum Of Art, City Park, 488-2631 . Sat.11 through March 25: Auspicious Spirits: Korean Folk Paintings and Related Objects; The World of Kameda Bosai (foremost Japanese lrterati-"pain­ Aaron-Hastings Gallery, 1130 St. tings, poetry calligraphy, the works," says Charles. 525-5858. Through Feb.16: new our Art Editor), and the frnalists in the work by Mary Meyers. Sat.18 through Design Competrtron conducted by NOMA March 8: an exhrbrtron of Bay Area Big Boys for its new Wisner Wing. Sat.11 through (not the A's or Forty Nrners on pedestals, April 1: Tradition Meets Tradition (en­ alas). suburban superrealrst Robert Bech­ chantee. I'm sure), a show of Wedgewood tle, Petaluma's Wilham Wiley, rce-cream­ from Southern collections. man Wayne Threbaud. urban Nabis Richard Optima Studio, 2025 Magazine, Drebenkorn. 522-9625. Through Thurs.16: a photo invi­ Academy Gallery, 5256 Magazine, tational curated by Hank Nielsen. Sat.17 899·8111. Through Feb. 15: new work by through March 8: Night Mind, a group show Xavier de Callatay. Fri.17 through March 7: of gallery artists. Gail Perrrn and mystery man D. Nuego. Tilden-Foley, 4119 Magazine, 897-5300. Arthur Roger, 3005 Magazine, 895-5287. Through Feb.15: sculptures by Terry Wel­ Through Thurs.16: new paintings, largely on don and paintings by Margaret Wirstrom. paper. by Ed Whiteman. Fri.17 through Fri.17 through March 23: paintings by Rene March 8: works in a variety of dimensions Hare (who just a decade or so did the by Barry Bailey. sweetest flower paintings, sort of an Irish Bienville Gallery, 1800 Hastings Place. Channel Odilon Redon ... and now... well, 523-5889. Through the end of the month: goes to show you never can tell) and Gary parntrngs by Lrnda Lawrence and Cars Zy, Painter. a Korean artrst. Tulane Fine Arts Gallery, Newcomb Contemporary Arts Center, 900 Camp, Campus. Sun.15 through Feb.5: New and 523-1216. Sat.7 through Feb.5: Exposition Kineta: Graphic Images, photographs by In Black. works by contemporary black art­ Norman Boothby. Sun.12 through March 1: rsts rn Louisrana. Fri.17 through March 18: new work by the department faculty. Fri­ The Wearable Art Show (I guess if the Em­ days at noon rn the Women's Center press can bring YSL's mrsogynist trash to Lounge, a series of Dialogues with New the Met rn a full-blown retrospective, than Orleans Women Artists; Fri.10: Mignon anythrng goes; but don't count seeing any Faget. Fri.17: Mary Lou Christovich. Fri.24: of those luscious-to-the-point-of-edibility sculptor Emery Clark. creations by Fortuny, Martial et Armand, UNO Fine Arts Gallery, Lakefront Cam­ Paul Poi ret or Schiaparelli in her surrealist pus, 286·6493. Through Fri.17: UNO faculty period). plus Art To Wear from the American show. Sun.1 9 through March 9: a graduate Crafts Museum, and an installation by Gar- student show. "Russian Night" at the Columns, Feb.4

Wavelength I February 1984 39 Right, I hadn't really studied the music. I knew everybody would play funk, right in the middle of Wynton Interview all my chord changes but I didn't know the music. the jazz class. So, I was always saying, "let's play I didn't understand the music, and I'm still trying jazz," just to do something different but I dido' t Cont'd from page 24 to understand jazz. A lot of stuff that cats would understand the music. take for granted, well, I didn't do that because I My daddy was a major influence on me want­ play." He let me play, it was cool, and he said didn't learn music just by hearing it. I knew every­ !ng to play jazz but that didn't help me understand ''yes.'' thing I was doing. I would never not know what I JaZZ. How was julliard? was doing. In a certain sense, if I understand you co"ectly, I couldn't stand it there. It had an uptight rich So none ofit was osmosis with you, even though unlzke many people who got into the musz'c emo­ vibe; a lot of people with money. No dormitories. your father was a jazz pianist.. . tionally for whatever reason or who got into musz'c I had to scrounge for my own apartment. It was That doesn't mean anything. That was my dad­ as a result ofjust being in a ''musical environment'' rough. I didn't know anybody. People wouldn't talk dy who could play, not me. I couldn't play any piano where the musz'c was passed on to them and they to you. They would be real strange and stiff. It was when I left home. My daddy used to say all the time, were expected to do certaz'n things-like people in sad. I didn't like it. "Practice the piano." I couldn't play the piano and the church who play in the choirs and one opportu­ So how did you get a recording contract to do a would never practice. He'd say, "listen to Louis nity leads to another [here Wynton plays gospel jazz record? Armstrong." I would never listen to Louis Arm- changes on the piano and laughs]-you got into I had been playing with Art Blakey. The cats music and, in a way, it became an intellectual pur­ started saying, "this little cat can play," even though suit every step of the way. I couldn't play then. In a way , yeah. I liked music, but, well, the fun­ Were they hean'ng technique? ny thing is that it wasn't really intellectual, it was Had to be technique because that's all I had. I just that I would listen to music and I always liked had never thought about playing jazz. the slow tunes. like I would listen to Miles play "Old So how did you get the gig with Blakey? Folks" or "Someday My Prince WiJl Come," or I just went and played. I could play the right Trane play "Naima." I liked "Giant Steps" and all notes, chords and stuff, but I was sad. I went to sit of that but, I don't know, well, you know, you think in on a tip from my roomate, Takia, who played you can play like that. When you first start playing drums with the Heath Brothers. I didn't know any and you're sad-I'm not explaining it right, you of the tunes. know, the way I've thought about it. You didn't really have a developedjazz vocabulary The easiest thing for you to hang onto is the tech­ at that time? nique, the most basic thing. That's the easiest thing I could play blues and rhythm (I Got Rhythm) for you to figure out, the first thing you can get to: changes, but really I couldn't even play that. I had "Oh yeah, that's what they're doing." The hardest played gigs with my daddy, but I really couldn't play thing to get to is the content of the music because because I had never thought about playing. That's that means you have got to understand the music. a difficult thing to get across. I never thought about When I was younger I didn't understand the music, playing jazz on the trumpet. I had thought about but it wasn't just technical because I got a feeling playing enough trumpet to get in the studio and do from the music. Even when I first started listening records. to music, I just loved music all the time, but I didn't You were technically precise, you could read well study music. I'd listen to any kind of music because and knew the vocabulary of playing the trumpet I loved the sound of music, not because I knew what well? they were doing. Trane, man, I didn't know what Yeah. I didn't even know Art Blakey still had a Trane was doing [when I first heard him] but I just band; for all I knew he might have been dead. I loved the way he sounded. Trane! never saw Art Blakey when I was in New Orleans. It was an emotional response to the music because People were telling you that you were good you loved it. though. So what did you think? Right, you loved the music because of what it is Well, I knew I was good but I also knew I wasn't but you don't necessarily think that you can do that. getting to what was happening. Another thing is I But when you began to personally get into mak­ had never listened to a lot of records, really listen­ ing musz'c you didn't approach it from that emo­ ed. I would listen to certain records: Clifford Brown, tional angle. Miles, Trane. Other things, I would barely listen to: Yeah because that's something you either have or Ornette Coleman, late Miles, late Trane, Mingus, you don't have. That's one of the most talked about Monk, Duke, Louis Armstrong. There was only a angles in music but it's a waste of time to even talk small body of music I would listen to. But then when about it. People may develop emotion but you can't I started listening to myself, it became apparent that not have emotion and then somehow get it through I couidn t play. It was obvious. study. If you don't have it, you don't have it. So what did you do? You might have a potential and not develop it... I started listening to music. Right, but if you don't have it, you don't have Did you approach the development ofyour jazz it. And it doesn't have anything to do with how playing the same way you approached your develop­ strong. "listen to Monk, Ornette." I would never much dues you've paid. There are people all over ment of learnz'ng the trumpet? listen. Somebody standing there telling you some­ the world who have paid dues and not one of them No, you can't do that because jazz is not a tangi­ thing is not going to get you to play. Sometimes he is Bird. There are black people who are starving, but ble thing. Learning how to play the trumpet is tech­ and I would get together and play-I was always in­ you give them a horn and they sound just as sad as nical. Everybody has to learn technique the same terested in playing jazz but I couldn't play. When a white boy who was raised in a mansion. Music way, by practicing. Louis Armstrong had to practice, you're sad but think that you can play, then it's really doesn't have anything to do with all of these falla­ Miles had to practice, Bird, Trane had to practice. hard to learn how to play. I used to play like Fred­ cies that social critics have set up, to make us believe You hear fantastic stories about cats just having it; die then. I mean I wasn't as good as Freddie, but that these are a race of superhumans who have come well, I'm here to tell you that's bullshit. Louis Arm­ I would learn all his solos off records. I had tech­ among us, that it's based on the suffering of the strong practiced what cats gave him to practice. He nique, but I really couldn't play jazz. black man. That's not true. It's our way of looking didn't just pick up the trumpet and play. Maybe You started listening to records to develop your at life that makes us able to do that. King Oliver gave him something to practice. jazz playing, what else did you do? So you're talking about a philosophz'cal approach. It might not have been as formal as school... I started listening to people. I started thinking That goes back to what I was sayz'ng that it seems ... but it's still formal, still training for technique. about the music. I had never thought about the you believe that there is an intellectual aspect to the If they said, "Here, do this scale," well then that's music. I could never sit down and write a tune. I music. I'm using intellectual not in ... a scale exercise. You have to practice that and that's didn't take tunes off of records. A lot of stuff! didn't I know what you mean. just as valuable as somebody sitting down and tell­ do because I wasn't in that environment. When I .. . not off z'nto some school or something but I ing you some theory because whatever you get told, was in high school I played jazz because I wanted mean that we basz'cally have a worldview even zfwe you have to translate into something you can do. to be like my father and because nobody else was have never thought about it. When you said you hadn't listened to jazz, you playing it, everybody wanted to play funk. We'd be Y~ah, that's the only way. You figure out the mean you had listened to jazz that you liked but you playing funk tunes in the jazz ensemble. My daddy musiC. hadn't studied jazz histon'cally. would be talking to the class and when he stopped, Thank you, Wynton. • 40 Wavelength I February 1984 classifieds

SINGLE male, 26, 5 ' 8 • tall, honest and Nights Earl King, Anna Arthur Alex­ TO THE AQUILINE featured boy in the intelligent with sense of humor wants to ander, Gypsy Woman Eddie Powers Go brown leather jacket, scarf and black meet woman with same traits fo r friend­ ro the Mardi Gras Professor Longhair, Hey loafers who hangs our at PJ's and ship, dating. Jay, P.O. Box 1272, Slidell, Pockee Way, They All Asked For You Metronome, and is a fan ofTruffaut and LA 70459. Meters , There Is Something On Your Polanski: Present this ad to me and you Mind Bobby Marchan, Talk To Me, Let are emided to free admission to jules et 1HIS W OMAN IS STILL READ Y! Them Talk Little Willie John, Hanky jim. Hi! I have curly brown hair and blue eyes, Tonk Parts /&II Bill Doggett, Sea Cruise am 5 '4 • with lots of energy. I love jazz Frankie Ford, Night Ow/Tony Allen, The What New Orleans artist drd the ongrnal dance, blues, R&B and reggae, good Things I Used To Do Guitar Slim, Lawdy version of' 'joko-Mo "? The first 50 cor· friends and Hallowe'en, gourmet food Mirs Clawdy Uoyd Price, and many, many rect answers to the above question will orgies, and foreign movies, jogging, and others. Send orders to Record One Stop, receive a free oldie-but-goodie album. meditation, travel and the outdoors, and P.O. Box 547, Kenner, LA. 70063. Road Write with your answer c/o the Roadrun­ P.A. FOR SALE lots of sharing. I'm seeking friendship Runner says " Keep rockin' and rollin '. " ner, The Record One Stop, P.O. Box 547, Excellent 3-217 PA system valued at with a talkative , adventurous, non-sexist, Kenner, LA 70063. The answer to the last $8,000, will sell for $3,700. All high physically fit, Epicurean man of any race, question of the month was Roland Stone quality components, such as a Yamaha appr.25-45. Linda P.O. Box 15667, New AVAILABLE BY MAIL Power amp, Furman crossover, and space Orleans, La. 70175. 1983 Live Festival Recording DRUMMER wants to join high energy echo, are about 2 years old and in ex­ ''Mississippi Delta heavy metal band. Must do the follow­ cellent condition. Includes all patch-cords CLASSIC New Orleans oldie but goodie Blues Album" ing: Led Zeppelin, Plant, Rush, AC/OC, and speaker wires. Will not be broken 45s available from Record One Stop: $2 Elmore James Nighthawks Judas Priest, Ozzy and some Qutet Rtot down until a later date. Also, mini-Moog each. any 6 for $11 . Add $2 for shipping Donald Banks Sam Myers Who, heavy origmals are fine. Senous $900. Peavey Deuce guitar amp, $275. and handling (these are all the original Lynn White Ton Ok1 musicians only. Call Raynard after 6 p m. Call Kermit at 466-2176 or 466-3592 or recordings on reissue labels). Carnival and others .. 835-6554. 652-5562 after 6 p.m. Time AI Johnson, Mardi Gras Mambo Send $7 for one album Hawketres, Tnck Bag Earl King, Big Blue $6 for each additional to EXPERT DRUM INSTRUCTION EXPERT DRUM INSTRUCTION Diamond, Don't Take It So Hard Earl Wavelength - MDB Beginning tO advanced. all styles-rudt­ Beginning to advanced, all styles-rudi­ Connelly King, Mother-In-Law, 'TPin 'tIt Box 15667, N.O La. 70175 mental, orchestral. jazz. rock, Latin. In­ mental, orchestral, jazz, rock, Latin. In­ The Truth, Hello My Lover Ernie K-Doe, dividual or class instruction . Call for ap­ dividual or class instruction. Call for ap­ PaiS The Hatchet Roger & The Gypsies, SINGER seeks established or newly form­ pointment, Drum Studio. 523-2517 pointment, Drum Studio, 523-2517. Ooh Poo Pah Doo Part I&IIJesse Hill, It's ed new music band. Experienced and ser­ Raining, I Drd My Part Irma Thomas, For­ ious! Call Barbara 833-8115 . KEYBOARDIST/ VOCALIST tune Teller, Lrpstick Traces Benny Spell­ ESTABLISHED high energy rock band is Pop Combo, a new music band, is look­ man, Part Time Lover Little Johnny BLUESMAN-crazy ragtime and blues seeking experienced lead vocaltst and gui­ ing for a keyboard player with strong Taylor, Last Chance Allan Collay, Sittin' from Wall City. 60-minute cassette S6 tarist/vocalist tn the vein of Priest, Ozz} vocals. Call Bruce 861-4272 or Steve 'n ' Dnnkin' Christine Kittrell, Tell It Like cash/check toT. Starr Postfach 909 1000 & Pat Traveb. Ongmals are welcome. For 454-6141. It Is Aaron Neville, Those Lonely Lonely Berlin 41 West German>. more details. contact am of the follow-

( ;: ~<)",- D~-~~-. · :e·ar <~ -~~ .::.. ~ Disc·a·teria l.:.., • .• • J· I i~ ~ .... ' ...~ ...... ) .. . . ~~.. 1 8-tracks I 1 , (.-. '-• • ) Special Feb. Attractions ATI'ENTION ~I . • ' ' <...,( ·'-:}, Extensive Outboard .,. · .-/• Regular Features· '\;'~ Complete range of services Stonee's Studio is now offer­ frl.3 - Beausoleil ing a complete eight track ~ Tuesdays - Li'I Queenie Sat.4 - Oatemouth Brown Small scale video Wedne sdays - Mason Ruffner and Mon.6 - Art Neville faclllty. Rates will stay the the Blues Rockers 8t Terry Manuel General production services frf.lO - Radiators same for January and • student nite - no cover Sat.l l - Zachary Richard AFFORDABLE February. Call for details. w /valld university 10 Mon.13 - Zeke flshhead Thursdays - Bruce Daigrepont frl.17 - f:xuma by appt. 288-6107 Amps, Drums, Piano & Sat.18- Jay Monque'D 8r Bourre Blues Band Synthesizer Included Sundays - Wabash Co. 8 p.m. Mon.20 - Art Neville 8t Terry Manuel S15 1111 Hr. • 3 Hr. Mi•. Sbowa 10 p.m. weeknights 10:30 weekends frf.24 - Radiators CtWene lhlpes Sat.25 - Rockln' Dopsle 8t the <;a.jun Twisters SIMI« 8316 Oak Street Mon.27 - At farrell C.U 866-9359 (504) 467-3655

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Wavelengili I February 1984 41 last page

Kent Jordan's single, "Terms of Endearment," don, Ray Anthony and his band, and sensational The Louisiana Homewreckers wield their mauls, is due to be released thls month on CBS Records and sight gags revolving around the fabled Mansfield orbs crowbars, spades, picks, wheelbarrows, and other im­ his LP, No Doubt About It, is due for release in by Tashlin who directed many of the better Jerry plements of R&B destruction regularly in the Lake March. This LP is produced by Stanley Clarke who Lewis films and also worked for Hanna-Barbera, we Charles area. Chief wrecker is Giles Sonnier on lead can be heard on several cuts playing piccolo electric believe, in its pre-sap days. vocals and guitar and Goldband artist Ralph Young bass, as well as Alphonse Mouzon on bass. The Pictures are nice guys, even though they do has joined the Homewreckers on piano ...The Area drivers proudly displaying the "Make My have a sort of wimpy name for a punk band, and Radiators' new newsletter includes the essential Fish Grass Blue" bumper sticker may want to tune in to they want your words and, ahem, pictures, for their Haid, oops, Fish Head Mamfesto which harkens us Bill Malone and Pat Flory on WIUL's Saturday after­ "Surfacing Underground" fanzine at 6004 Almen­ to slide backwards down the evolutionary ladder and noon live country show or catch Flory and the Mt. dra Street, Apt.A, Bakersfield, CA 93309 ... Oley become long, slippery things again: "Fall in love Pontchartrain String Band at Carrollton Station. Sassone and crew fued up those absolutely essential with mermaids, dance with octopi, cast off your big Screen Gems/EM! Music songwriter Quentin smoke machines for another music video at the brown s~~es, get squishy, and wiggle for all you're "Who's Been Sleeping In My Bed?" Powers was in worth ... town for a Christmas visit with his family, including The Dirry Dozen Brass Band got a big write-up sister Gloria, who is marketing director for Le Moulin in NYC's Village Voice recently. Looks like they'll Rouge ...Nightprowlers is a new music video program have to shore up the floor joists in the Glass House from the Birmingham, AL area produced by photo­ as soon as those World's Fair tourists head down to grapher Marshall Hagler and musician Jim Saratoga Sueet in search of the truly hot and the ter­ liner... Dateline Chalmette-an out of state manage­ minally hip. And Fred Ferritti wrote (in the New ment company wants to take it to The Lirnit ... Siren York Times) a nice piece about our local oyster bars has been recording what we can only presume to be · that quoted Mary Ann Gerdes of Casamento's: "You many (pause) "siren songs" (aaaaaargh!!) at Vi­ don't like lard, you don't come here." Nuff said. sionary Studios. Mark Bingham has completed and cassetted a Attention all B-52's clones, members of the Lost soundtrack for his New Orleans-meets-the-Universe In Space /My Favon'te Maman Fan Club, collectors musical entitled "A Starship Named Desire. " He of cheap wigs and fab '50's furniture: The Krewe will also present "Doxological Er.rremont" (no rela­ of Clones is looking for musical groups to march in tion to Philippe) as part of an Upcown Youth Center its 1984 paradr on February 18, under the theme benefit at Tipitina's on Feb. 5. He descnbes the piece of "Barb1e and Ken Go To The World's Fair." So as: "Twelve musicians, twenty minutes, a brief in­ rem<'n those genJtals, buv a new set of Duracells terlude with God.'' Amen. for the Pignose and call Sandra "Big Barb" Blair at Two new, well sort of new, bands to be on the 523-1216. lookout for that both contain the incorrigible "Bah and Humbug, too! ' shouted the nation's Clements brothers within their ranks are the second largest record retailer, The Record Bar, to Chronics, including Lisa Sherman, Chris Luckette Atlantic Records' pre-Chnstmas price hike of three and David Silverstone and the (can we say this on hot albums. The Bar pulled the upped LPs from its the air?) Hard Ons. The H.O. 's are a truly rocking shelves. "Love That Chicken": Dr. John back in studio. uio consisting of David Cements on bass and vocals, The Musical Label of the Month Award goes to J. "Bengt" Beninati on guitar and vocals and Wee Jane Scott of the ?, USA, Plain Dealer, who describes Jimmy Shearson on drum dementia, a priapismic the music of the Clocks as "Rocka-Mopop," which band, indeed, and hold the smegma. (As a matter is (what else?) rockabilly/Motown/pop ... Atchafalaya of fact, NO, we can't say that on the air, buddy.) has a hot new single out in the LA market called The latest Neville Brother to debut is Ian Neville, "Been Awhile" and penned by Charlie Rees. The son of Art, who's been strutting his stuff on drum­ group will soon bring its muddy feet in the studio skins lately. As Billy Preston, Bonnie Raitt and other with former LeRoux-er Leon Medica for an upcom­ assorted luminaries stood by, little Ian decided to ing album ... As long as ole man rhythm is in his help out his buddy, Zigaboo Modeliste, on the shoes, Frankie Ford is gonna make the best of it and drums. Born on Uncle Aaron's birthday, Ian is return to England for a March/ April concert tour reported to do a mean version of "Hey Pock-y Way," with Johnny and the Roccos of Scotland on though slightly hampered by not being able to talk backup ... Our large chalky stone-like chunk of yet. He's only two. brilliant yellow news from Sulphur bemoans the sale The Normals held their umpteenth annual reu­ and imminent destruction of the Service Hotel which nion atJimmy's last month. In attendance were the notice of the Final Jam, which included the Davids, Backbeats, Barbara Menendez, the Models and Len­ Messrs. Foreman and Crawford ...We got a curious ny Zenith. Big deal. Just kidding, guys ...The NBC letter from the manager of A&R for MCA Records, Nighdy News did a human interest story on Clarence Marcy Drexler: ''I am very interested in a group call­ "Gatemouth" Brown's retreat from the city that in­ ed The Neville Brothers and would like to contact cluded a memorable shot of Gate paddling his their manager ... '' pirogue down a lazy bayou. Mac "Dr.John" Reben­ Students of the Jesse Collins/Wallace Berman nack was at Sea-Saint Studios recently to cut another school of assembled artistic information dissemina­ in a series of "Love Oat Chicken" commercials for tion will get a large charge from local illustrator Steve Popeye's. Taylor's "Artboy Industries Info Mantra" pam­ Guitar entrepreneur Dino Kruz debuted his own phlets. Now gimme a "D," gimme an "A," gimme Kruz Band at the Melius Bar for Christmas. The another "D," gimme another "A," what's that Ian Neville at Tipitina's. band's repertoire includes the city's best covers of spell? What's that Spell? Aretha Franklin tunes, according to Mr. Kruz. Tune in Channel 25 (Cinemax) on Sunday, Feb.19 peristyle in City Park. This time the band was the That'll Be The Day The Music Died: February 3, at 3 and catch Frank Tashlin's immortal The Girl Dutch group Vandenberg (who?) and the shoot even 1984, is the 25th anniversary of the tragic plane crash Can't Help It (which is the echt-rock 'n' roll pic­ got a nice spread in the T-P ...The Old Absinthe Bar that took the lives of Ritchie Valens,J.D. "Big Bop­ ture; once an annual event at the Do Drive-In, the has reinstated late night music ("late night" in the per" Richardson and the great Buddy Holly. And ftlm has become a legendary item to rock bunnies French Quarter means "early morning" everywhere February 12-18 had been declared "National Blues under 30 who have probably never seen it in its garish else) and The Player's Club has started a new reg­ Week" by the National Music Association, the wide screen splendor); described by Peter Bogdano­ gae night ... Final Academy, which we have been in­ Mississippi Delta Blues Festival, and the Young Black vich as "Voltairean in its grotesquery," (not a bad formed is a "serious band" (oh-oh) plays gigs in Programmers Committee. description by the by), the ftlm-about the efforts some of the most unusual places. This time, the It is with great sorrow that we report the demise of a gangster (Edmond O'Brien) to make a rock star venue was the Dixie Brewery and the client was Ca­ of yet another great snake band. The Cobras, from out of his girlfriend (Jayne Mansfield-causing havoc jun Cookouts, Inc. The performance was a diploma­ Austin, TX, played their final gig at Fitzgerald's in with dairy products)- includes appearances by Lit­ shredding and cap-and-gown-rippling concert of Houston on Friday the 13th of January. Guess we de Richard, Gene Vincent, Fats Domino, Julie Lon- "80's psychedelia," whatever that is. can't do the Harlem Shuffle anymore. .. •

42 Wavelength I February 1984 RECOBD RON'S BntTBDAY SPECIAL

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