University of New Orleans ScholarWorks@UNO
Wavelength Midlo Center for New Orleans Studies
4-1984
Wavelength (April 1984)
Connie Atkinson University of New Orleans
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This Book is brought to you for free and open access by the Midlo Center for New Orleans Studies at ScholarWorks@UNO. It has been accepted for inclusion in Wavelength by an authorized administrator of ScholarWorks@UNO. For more information, please contact [email protected]. APRIL 1984
Inside: Jazz Fest Schedule Chris Kenner George Dureau Photographs
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table of contents
Features ------• Meters by Bunny Matthews ...... 16 George Dureau by Virginia Levie ...... 19 Swamp Pop by rico ...... 22 Chris Kenner by Almost Slim ...... 26 Leroy Jones by Alan Edelstein ...... 28 Departments----- April News ...... 4 Rare Record by Almost Slim ...... 8 Caribbean by Gene Scaramuzzo ...... 8 Subscribe For only one dollar a month, Art WAVELE NG1H brings you the by Virginia Levie ...... 10 In time for New Orleans music plus art, Reviews ...... 13 theatre-delivered your __,.~ ,•. ,~... Listings ...... 30 Jazz Fest and thousands of events to cnc>OSCIL..DOJ Cbsrifieds ...... 37 1984, you're going to need us Last Page ...... 38 the World's Fair ever. Don't miss a single issue!
You're going to need WAVELENGTH Cover photo by rico. · tn 1984!
Member of NeiWOfk YES, enter my subscription to WAVELENGTH, New Orleans ,...... , Nauman s. Soon. Edioor, Gonnit At.~aruoo . A.xDk Edioor, vup.;. Levi<. Edioariol Aloioout, AlliJon Bnodio. Art Dftaor, Julia Ncad. Ad~ Saks Music Magazine, at the special rate of 12 issues for only $12...... lbooda f>bian. ~ Saks, Ty Adams. Diouibulioca,)oc Ton:zon, Hampcon Woiss. Coa~: Eddy Allman, Zcke f'uhh F-'ntlb is publish ''The funny thing is, people in New Orleans expect music, not just at parties but all the time." Brooklyn-born vinyl hustler Record Ron had the right idea when he celebrated the birthday of his Good and Plenty Record store March 10 by bringing in a little of the live stuff. Duke-a-Paducah at- tended with the new a capella group the Uptowners (recently seen on Channel 2's Music City) con tributing the harmonies. 4 WAVELENGTII I APRU. 1984 to any New Orleans occasion. With continued good crowds and good New Orleans weather, the Jazz Fest Foundation hopes this will become an annual Rhythm & Blues: event. As Mr. Trepaignier's wife Old And Official put it, "It's nice to be nice." Deese Days Records unveiled its - Virginia Levie first ever album release at this year's Crescent City Classic lOK Catty Ziggurat road race party at the New Orleans Marriott Hotel. Entitled The Of Descends On ficial New Orleans Rhythm and Oak Street Blues Anniversary Album, the record boasts new recordings of 12 On the corner of Oak Street of the most influential songs that stands a vision of gleaming white, came out of New Orleans. Inclu a lofty ziggurat erasing all traces of ded on the album are Johnny Jed's, once Tupelo's, once a mecca Adams, Earl King, Bobby Mitchell, for new music lovers. Bobby Marchan, Roben Parker, The building was untouched by Van & Grace (well, one ringer the recent six-alarm blaze across the anyway), Lee Dorsey, Frankie Ford, sueet, but it might as well have The Dixi-Kups, King Floyd and been torched to the ground and Jean Knight. All of the artists recreated. The current incarnation, perform versions of their best CATS, is a gift descended from art remembered hits. deco heaven . CATS, which sits The idea behind the release was oddly in a Mayberry-esque spawned by the dee-jay Duke-a Pa neighborhood of shops, is part of a ducah and producer Bill Johnston. new genre-the video dance club. All of the tracks were cut in Metamorphosized from a cavern of Bogalusa's Studio In the Country, dingy red bricks and damp, smoky during January of this year. dusters of tables into a gleaming Johnston reponed that as many as interior of chrome and red and 'Official' music by Johnny Adams and Earl King; ' Official' art by five foreign record companies ex ebony, the club is covered with an Steve St. Germain. pressed interest in licensing the disc amazing array of, well, cats. Cats for overseas issuing. Locally, the LP of every conceivable kind and (which rocketed to #2 on America's selected by the fifteen-member ex should be in most of the shops by shape (cartoons are most prolific) pop charts); Art Neville's "Love, ecutive committee, which at this the time you read this, and look adorn the club. The upstairs bar Hate, Envy, Jealousy"; and a writing includes Ernest Singleton of for a major independent distributor looks down through a jungle of Charles Neville-arranged MCA Records, Bobby Mitchell, and to pick it up for national racking. streamers on to a checkerboard "Caravan," composed by Duke Ron Gardner of the Mayor's Office, Johnston also hopes to produce a dance floor and video screens Ellington. The album, dubbed and Walter Brock from WWOZ, poster of the album cover art, narurally blink from every available "Neville-ization," should be on among others. shown above, which was done by corner. Definitely a change of pace the shelves of your vinyl To find out more about becom New Orleans artisan Steve St. Ger for the uptown scene, it's amusing delicatessen no later than May. ing a member of the New Orleans main. Plans are already being made and fun if you like to dance and -A. Pacoweigh Music Awards, Inc., call 944-0701. for a companion volume, which you'.re not too terribly picky about This could be New Orleans' newest could be available by this fall. mustc. And The musical tradition. -Almost Slim Yet one cannot ignore the past so easily. Ghosts of leather-coated Nommies Are ... • Ramsey McLean, Tbe Long View, Prescription Records anarchists sweating and screaming The Bay Area has the Bammies, RM-1983 and plotting along with the Circle the nation has the Grammies, now ..,... The Cold, 16 Songs Off A Dead Band's Cbest, Jerks, Dead Kennedys, Red Rockers New Orleans takes her turn. The Top Pop Records. still permeate. The quiet first annual New Orleans Music ..,... Sugar philosophies of R.E.M. and Elvis Award (the Nommies?) will be in Boy Crawford, Sugar Boy Crawford, Chess-Vogue 427017 Costello are bricked up but not augurated with a black tie gala (France) ..,... forgotten. -Allison Brandin April 26 at the Saenger. Scheduled Earl King, George "Bbzer Boy" Stevenson, Little Eddie Lang, entenainment for the evening in Billy Tate, etc. Southern Blues, Savoy 2225 reissue Civilization's cludes Irma Thomas, Richard ..,... AI. Ferrier, etc. Let's Go Boppin' Tonight, Flyright 597 "Dimples" Fields and Lady BJ. retSsue . Anticipation The awards, a violin and • Buckwheat Zydeco, 100% Fortified, Black top 1024 Of trUmpet poised on a pedestal, • Fa~ Domino, Jambalaya, PD. 500001 picture disc reissue 'Neville-ization' represent a lifetime dream come • Oeoma B. Falcon, A Cajun Music Classic, Jadfel 101 After what is estimated to be true for the president of the New ..,... Chris Barber & Dr. John, Take Me Back To New nearly 17 years of law school and Orleans Music Awards, Inc., Tom Orleans, Black Lion 61001/2 (England) the subsequent completion of his my Tee. Mr. Tee began his musical • Bill Coleman & The New Orleans Wildcats, Swinging In bar (although not barroom) exam, career twenty-three years ago in Switzerland, Black & Blue 33.182 (France) Black Top Records headman Ham New Orleans, singing with Oliver • Sidney Becher & his New Orleans Rhythm Kings, Jazz mond ''I'm Not Sensitive" Scott Morgan on "Who Shot The La-La" Nocturne, Vol.1, Vogue 502.007 (France) has announced that his label's next and has seen all sides of the • Femest & the Thunders, Live, JSP 1067 (England) release will be a live, mostly business since. • Clifton Chenier, etc. From La. to L.A., JSP 166 recorded-at-Tipitina's album by the Twenty awards will be given in (England) Neville Brothers, co-produced by the general awards category elected • Kid Ory, BunkJohnson, Sidney Becher, etc., New Houstonian Barry Wilson, a long by the entire membership, from Orleans Masters, Swing House 42 (England) time associate and confidant of the Best Male and Female Vocalist to singles Valence Street gang. Jingle of the Year. The general ------The album will feature six cuts membership is open to the entire ..,. Tommy Ridgley, Live While You Can I Sometimes (the Nevilles have a bit of trouble music community, pros and afi- You Can Get It, Tudor (no #) keeping things shoner than seven cionados alike. Winners of the ..,... Rafu1 Neal, Hard Times I Down Home Blues, minutes), including the fust new special awards, including the Louis FantaStic 102 rendition of " Tell It Like It Is" Armstrong Award for outstanding • Roben Milburn, After Midnight I Alabama Blues, since the original 1966 version suppon of local entenainers will be Sunnyland 104 WA VELENGTII I APRIL 1984 5 ---~--- The New Orleans ANN UA L Music Awards Ceretnony ---~--- APRIL 26, 1984 at 8:00 PM Mrs. Coleman at WWOZ-FM: "a stone down bass singer from the heart." The SAENGER THEATRE Quartet, as a specific influence on Mary Coleman her compelling vocal style, which of Performing Arts With the Angels she alliteratively referred to as " dropping my bombs." Her TICKETS: $15.00 and $20.00 Mary Thames Coleman, one of primary source of inspiration, special reserved seating also available the most unique and exciting though, was her Maker: "Honey, I bass singers that ever graced the didn't sleep when we had a pro TICKETS AT ALL TICKETMASTER OUTLETS gospel quartet tradition, was gram, a contest, a battle of songs; murdered last month in her Holly- I wouldn't sleep that night. I'd be grove home. Revered in the New up, honey, talking to the Lord Orleans gospel community, the most all night.'' Surprise Performances legendary songster was 76 years By 1945 , the Jackson Gospel old. Singers were seasoned professionals, by While growing up in Pelahat travelling to the churches and chie, Mississippi, Mrs. Coleman im auditoriums of Chicago, Detroit, New Orleans' mersed herself in the shaped-note Memphis, and other major cities. choir activity that permeated the The Jackson Gospel Singers made GREATEST!! central Mississippi countryside. She their first of several commercial NOMINEES INCLUDE: also learned to play guitar, listen- recordings in 1949 for Star Talent, AI Hirt ing to Lonnie Johnson and Blind the label that first recorded another I I • Pete Fountain Lemon Jefferson records on a wind New Orleans legend, Professor Radiators up Victrola. Longhair. The year 1952 found the Neville Brothers In 1927 she moved to New Jackson Singers on the Columbia Orleans and, as "Guitar Mary," subsidiary, Okeh, and finally, in began entertaining at local house late 1953, they recorded for the parties. "Bless your soul," she Atlantic label. Preserved among Fats Domino once remarked while pondering these artifacts are two spirited ren Marcia Ball these days, ''I sang blues, I played ditions of "Heaven Bound Train," Jean Knight the blues from four in the evening Mrs. Coleman's popular trademark Ernie K-Doe til four in the morning. I wasn't number during her long tenure Johnny Adams with the Lord then; I was playing with the Jackson Singers. When the Deacon John for the devil." group factionalized in the late Fif Allen Toussaint Following a prophetic dream in ties, Mrs. Coleman formed another Ellis Marsalis 1933, she put down the guitar and group, the Gospel Notes, continu and many more ... joined Second Zion Baptist Church, ing in the quartet tradition for then pastored by the Rev. C.S. another decade. Deslonde (better known as Sun More recently, Mrs. Coleman shine Money). There she quickly garnered a new reputation as a BECOME A MEMBER NOW jumped into the thriving quartet soloist in the choir of the First and receive: tradition, with the Second Zion Church of God In Christ. Her get Nightingales. happy rendition of ' 'Travelling -The right to vote by mail in all In 1936 Mrs. Coleman joined Shoes'' would highlight the annual the Jackson Gospel Singers, a local Jazz and Heritage Festival's gospel standard categories community-based group that tent activities whenever the choir emerged during the war years as appeared there. The Holy Spirit -Quarterly newsletter one of the most popular a capella prevailed when that song was sung female quartets of gospel's "golden at her funeral. Among the many -Special seating at the Awards era.'' Their success was largely due floral arrangements that surrounded to the freewheeling, pumping-style her casket was a representation of Ceremony bass voice that Mrs. Coleman those travelling shoes, shaped from developed in historic "Battles of colored daisies. SEND $10 DOLLARS TO: N.O. Music Awards Song" with the best male and Mrs. Coleman lived the life she P.O. Box 1235 female gospel quartets of that sang about. ''Jesus is the solid Gretna, LA. 70053 time. She was rightfully proud to rock," she would remark as she be known, not as a contralto, but stared from her porch one August as a "stone down bass singer from afternoon, " and honey I want you DEADLINE: APRIL 15, 1984 the heart. " to know that I'm holding on to Mrs. Coleman cited Earl Malone, Him. I'm not going to Hell. When basser for the Spirit of Memphis I go to my car this time of year, 6 W A VEI.ENG1H I APRIL 1984 Mary Coleman, far right, with the Jackson Gospel Singers. Roll back the rug, put out the from Around · rhe World and from Min· open that door, and that heat hits picking cotton, we 'd be up in snacks, and bri113 in the cat. Saturday neapolis. me in the face , that gives me a every little town in the Mississippi night. "A Prairie Horne Com~ion" is Catch up on all the news from Lake double determination not to go to Delta. Same over in South Loui on the air -live from the World Theater Wobegon, "The Linle Town That Time in downtown St. Paul. Hell!" Mary Thames Coleman, no siana after sugar cane harvest. Forgoc." Hear songs sent in by listeners doubt, is living with the angels Dance to the Music Le Hoc of on "The Department of Folk Song" and ''He was strictly for business. Butch Thompson (America's Most hear the host read birthday greeti113s and now. -Lynn Abbott Nobody ever took advantage of Relaxed Man) and his award·wiMing ocher messa~es. Learn about cat·ownering Stovall. If you messed up once on trio, with Peter Ostroushko (The Ukrani· from Bertha s Kitty Boutique. And buy him that was it. I remember he'd an Companion) and Mr. Greg Brown. Powdermilk Biscuits. Percy Stovall, come in a club at night before a Pl't,.·~ frif'fld. Plm nth..r Mu~ic.11l Arh gig and see some of the musicians 'Rural Bandit,' having a drink. Well, he'd say, APRAIRIEH COMPANION Dies At 77 'Uh-uh, boys. Ain't gonna be none of that tonight.' '' Saturdays at 5:00PM It is with great sadness that we ''1 like to think that some of the must report the death of the famed success I've had, Stovall was New Orleans booking agent, Percy responsible for," added Irma Stovall. He died suddenly at Chari Thomas. "He taught me to save ty Hospital of a stroke on February money from each job. He always 15, 1984 . He was 77. Although stressed being on time and being often ignored by biographers, dependable. He said that's more Stovall played a major role in pro important than talent most of the moting New Orleans rhythm and time and he was right." blues in the Fifties :md Sixties, Even though Stovall's health beginning with his booking Roy hadn't been the best over the past Brown, Paul Gayten and Annie few years (he recently had a back Laurie. Perhaps Irma Thomas put operation and a cataract operation Stovall's contribution in the best left him legally blind), his death perspective when she said, "Stovall was very much a surprise. Cleon fed a lot of us musicians and enter Floyd and I encountered a com tainers.'' pletely healthy and lively Percy "Stovall was a rural bandit," Stovall only one week before his recalls Earl King. ''He knew about death and a musicians' benefit was every club, auditorium and armory tentatively being scheduled in his that held dances between Texas honor. Word was slow in and Virginia. He had his own little spreading, but his wake, two nights circuits. When the tobacco workers after his death, at the Tharp got paid off, he'd book a solid Sontheimer Funeral Home, was month in those warehouses in the reasonably well attended by musi- Carolinas. When they finished cians and friends. -Almost Slim blessed events THE wo~P 11 our ALOH WA VELENGTii I APRIL 1984 7 Electric Basses and Guitars at all Werlein stores Chris Kenner Hurry, while FUMIGATE they're still FUNKY BROADWAY Instant In stock! 3286 This record dates from 1967, near the end of Kenner's days with Joe Banashak's Instant label. Written and BRING IN THIS arranged by Sax Kari, the tune is an AD FOR YOUR BEST obvious answer tune to Wilson Pick FENDER DEAL ett's then giant hit, "Funky Broad· way." On it, Kenner urges that we "fumigate Broadway, so Broadway won't be funky no more!" In true "Wind The Clock," is a continuation Kenner fashion, he reels off the names of " Fumigate" but with different of about half-a-dozen dances in lyrics. A good dance tune, the record cluding "the fly, the monkey, the made only a brief splash locally before duck, the roach, the swim and the being relegated to obscurity. thread the needle.'' The flip side, - Almost Slim $169 caribbean BY GENE SCARAMUZZO 605 CANAL LAKESIDE OAKWOOD 524·7511 831·2621 362·3131 The Blessed Version PLAZA In LAKE FOREST-246·6830 Th~~ want a Dj to mek them and occasionally live at the dance tne halls. In addition to the OJ's malign Them sent Peter Metro to be ed in the above lyrics, other current the MC favorites are Billy Boyo,Jah Thomas, Them say Peter Metro chant too Sister Nancy and, of course, Michigan much Spanish and Smiley. AT LAST ... Them sent Josey Wales to be OJ music is the least accessible for the MC local reggae enthusiasts and it can be ... AN ESCAPE Them say that the boy chant close to incomprehensible for those too much badness only mildly interested in reggae. The Them sent Sassafras to be the OJ style features little or no melody. souNDS MC Instead there is the stripped-bare rid Them say Sassa come from the dim {the version) coupled with a STYLES ass famtly chanting that could be called repeti Them sent Brigadier to be the tious. FASHION MC Them say Bnga chant too much a new music club Chnstianity Them want a Dj to suit every body THE CLUB.·· Them sent a limousine with ten police To escort Yellowman to the CllL\.NCf:S party. - from Society Party by Yellowman 21,01 Causeway Blvd. l) ith live group performances (;ext to Gateway Hote at a minimum in Jamaica, W dance hall OJ's are the real stars of reggae music. The OJ's, with a stack of the latest hit records, ami crophone, and a loud, bass-heavy sound system, mash up the dances in SPECIALS a totally different way, due to a strange feature ofJamaican 45 rpm's. EVERY All 45's have the song with vocals on side A and the same song without NIGHT vocals (called the version) on .side B. The OJs play the version sides and deltver a non-stop barrage of sponta John T. 3pm~ till neous ideas, messages and special But the real barrier for American dedications, and some even sing. OJ's listeners is that the OJ style represents have recorded this style in the studio a scene that is not happening here. 8 WAVELENGTii f APRIT. 1984 .. ~ az 3:: ..0 l!z m New Orleans poet Yictove: another use of versions. A hot OJ disc in Jamaica features the three D)'s named Bobby Culture, latest and hardest riddims, the cur Brimstone & Fire and Louie Rankin rent dance hall language and refer _who were travelling with Tosh. ences to events at the dance, on the island and in the world. These records he lack of a dance hall scene here could be a hit anywhere. But the ma has kept our one resident OJ in jority of records available in New Trelative obscurity, even though Orleans are a year or more old and he's a number one DJ. His name is often designed to cater to American John T, and many people know him tastes. Ironically, the best stuff often from when he used to stand in with stays out of ear range by intention. the Kush reggae band during the last Though they may be ~carce, you two years. Since moving to New Or still don't have to go all the way to leans, he's been on the road a lot, Jamaica to pick up on some quality opening shows for acts like Mutaba DJ sounds. Some great OJ discs, ruka, Mighty Invaders, Trinidad Exo- · mostly twelve inch 45's, are begin tic Steel Band and the Killer Bees. ning to show up at Metronome John T has recently done guest ap Records , and they may enlarge their pearances on DJ Elisa's Reggae Show supply depending on buyer response. on WWOZ radio Saturday nights, On the Westbank Expressway, a small toasting over his own choice riddims, Caribbean record store, The People's and his dub attack is always on the Choice , stocks a few older albums and track. specializes in the very latest albums Another regular Saturday night and 45's from Trinidad and Jamaica. radio guest, New Orleans' poet Yic For those who prefer to stick with tove, adds another use on version the easier to find, domestically disui poetry. Yictove presents his written buted discs , a few recently released OJ poetry over versions and dub cuts. His albums are worth mentioning. Sun deep voice and New Orleans accent splash Records has two Live at Sun create a nice effect, which is very dif splash '82 records which feature per ferent from the patois of the Jamaican formances by Yellowman, Eek-a dub poets. In fact, it would be a Mouse and Michigan and Smiley. mistake to call Yictove a dub poet Both of these discs are good examples because at this time dub poetry con of the versatility and spontaneity the notes the moral indignation, politics best D)'s exhibit as they work an au and social commentary of the Jamai dience. The Yellowman record espe can dub poets, most notably Mutaba cially is wonh hearing. While I don't ruka and the late Michael Smith. like the lewd slackness and folly on Preferring not to be bound to one most of his records, this performance time or place, Yictove concentrates on is a classic , recorded at the peak of his universal messages and some down popularity in August 1982. From this right romantic love poems. Presen same time period are two live-at-the ting his poetry with reggae music is dance-hall records out on Heartbeat only one of his methods. He occa Records , A Dee-jay Explosion inna sionally works with a live band play Dance Hall Style and Special Request ing jazz or African music. He also and a Popular Demand (A Dee-jay speaks his poetry to no musical ac Explosion, Part Two). These feature companiment, and has also publish toasting by some of the stars as well ed one book of his work, entitled No as lesser known (in America) DJs like Big Thing. Those who remember Dis Sister Nancy, Ringo and Sassafras. Roy (Ras Anani), the OJ who for a But don' t forget these records are old, short while around 1977 was sharing inna dance hall style 1982. the OJ spot with Shepard Samuels on Seeing and hearing a great DJ WTUL's reggae show, might also working up a dance crowd will defi remember hearing Yictove reciting nitely get your body moving. New his poetry to reggae music way back Orleans got a taste of live dance hall then. style last July at the Peter Tosh show And finally, for some Jamaican on the Riverboat President, when the dub poetry, the stuff that is show was opened by Raps Reggae, guaranteed to make weak heartS WAVELENGTH I APRIL 1984 9 906MAZANT CORNER OF BU RGUNDY tremble, check out Word Soun' 'ave Mutabaruka. For dance halJ fans, the Pow Caribbean Show r ecommendations New Orleans, Louisiana 70 117 er, a new release on Heartbeat. This one was put together by Muta for this month are " Level Vibes" by Telephone: (504) 944-2662 baruka and Linton Kwesi Johnson Sugar Minott, " True Confessions," and features six other creative poets: by LittleJohn, " Rock and Come On" OVERNIGHT ACCOMMODATIONS Sister Breeze, Malachi Smith, Tomlin by Leroy Sibblis, " Shoulder Move" Rooms from $25 nightly - Ellis, Glenville Bryan, Navvie Nabbie by Jah Thomas, and " I Can't Stand It Five minutes from and Oliver Smith. All are backed up /Locomotion" by Dennis Brown and by the High Times Players, the band Little U. Brown. • the French Quarter. that appeared in New Orleans with Discover a new place to love in New Orleans. Save money on Dana Kemp and Robyn Halvorsen overnight accommodations so CALL OR WRITE FOR BROCHURE. there's more to sp end on you! art BY VIRGINIA LEviE • • " ... one of the greatest Kind Of A Drag ... a genuine legend." Dick Shurman n gallery walls around town in Art galleries Available at stores or direct. $8.95+1.05 for March, art was going up and - shipping (within U.S.A. 8< Canada). Dealers' alia Primavera: ~~ 8< distributors' inquiries welcome. 0 down faster than flags over cat 'n hat ...... Beirut. Meanwhile , the major exhibi cultural detritus RECORDS : 0 check or money order enclosed tion of the month was even cooler than expected, so cool in fact that on reborn, greasy presents : 0 VISA 0 Mastercard exp. March 6, the longest running site elegance and ;acct. " ------JOHNNY :name ______specific performance ritual, blurring the divisions between art and life, was funneled emotions, HEARTSM~N : address ------visually dampened by the tempera and a cross between : city_____ state __zip ___ : ture. But no matter, when the sun "M U S I C 0 F• M Y H E A R T" a Lascaux painting : signature • finally broke through over the St. A new blues album (CHN-1001) Ann Street drag show, the effect was and a black light 3435 Army St. • Ste. 203 • S.F., CA 94110 as planned and in retrospect the frigid poster. weather only served to separate the • • true disciples of Narcissus, cheeks tingling in the frosty air, from the Alan Gerson. Simbach further toyed amateurs. with our sense of fashion by con In the spirit of the season, the CAC tributing couture disposable daywear, mounted a show thematically clus available by mail order. Art costume tered around our native passion, cos veteran Pat Olesko, down from New tuming. Wearable Art, Art To Wear, York, brought with her oversized Masks Invitational, the show had a · nuts and bolts creations which tend plethora of portable work and the to house the wearer rather than clothe opening featured potable art as well. him. The pieces on mannequins in (Colorado artist Garrison Roots, the front corner window spot facing whose installation occupied the far Camp and Julia gave the sidewalk rear of the space , was rather the odd passerby the impression of a depart man out in this company.) It all had ment store window designer gone to do with the body and how we cover berserk. Berkowitz's repetition of $9.50 advance $10.50 door it up, merrily transforming the im drawn figures echoing the seated pact along the way. costumed ones was memorable and New Orleanians are just plain wild Simone Gad's kitsch-gone-respecta SATURDAY, APRIL 7 IRMA THOMAS about costuming- we believe in it ble visors had the dependable appeal Midnite Dance Cruise-9pm $5.00 might be a more accurate way of put of cultural detritus reborn. ting it. However, the nearly annual But the work here that was the least effort to encapsulate this obsession " innovative" was the most rewarding FRIDAY, APRIL 20 CLIMAX BLUES within gallery walls regularly falls a to the viewer. Art lo Wear from the Special Attraction- 9pm BAND little flat. The masks here seem life- American Arts and Crafts Museum less without the people and street to was also one of the best color shows $9.50 advance $10.50 door support them. I did get a kick, how to be seen in this town for quite some ever, out of Darlene Olivio Hingle's time. Fairly traditional in the cut and SATURDAY, APRIL 21 JEFF LORBER surreal hand mask, a familiar yellow intention of its garments, there were Special Attraction-9pm kitchen glove with blue paper-cut-out lots of kimonos, jackets and chemises. FUS I 0 N eyes dangling from them on colored Most of the artists were women and $9.50 advance strings, but then I always did have a aU of the clothing can actually be $10.50 door soft spot for Rubbermaid. It may well worn, and in fairly ordinary circum be that Mardi G ras is its own com stances. But this stuff is extraordinary plete art form and attempts to utilize in its exquisite use of materials, the its special energy in traditional art set attention to visual and tactile detail tings are doomed t o seem redundant and above aU its color sense. All the A Complete Entertainment Evening Colleen, Dri..U, Food and a Roman lie Moonlight Cruioe or worse. The other portions of the garments are handmade. In many of &a.rdinJ will beem ot 9 p.m. The P.-ldt nt wlll dt part the Caul SL dod< at 10 p.m. Cash bar. no carry on alcohol Tickoto can bt' show steered clear of Carnival and them, the fabric itself is either hand purcbaoed ot tht ('anal Slfftt Do 10 WA VELENG1H I APRJL 1984 ,i·.. - ·.. · - ····--···· ...... "'\... ·- · ... ·--· ·· . .! , ·· THANKsro i w_ho made my 2nd AN EVERYONE btg success-/ had 'NIVE_RSARY PARTY . C a great time! a ONGRATULA "Eodymion and the Goddess of the Moon" by Anastasia Pelias Anrippas at the Bien ; RUPERT, Grand Pri TIO~S TO EDDIE Yille Gallery. .'PA ze Wmner of I 00 LP's at the th~ cr~dits. But som~ worth m~ntion general, the antelopes fare better than ing ar~ th~ kimono just insid~ the en the kidneys. Their effort in these i s a result ofthe 1/2 . tranc~. asymm~trical angular pinks, drawings as communications seems to restock with thousand'Pn;e sale, we've been able black cross~s and gre~ns, both cruel almost literal. In the paintings, the and pr~tty; the padded flying tiger pigment is scraped rather than brush and THANKS AGAIN s o new LP's. Come see, jack~t and tunic, handpaint~d silk in ed. In one piece in particular, "My turning colors of gr~en, black and tur Carrollton," Neal seems to wrap up quoise with an underskirt of flushed the various currents, mark, reference, ·-:.:.:.·:. si~nna peeking out beneath like the technique, into an enigmatic little RON EDELSTEIN t~nder color in th~ throat of an iris. painting that has the look of a private I SUSJ>(Ct all this violent and efficient world described. OPEN1129 DAILY DeCatur 11-7 ••). • ~ "! ~of color is aided by the limitation n a surprising choice AMERICAN V1S4 • of th~ form and the cultural traditions of relocation, EXPRESS t that artists working in clothes have at Galerie Simonne Stern will move WE BUY, SELL, TRADE th~ir back to draw on. Absolut~ fr~~ I downtown this spring, to Julia dom is not always th~ best buddy of Street in the vicinity of the Contem cr~ativity. Whatever the cause, it porary Arts Center. Aaron Hastings would be swell to see some of th~ full will also be travelling this month, tilt, ~ff~ctive us~ of color worm its way though more predictably. They' ll be back into painting, from whence ·it neighbors to Mario Villa Gallery, has strayed too long. making the Magazine Street consen nother satisfying bit of color sus all but complete. from this period, this time pho Tilden-Foley brought in some out Atographic, comes to mind. Two of town talent in March when Los RAY FRAIISEII'S photographs by Tina Freeman from Angeles resident Gary Panter put up h~r Chat~u series, tucked in the back his cartoons, objects, prints and DRUM CEIITER gall~ry of Simonne St~rn . are little paintings in the gallery adjacent to a gems of mahogany light, unabashed show by local Rene Haro. This show ly classical. Freeman wisely uses the was a first for Panter, having never ~ passport of her birth to photograph shown his original cartoons beside his SALES ... SERVICE ... INSTRUCTION sites of antiqu~ luxe and privilege, in paintings before. violation of one of modern art's un Though you won't find Panter's ALL MAJOR BRANDS e COMPETITIVE PRICES spok~n taboos. As subjects, ghettos creations,Jimbo and Pee Wee, in the e COMPLETE TEACHING FACILITIES ar~ okay but Meissen porcelain is out. funny pages of the TP!SI, his strips Such issues are a question of fashion have been frequently published, best 2013 WILLIAMS BLVD. 466·8484 but th~ photos here are clean, unpre known perhaps in the alternative t~ntious and spare in their intentions. magazine, Raw. The strip has at least Baton Rouge painter Melodic Gui one ardent New Orleans fan, fellow ch~t is also in the backfield, with cartoonist Bunny Matthews. Panter sev~ral strong new paintings in which has a freewheeling approach in his *U*S*E*D* *&* *V*I*N*T*A*G*E* sh~ has constructed three-dimensional cartoons , kind of a rowdy, disordered black mazes to surround the small logic in both the storyline and tortur~d gouache paintings of trou drawing-giant cockroach villains, Records, Buttons, bl~d figures. Rather than being su hoody girlfriends and blockheaded perfluous, the maze frame makes heroes. The "serious" work retains Posters, Etc. sense, like physical configurations of this vigor and narrative quality while many original promotional Items the painstaking painted patterning being more fixed. My personal favor and collectables of all types. that always has engulfed her figures ite was a yellow, black and blue out HERE'S WHAT ROCK, JAll., R & b~fore . line bison with a diamond shape B, NEW WAVE, COLLECTOR'S YOU'VE BEEN ITEMS AS WELL The paintings of Philip Neal, an superimposed, a piece that looked AS BARGAINS -BUTTONS ASKING FOR MADE TO ORDER! artist of th~ same crop as Sweet, like a cross between a Lascaux paint Rucker and Poimboeuf, are the main ing and a black light poster. attraction. This show is more mixed Artists rarely achieve much real than it looks, all the pieces being fi nancial reward from their work and RocK N' RoLL REcORDS & CoLLECTABLES small , colored and gestural. Animal when they do, it's even rarer for them 3924 Magazine St. Open 7 Days & Evenings and anatomical imagery runs through to rock the boat by seriously altering HALFWAY BETWEEN NAPOLEON & LOUISIANA 8 9 1 - 9 3 1 9 th~ drawings with uneven results. In their format. Rene Haro, like Gordy WAVELENGTH I APRIL 1984 11 ~~JIW!a:.. """"""'~...i(B!Dll ...... ~.l/U· L ~JI011llfm.mJR ~::..--.~== I!R--....:r.-;;:;.; ll~mi?.mfuam~~:1w~~~llinrl"J;'lDffuuxf• !b OPENS FRIDAY, APRIL 6 AT A THEATRE NEAR YOU. last fall, elected to make such a trans any event, they' re wonderful. The formation, and the paintings and black and white drawings have a construction in the front gallery are greasy elegance, figures move up the result of a year's foray into inter from a roughly worked surface. nal waters. Angst gets played out here Noticeable similarities to other con in exuberant color. The paintings temporary artists occur, that DeKoon have plenry of expressionist brush and ing feeling crops up again in " Mae some nod to that master of the figur nad." The vulnerable abdomen in ative/expressionist crux, DeKooning, "Kore," a grey silhouette on a thick but the motifs are definitely Haro white background, recalls Manuel watermelons, fish and an arched Neri. back, squealing mad dog emblem. Emotion is funneled into marks He's got ample paint moving, often and limiting the subject to heads and quite well, but an argument between torsos just makes the work that much image and mark in some pieces still tighter. Sti!J, it is young work and not needs to be settled. everything is rosy. Color doesn't work And en fin, there's a new face at so well for her and the earth tone that pioneer gallery on Magazine pieces like "Nubian Kouros," "Half Street, the Bienville. Fresh out of Brother of the Nile-in-Flood" are Newcomb , this is Anastasia Pelias clumsy compared to black and white Antippas' first one person show. stuff. Pieces like ''Pygmy Warrior' ' With a handle like that, it's no have the gritty elegance of modern wonder the oil stick drawings on art, and ones like the lovely turp paper are paraphrased as " mythogra s~ained "Memnon Dying" and "Ex- . phic portrait heads of Gods, War cavated Heads" reward long viewing. riors, Savages, Priests,'' though to me We can just hope this is on ly the they look more like the heartfelt pro beginning. • jections of a 20th century mind. In rev1ews The Cold "Seem's Like Forever, " "You" and SIXTEEN SONGS "Mesmerized" are near-jewels of the genre and producer Vance DeGeneres OFF A DEAD had a hand in writing all these. Thank goodness they were included in the BAND'S CHEST album (where's "Wake Up?"). A Top Pop pleasant surprise is the writing of Ben Smith; his "Russian Around" jams Like David Byrne 's "Cities" and double puns with the intensiry of a most everything else in the world, the flunking English major on acid. severely belated (about three years), ''Thanks A Lot,'' which Smith co professionally packaged and retrospec wrote with fellow guitarist Kevin tively relevant new album from The Radecker, is goofy, unpretentious, and Cold has its good points and its bad the funkiest cut on the record (Barbara points. First the bad. Menendez' laugh at the end of the The production on this record leaves tune is the funniest moment on the a little to be desired. Side one contains record). those funny sounding singles that were In short, if you always liked the recorded at Knight Studios in Metairie Cold, then you'll probably like this and side two was recorded on the album (you'll probably like side one Riverboat President. The live side has anyway), and if you didn't you wo~ ' t . little presence or spatial ambience; it - nco sounds like a through-the-mixing board record, a technique which is Archibald almost totally inappropriate for a rock 'n' roll context. Were it not for the THE NEW ORLEANS applause and assorted teen-squealings SESSIONS these could sound like studio cuts (which is certainly a compliment to the Krazy Kat 7409 (England) band's facility as players). And why did these singers (except DeGeneres This is a superb and entertaining set and Smith, occasionally) insist on sing of blues from the master of New ing with those funny pseudo-British Orleans jive patter and barrelhouse accents? I can remember going to Cold piano. Recorded in 1950 and 1952, gigs and being floored by the physical these sides represent the 'purple power and pervasive sense of fun they patch' for Archibald, whose only com often projected . Side two of Sixteen mercial recordings appeared on Im Songs just doesn't come close to that perial. His only hit, "Stack-A-Lee," feeling. released three times by Imperial, is in On the good side, let's face it, the cluded along with his other frve singles Cold always knew what it took to and a couple of unissued sides to boot. make a pop song click. Side one is as Archibald's greatest attribute is the good as local new wave era power pop way he manages to inject so much ever got and it contains only originals. humor into his songs. Check out WAVELENGTH I APRIL 1984 13 "Great Big Eyes" or "She's Scattered ties that included such giants as Billie Everywhere" to see what I mean. He Holiday, Charlie Parker, Billy Stray· has the benefit of superb accompani horn, Max Roach, Thelonious Monk, ment, including Dave Bartholomew, . Horace Silver, Betty Carter, Art Blakey Ernest McLean and Earl Palmer, to and Baby Laurence. name but a few. The boys really hit Nicholas had not performed in New the groove and stretch out on the in Orleans in over 25 years until Turbin· strumental "Ballin' With Archie" and ton contacted him through Branford "Crescent City Bounce," although I'd and brother Wynton, whom Nicholas have to say on occasion everyone has befriended in New York. New should have checked their tuning. Orleans has a special place in Nicholas' Until now, Archibald has been a heart, being the birthplace of one of somewhat neglected figure, but his most profound inspirations, Louis hopefully this album will change all Armstrong. I that. It is my opinion that his name ''Louis and Mahalia Jackson and L TENTMUSIC 733-0571 OR 837-2326 belongs alongside all the other seminal Sidney Bechet, they went out into the Crescent City pianists. As far as blues world and were accepted everywhere," players go, he rates second only to said Nicholas. "Sidney Bechet died in Longhair and you can't say any more Paris and he was loved, they actually A full SCI'JIICC booking agency pro than that! -Almost Slim loved that man. Of course, people t'ldlng the finest In New Orleans everywhere loved Mahalia and they loved Louis, naturally. But there are arfisls, as well as nalional and ln At the C.A.C. so many great musicians that live here. lernallonal talent and touring They don't want to leave home, coordlnallon. 3 GENERATIONS they've got their families. They ain't OF SAX thinking about going out in the world ManJI Gms EntertaillmenL and they're just marvelous musi- Spet'iallsts March 9, 1984 etans.. " The performances opened with ex· ''Three Generations of the Saxo tended sets led by Marsalis and Tur· phone,'' a series of jazz performances binton which included originals, stan· NEWJiLEANS and workshops presented by Earl Tur dards, a number of Coltrane composi· binton, was held at the Contemporary tions and Mal Waldron's dedication to Dirty Dozen ngeKING AGENCY, INC. Arts Center, Snug Harbor and Loyola Coltrane, "Soul Eyes," musically trac· Brass Band University in early March. Branford ing influences from Nicholas through Marsalis represented the new genera Coltrane into the two younger genera P.O. Bux 1900.J cw Orleans, La 70179 (50.J) 9.J7-5.J.J3 tion on soprano and tenor, Turbinton tions. Turbinton reserved Nicholas' set was next on the chronological ladder for ~he piece de resistance of the on soprano and alto, and the legen everung. dary forty-year-veteran tenor saxo " Nick was playing from the heart," phonist and vocalist George ' 'Big said Turbinton. " You could hear his Nick" Nicholas played the grand happy times, and you could hear the master of the evening. The sax players times he might have been a little bit were joined by New Orleans pianist sad. You could hear the emotion, the Mike PeiJera, Miami-based trumpeter heart, the love in it. " 4 1/2¢ self-service copies, Melton Mustafa, and Curtis Lundy on A towering tribute to Nicholas' ar· bass and Greg Bandy on drums, both tistry and warm personality came in Reductions and Enlargements from New York. the Sixties when John Coltrane wrote Nicholas is a genuine jazz master, on Mon-Thurs 8 a.m.-7 p.m. • Fri - 8-6 and recorded the tune "Big Nick" coming up in the music world in the his collaboration with Duke Ellington. Sat- 9-5 1940's through the big bands of Earl He looks on these relationships with Hines, Tiny Bradshaw, Lucky Millin artists like Coltrane and Parker as per· der, Sabby Lewis,J.C. Heard and Diz sonal treasures rather than credentials. zy GiiJespie. Best known for his tenure· ''As far as Coltrane and Bird and • specialty papers as emcee and band leader at Harlem's I were concerned, we were friends," • typewriter rentals Paradise Club during the Fifties, he Nicholas explained. "Out of respect • passport photos hosted regular jam sessions and par- to them, I d~n't play their things. See, • binding: spiral or vela • word processing • color copies • business cards • rubber stamps • bannergrams • padding • stationery supplies • film processing • Free Pick-Up & Delivery CALL FOR A BID DOWNTOWN UPTOWN Howard Ave. 1140 5. Carrollton 801 861 581-2541 "8016 UNIVERSITY METAIRIE HAPPY HOUR 4-7 MON-FRI 75¢ a~rw,~tSrhnapps I 039 Broadway 1531 Metairie Rd. WED. LADIES NIGHT 7-til 75¢ B~ r WmP/Srhnillllls 866-6 156 831-8720 e 7 Days a Week e 482-2680/482·9843 14 W A VELENGTII I APRIL 1984 ••••••••••••••••••••• ALLIGATOR RECORDS CONGRATULATES our relationship was on another level. let them do it so easily, and this is the • • It was like brotherhood. They element of performance that Wynton respected me for what I was doing. So and his band have chosen to intensify. • CLIFTON CHENIER • I left it like that because if I would The held notes with which Wynton • • have pursued that it would have done harmonizes with Branford, creep up • ON HIS GRAMMY WIN! • something to me. I wanted to preserve on you from nowhere, then burst our relationship the way it was. Maybe before your eyes. Or a lush ensemble • • once in a while I might play ''Big sound will suddenly drop off into • ••••••••• • Nick" or a Bird rune. Other than that nothingness, letting the listener tum • .. I just left it alone, you dig? You see, ble into a dark pit of silence. ON SALE I knew everything they were doing, The accomplished jazz passage play • they knew everything I was doing. ing is there, of course. Every member • 'Cause we could all hear." is outstanding in this all-star band. Nicholas, Turbinton and Marsalis But all of this expertise-which we've §99 • took their talents and insights to heard coming out of Wynton and • Loyola Universiry to hopefully en Branford's horns for years and which • courage and develop the next genera you can find on their records-is sub LP or TAPE tion of jazz artists. ''We just try and ordinated to the dramatic structure. • see how much love we can pass on. The passage playing holds your in • When the music is played in that spirit terest, charming your mind, but it is • it's infectious. Everybody in the room the dramatic frame that moves you. • sort of becomes of one mind. At one The performance becomes musical • • point when Brandford, Nick and my spectacle in the best sense. The action • • self were up there on stage together, intensifes then drops off; scenes • you couldn't tell whether you were liv change (enhanced by outstanding • ing in the Eighties, the Thirties, the lighting effects), their juxtapositions • SEE CLIFTON LIVE AT THE • Forties, the Fifties, it was just time startle-the musicians suddenly • FAIRGROUNDS SATURDAY less," Turbinton added. • become silhouettes. There is an enor MAIN FLOOR APRIL 28th! "Big Nick" put it another way. mous emotional range. Wynton's • 897-5015 • "I've done these workshops all over records capture his music craft, but • • the country but to do it in New nothing matches the emotional inten • Orleans, it meant something special to siry of his live concert. It is positively • me • . After all, this music is a strong cathartic. I <;T • uadition here and these young peo Wynton will be back in May, when • • ple should know where people came he is scheduled to appear rwice in the from, and not disrespect it but cherish World's Fair Exposition's own jazz • 1017 Pleasant Street at Magazine Street • it and love it." -Bob Cataliotti festival Memorial Day weekend. His first appearance is as pact of the Louis McAllister Auditorium Armstrong alumni band Friday night, ••••••••••••••••••••• May 25, and then in a Marsalis family performance, WYNTON MARSALIS Sunday night, May 27. ' ' February 24, 1984 - Joel Simpson :1r THEBWE ~ Rads If all the international hoopla sur rounding Wymon Marsalis has SCREAM OF fostered any suspicions locally that he TilE REAL is more a creation of the media than an artistic phenomenon in his own EMI!Amenca DLP 19007 right, the Wynton Marsalis Quintet concert February 24 should have put Now if you're one of those real those ideas to rest. Hearing him live, sen'ous New Orleans music fans (you with Kenny Kirkland on piano, Jeff know who you are-you there wear Watts on drums, Charnett Moffett on ing the red bandana on your hand bass, and brother Branford on tenor like Cyril Neville or something), and soprano sax, provides a new you'd better hold on to your armchair dimension to the meaning of ensem (and/or joint) because this is an ble playing. The ensemble is his in album by the Rads with Fess playing strument every bit as much as the lead guitar and singing back-up uumpet. Through the medium of the vocals! That's right-the Rads with concert hall, his music comes to us in Fess on guitar!! You probably didn't exquisitely dramatic form. even know that Professor Longhair Wynton uses no electronically pro played the guitar, did you? Well, he duced sounds. An acoustic tradi didn't, sucker! And this ain't the tionalist? Perhaps. But the boldness of Rads with Eddie Volker on maracas his dramatic effects- his abrupt shifts and Frank Bua on tom-tom, either. in dynamics, suspenseful pauses, It's another crummy Australian band ironic rhythms-seem to be at least and Fess is Fess Parker, heretofore RoGER MILLER THE PLATTERS partially inspired by techniques to unknown to my ears. The only thing MAR. 28-APR. 10 APR. 11- APR. 24 which electronic instruments lend worse than Australian bands are themselves. If a synthesizer player can Canadian bands, an insufferably RoBERT GouLET shift from a whisper to thunder with boorish race of musicians and not a a half-second manipulation of a slide good-looking one in the bunch. conuol, then it is likely to become pan Doubters can ask Almost Slim, a of his style-idem with an automatic native Canadian who hates Canadian arpeggiator (cf. Wynton's circular bands with a passion. Why, he breathing on repetitive passages). The doesn't even like Gino Vanelli, the Blue' Room Reservations 529-4744. Cocktails& dinner/dancing to the Bill Clifford Orchestra. Entertainment charge. Shows nightly 9:00 and 11 :00 except Sunday. analogy cannot be pushed too far. The greatest New Orleans-style (well, point is that electronic musicians tend Metairie-style) singer ever to exit the THE FAIRMONT HOTEL to increase the dramatic component of frozen Canadian wastelands. OTHER FAIRMONT HOTElS IN SAN FRANCISCO, DAUAS AND DENVER their sounds because their instruments - Bunny Matthews WAVELENGTII I APRIL1984 15 One meter is equal to 1,650, 763.73 wavelengths of the orange-red light of excited krypton of mass number 86. Four Meters arc, left to right, Leo Nocentelli, "Zigaboo" Modeliste, An Neville and George Porter. his is how funk was invented in New Orleans. Mrican slaves, upon arrival in New Orleans The Metric System during the first half of the last century, dis T BY BUNNY MATTHEWS covered that they were allowed to practice their uibal drumming in Congo Square on the weekends- not so much because the city fathers drummer Joseph " Zigaboo" Modeliste. unit-once the name was changed to something were ethnologists but because the drumming was Funk, the music of this combo, was what organist more fluid to the tongue. Toussaint and each band popular with tourists, whose contributions (and I or Neville would call "organized freedom." True to member wrote a name on a slip of paper, deposited impediments) to local culture should not be under the music's Congo Square roots, it was devoted to the slips in a hat and selected one: ''The Meters.'' estimated. rhythms-cool, volatile, nasty, defiant, proud and The name was Toussaint's idea. During the Meters' After the Civil War (which temporarily halted the often funny rhythms. The group's brand of instru early years, a recurring motif in the band's publi progress of tourism in New Orleans) came Recon mental funk was sparse and uncluttered; the ideas city photographs was the ubiquitous parking meter. ruuction and the beginning of the Crescent City's came from everyday situations: chickens scratching Was the intended symbolism ''pay-as-you-go modern tourism era. Despised as the carpetbaggers in the dirt, Carnival parades and V-8 's running on funk"? were, they had money to burn and a desire to be six cylinders. ''At the time we was recording everybody and entenained, so the Mro-Orleanians concocted a new When the Neville Sounds were not in residence their grandmother, too," Porter says. "Everybody" form of racy urbanized music called jass or jazz. at the Ivanhoe, they toured the South in a blue Mer includes Lee Dorsey ("Ride Your Pony" and "Get Someone, inspired by these extraordinary sounds, cury station wagon, pulling a small trailer full of Out Of My Life, Woman"), Betty Harris ("Bad said, "That's funky!" sound equipment and instruments. George Porter, Luck" and ''I'm Evil Tonight"), Earl King, Ernie It was funky but it was not funk. Jazz slowly the band's electronics whiz and general-purpose Mr. K-Doe, Lou Johnson, DiamondJoe and such later, evolved into music for the head- music to mess Fix-It, recalls the genesis of one memorable compo outside agitators as Lowell George (who contribut~d with your head. The Dixieland branch taxed no sition thusly : " 'Look-ka Py Py' developed in the bits of oblique, uncredited slide guitar to the Reju one's intellect, however, and for that reason, it has car while we was riding down the highway and it venation album, Jess Rhoden, Robert Palmer, remained a perennial favqrite with inebriated folks was something we heard in the engine. 'Booka Labelle, Browning Bryant, Alben King and Richard from Anywhere, U.S. A. , making the promenade chee-uh, booka-chee-uh' - the engine was singing Newell, a.k.a. King Biscuit Boy (posing in front of down Bourbon Street and acting like fools. that. As I can recall, Leo was beating on the back the Original Brown Derby on his album jacket). During the '60s, those tourists strolling past the of the seat and Zig started singing, 'Da-bow-she Ivanhoe Piano Bar were afforded the opportunity bow-wow ... ' From there on, we was just going down or a period, the Meters continued to do their to witness the creation- the actual birth-of funk. the highway chanting." nightly sets at the Ivanhoe and devoted the The creators were Art Neville and the Neville The Neville Sounds came to the attention of com Fdays to work in the recording studio under Sounds, composed of Neville- the former sailor and poser I producer Allen.Toussaint and his partner, Toussaint's direction. According to Porter, there was Hawkette- and his three young accompanists-gui Marshall Sehorn, who offered the band steady scarcely time for a quick po-boy: "We were just cut tarist Leo Nocentelli, bassist George Porter and employment as session players and as a cohesive ting sessions. We used to go to the studio in the George Porter gives fair warning. WAVELENGTH I APRIL 1984 17 early 'afternoon and come out the next morning. The most radical aspect of Cabbage Alley (now this period. The albums recorded for Warner We'd be recording four or five different artists at deleted, like all other Meters albums, from the Brothers were uniformly spectacular in an aesthetic a time. We'd just go in there and stay in there 'til Warner Brothers catalog) was the introduction of sense and Toussaint, wisely, let the Meters go about we were tired. Toussaint would have food brought vocals, provided by Art Neville (who had had his their business alone in the studio. The albums give to the studio for us.'' own hit records with "Cha Dooky-Doo" and "All production credits to Toussaint and the Meters The Meters, recording for the Josie label, releas These Things'') and the charmingly gruff' 'Ziggy'' although Toussaint was often away from the ed four consecutive hit singles in 1969: "Sophisti Modeliste. Cyril, the youngest of four Neville premises when the songs were cut, cruising around cated Cissy," "Cissy Strut," "Ease Back" and brothers contributed the primary vocals (including New Orleans in his Rolls-Royce and listening to the "Look-ka Py Py." In 1972, after a successful tour "Be My Lady" and "My Name Up In Lights") to soothing Muzak broadcast by WBYU. of the Caribbean, the Meters released the first of the Meters' final Warners album, New Directions, The zenith of the Meters' recording career was Re five albums for Warner Brothers, Cabbage Ailey, issued in 1977. juvenation, which features the classic selections, named for the old neighborhood stomping grounds Leo Nocentelli, besides adding four or five guitar " People Say," "Mrica," and "Hey Pocky A-Way," of Art Neville1s youth. parts to each song, was also responsible for many derived from a traditional Mardi Gras Indian chant, of these lyrics. Nocentelli's lyrical work, as astutely originally recorded by Jelly Roll Morton for the Li observant of contemporary sociology as the songs brary of Congress. Rejuvenation, with the unforget- of Bob Marley, included the great "Lonesome and . table "Meter Maid" on its album iacket (three-foot ·unwanted People." wide Mro, rhinestone-studded platform shoes, A SELECfED There are bad people out there, Nocentelli's song Twinkies, watermelon slices, crushed velvet proclaims, and more likely than not, they're going upholstery, gilt bric-a-brac and a fifth of vintage Rip METERS to get badder. These were hardly the usual funk ple), is funk defined-a heady synthesis of the rhythms and nuances of soulful New Orleans. DISCOGRAPHY The Rolling Stones, ever vigilant for fresh musical blood, "discovered" the Meters at a party given by During much of the '60s and '70s, the Paul McCartney aboard the Queen Mary (Bob Dylan Meters were Allen Toussaint's main backing and Karl Malden were among the dancers present) group on hundreds of recording sessions. and hired the band as an opening act for tours of Many of these tapes remain unreleased both Europe and America. On some evenings, the (presumably residing in the vaults of Sea Stones refused to take the stage for an hour or more Saint Studio) and no one-not even the after the Meters' sets-so powerful and energetic was Meters themselves- can accurately account the music from these brash New Orleans funksters. for all of these sesssions. Mick Jagger, above all else, does not like to be Between 1968 and 1971, Josie Records upstaged. released three Meters albums and numerous Meters singles: ommercial success- reaching the white mid LPs dle-class masses-eluded the Meters. There Cwere squabbles with managers and fights The Meters Josie LP 4010 among band members. How could such things be Look-ka Py Py Josie LP 4011 avoided when the world's critics were saying that the Struttin' Josie LP 4012 Meters were the best funk band in existence, yet A compilation of the Josie tracks later ap husding to make ends meet was still the order of the peared as Cissy Strut (Island ILPS 9250) in day? a simulated alligator skin jacket. Approx San Francisco producer David Rubinson was hired imately ten years later, many of these same to produce New Directions, which would be the fmal selections were featured on the English Meters album. The photograph on the album album, Second Line Strut (Charly 1009), jacket-with the silhouetted Meters pointing their one of two Meters albums still available. heads in five (Cyril was now a full-time member) dif ferent directions-could've been no more prophetic. 45 s The album, complete with a cover version of Peter Sophisticated Cissy Josie 1001 Tosh's "Stop That Train," was recorded and the Cissy Strut Josie 1005 Meters secured a juicy kumquat-performing for the Ease Back Josie 1008 millions who tuned in to watch Saturday Night Live. Look-ka Py Py Josie 1015 Art Neville seized the moment and quit; smiling Hand Clapping Song Josie 1021 · David Batiste sat in. Cyril, ironically, sang: Stretch Your Rubber Band Josie 1026 I'd ltke to be a wn"ter, Doodle-Oop (The World Is Josie 1029 A singer or a fighter A Little Bit Under Anything I could do to get The Weather) My name up in lights ... After the Meters' return from New York, Cyril also Good Old Funky Music Josie 1031 lyrics about slipping out with the Backdoor Man to jumped ship and joined his brothers in the new Between 1972 and 1977, the Meters shake one's anatomy: family-oriented combo. The Meters, with "Zig" and released four albums on the Reprise label Dig it: Leo plus various substitutes, hung on-never quite and one album on Warner Brothers: While you're standing on the corner dying, never quite living up to the funk standards LP s: Shooting sevens of earlier days. You can be busy trying to help yourself Alas, the Meters refuse to die and in a series of Cabbage Ailey Reprise MS 2076 In a for better way ... recent "reunions," the older and more refined Rejuvenation Reprise MS 2200 There are people using drugs, Meters have attempted to engender a new, funk Fire On The Bayou Reprise MS 2228 Popping pills, tiona! audience. An Neville remains more devoted Trick Bag Reprise MS 2252 Trying to get prescnptions filled, to the family band than to the Meters, Leo Nocentelli New Directions Warner Brothers BS 3042 Stealing money, is a busy session-player on the West Coast and both In 1983, RGA Records released The Stealing cars "Zig" Modeliste and George Poner have numerous Meters at Rozy's [sic), purponed to have ac And they don't believe in Santa Claus! outside musical projects. The brightest spot on the tually been recorded elsewhere. Our in They just won't believe in Santa Claus! Meters' horizon is a Jazz Festival cruise aboard the formed sources tell us that the album was Of course, this was New Orleans-Roman Cath President, starring the Meters in their funkified glory, mastered from second-generation cassette olic New Orleans-and a little pleasure was not too with Steel Pulse opening the show and Dr. John join tapes, thus accounting for the disc's feeble unwholesome, as evidenced by the lyrics to "Fire ing the Meters for encores. It is a well-deserved honor fidelity. Nevenheless, Art Neville claims On The Bayou,'' recorded a few years later: for a New Orleans band that has never had much that the album is essential Meters funk. One brought a pill, competition in the realm of funk. Just ask 'em: The Rolling Stones, among others, are in One brought a joint, I got the funk down to a tee, possession of high-quality, unreleased live When you're getting down, Ain't nobody gonna out-funk me, Meters sets from the mid-'70s. You're doing things right. This is something you better not miss- The Meters were doing things very right during Let's see if you can out-funk this! • WAVELENGTII I APRR 19114 18 Ltnda Hopktns, left. La Lube Alt, below. "Carrying a camera has always seemed to me like something of an aggressive act. I really think that's why it's called shooting. I don't believe my talent is ip going out and fmding pictures. I find my talent is in bringing people here and working with them on their own terms." 'Here' is the upstairs studio on Esplanade Avenue; the photographer is George Dureau. Dureau is New Orleans' signature artist, having simply gobbled up more territory than anybody else in town. In a period when such antique pursuits as painting, drawing and their upstart cousin, art photography, are divorced from pop culture, George Dureau's work remains popular in the best sense of the word. His pieces can be found throughout the city, from Ninth Ward ~ungalows to the drawing rooms of Audubon Place. A painter for twenry years before picking up a camera, he started taking pictures of his models some ten years ago ''just so I could get them out of my house. In those days I was drawing so much, there was always someone here." George Dweau the artist is a thoroughly local product. In New Orleans that means among other things that he is nol obsessed by modernity. WAVELENGlH I APRD. 1984 19 Ray Webster, above; Pee Wee Brock, right; Brian Reeves, below. He retains an old fashioned, atelier method of taking photographs. His models are posed in the window corner of his studio and he usually works only when the natural light is good. In the studio, backdrop \ a ' cloths hang on the walls and low side table overflows with old prints and contact sheets. There are props around the room: boxing gloves, a clarinet, pedestals, lances, a helmet. 20 WAVELENGlH I The format of his pictures is classical and serene. Dweau is obviously content to allow the modern tension and rough stuff to come from the bodies and personalities of his subjects themselves. In ten years as a photographer he has taken pictwes of children, cripples, dwarfs , artists, writers, weighdifters, break dancers, musicians, neighbors. Virginia Levie Tbts page: Tbe Turtle Band of Belize 111.1914 21 Putting The Fizz In Swamp Pop BY RICO wamp pop is not some new brand of sassafras school assistant principal. "You owe me two beers, area have ever heard. I'm just a little afraid that these soda brewed in Carencro to cure cayenne-in bra!" is how he laughingly greets the impatient jour beautiful songs might all die with us.'' Sduced ulcers, but this distinct local music does nalist who has given him the wrong directions to their As a strong vocalist and even stronger drummer, bear a noticeable formal similarity to Marna's best meeting place. "One for me and one for my pod Storm has seen the development of swamp pop from dean-out-the-icebox gumbo. Take Fats Domino's na, Dalton!'' (Dalton will later lend invaluable the inside out. His 1958 version of " Prisoner's Song" piano triplets, some of Hank Williams' pathos, take mechanical assistance to the journalist and his can was a massive hit along the Gulf Coast and earned the joyous spirit, happy harmonies, and incessant tankerous Volkswagen.) But Johnnie's mischie him a spot in J.D. Miller's stable of outstanding ses beat of good chanky-chank, take some Jimmy Reed vousness turns serious when he begins to discuss the sion players. His taut drumming style has graced the funk and a little of B.B. 's blues, take the simple but confusion with which some people see swamp pop: grooves of many classic singles and albums issued brilliant compositions of Cookie Thierry or Bobby "I think for years people associated swamp pop so from the Crowley studio including Slim Harpo's Charles, the great vocals of Phil Phillips or Rod Ber "Rainin' In My Heart" and Lazy Lester's seminal nard, mix this up with the powerful playing of the album of South Louisiana R&B, True Blues on Ex area's best musicians and you get a twenty-five-year cello. Warren acknowledges that the Floyd Soileau/ old recipe for real south Louisiana rock 'n' roll call J.D. Miller/Eddie Shuler triad was integral to the ed swamp pop. development of swamp pop ("they had the stu Swamp pop is the blare of three saxophones dios"), but he is also quick to credit his fellow ses behind a wailing vocalist as you open the door to sion musicians with their vital contributions. "We Connie and Jody's wedding reception at Camp always had a real good time on those sessions, but Bayou Corne. It is the soaring bridge to "Sea of you didn't have any strangers back then like you have Love" that retains its power and majesty after a today. We just all played our parts like we felt. We million spins on some cheap backwater hooky-tonk went by feeling. The musicians did most of the jukebox. It's often crude, always real and very arranging.'' Like his buddies, Storm has a true irrepressible Ca jun sense of humor. "It's real funny to see how some Rod Bernard of the clubs can misspell your name. My band is call ed 'Cypress and Willie Tee' [Trahan]. We played closely with Fats Domino's type of music that they this club in Monroe one night and when we pulled couldn't distinguish one from the other, but there up outside, the sign said: 'Tonight: Norm Storm and is a difference. You can compare the sound of Cypress with Willie Tree'! Man, I'll bet at least ten 'Mathilda' to the sound of 'Blueberry Hill,' and it's people showed up to see us that night!'' a different feel. But swamp pop music is just as in Warren Storm, Rod Bernard and Johnnie Allan digenous to south Louisiana as R&B or Cajun or are three very typical swamp pop artists and close zydeco, and swamp pop has mort! big selling records, friends. They share a camaraderie, a common ethnic like Rod's, than Cajun and zydeco put together!" and musical heritage of which they can be rightful Allan has never had that one smash single that ly proud. They also share a refreshing optimism many of his cohorts have enjoyed, but for the past two decades he has been a consistent draw and a strong entertainer at clubs all across South Louisi ana, and he enjoys steady album sales. Although he and his peers have never graced the stage of the Festivals Acadiens or the Jazz Fest ("We've been try ing for years, man, but they've totally ignored us''), you can bet that at the Hula Hoop Inn on Assump tion Parish's Grand Bayou, Johnnie Allan's name is Johnnie Allan a household word. Rod Bernard, whose i959 hit "This Should Go danceable. You can hear it in scores of big and little On Forever" reached #20 on the Billboard Hot 100, night clubs on any weekend from Donaldsonville to reflects back on the early formative years of the genre: Port Arthur and it has won the Good Houserocking "We didn't intentionally try to create a certain sound Seal of Approval from both Dave Edmunds and the back then, it was just everybody contributing their Fabulous Thunderbirds. part to what we felt should be on it. We were all Why, then, isn't swamp pop a household word on that 'lick.' It's amazing how we were all think in the living rooms of Louisiana and its cable ing the same thing. " connected video screens? Why hasn't it been given Since his initial burst offarne in 1959, which won the recognition and appreciation it deserves by other him a tour spot with Frankie Avalon, Frankie Ford than a handful of fanatic European record collectors, and Chuck Berry , a gold record, and an appearance hardboiled stateside enthusiasts, and rural jitterbug on Amencan Bandstand, Rod had favored studio gees? Why isn't swamp pop and essential part of the recording and the occasional album release over the Warren Storm PHOTOS BY RICO New Orleans Jazz and Heritage Festival? grind of weekend nightclub work. He now works as This year, it is. Due largely to the efforts of British a sales representative for KLFY-TV in Lafayette and about the future of their art form that shows in the musicologist John Broven, singer Frankie Ford and lives with his wife, two children, three horses, and smile of Johnnie Allan as he leans across the table manager Ken Keene, swamp pop will make its debut several cats in a comfortable woodsy suburb of with an almost confidential scoop: "Hey, you want at this year's Jazz Fest. On April 28, Frankie Ford Lafayette. In the personal and financial security of somethin' for W(ltle/ength magazine, bra, look, on will welcome Rod Bernard, Johnnie Allan, Warren his little piece of the world, Bernard can speculate June the tenth there's gonna be a swamp pop festival Storm, Jivin' Gene Bourgeois and Van and Grace on the future, both near and distant: "I've always right here in Lafayette. AJ. LeBlanc, the director of (Dale is unavailable) to the Jazz Fest srage where each wondered what would happen if we ever did a con the Alleman Center, it's for retarded kids, is put artist will perform a twenty-minute set of his or her cett in front of a bunch of people, like the Jazz Fest, ting it on at the Acadian Village. Rod, Warren, and most popular songs. Bernard, Allan and Storm are and we'd get to play a lot of these songs that we myself will be there with Jivin' Gene, Roy Perkins, all residents of lafayette and the trio gathered recent know are real pretty, real danceable, real listenable. thirteen of us all together. We're doing this for free. ly at Rod's house to discuss the upcoming event. I'm curious to see what the people are gonna say We're gonna send letters to all the major networks, Johnnie Allan is a real character. As he wheels about it because there's so many of those songs that it's gonna be a worldwide publicized thing. Final around Lafayette in his blue custom van, his boyish have been laying around here since the Fifties that ly, " he says with a satisfied chuckle, "our own rascality peers through this well groomed, retired we know of, but that very few people outside this · festival!" • 22 WAVELENGTH I APRIL 1984 'Mash potatoes, do the alligator ... ' CHRIS KENNER: MAN OF 1,000 DANCES outside Sam's or the Dixie Belle on Rampart. See , Kenner's bookings were done by Percy Stovall. Chris liked to oil-he liked to drink.' ' "I always wondered why Chris had them hits," Kenner's first break came in 195 7, when Baton recalled Stovall just before his death. ''He couldn't Records, a New York R&B label, came here look sing, he couldn't dance, he dressed raggedy-he ing for talent. This time Kenner had made the grade just stood there. He didn't have any showmanship and he cut the bluesy "Don't Pin That Charge On and he was drunk all the time. Me" and "Grandma's House." Despite the high "I put him on the road with the Dukes of Rhy quality of Kenner's performance, the record didn't thm and I used to tell them to play loud, to cover sell and he continued working on the docks. him up. I never did book Chris back into the same hat do Fats Domino, The Doors, Cannibal Not long after the Baton disappointment, Ken place twice. I tried to get him to let Little Jessie and the Headhunters, Junior Walker, Tom ner approached Dave Bartholomew who was run Thomas take his place on the road, but he wouldn't W Jones, Wilson Pickett, Ike and Tina ning Imperial Records in New Orleans. ''Chris was have any part of it. I was in North Carolina once Turner, Major Lance, Paul Revere and the Raiders always a person who didn't have a voice,'' Bartholo and I tried to tell him, 'Man, you got to please the the J. Geils Band and Patti Smith all have in com mew told Rick Coleman and Terry Pattison in a people, you can't get away with that foolishness .' mon. Here's a clue: radio interview. " Chris had been coming around He would get so drunk he would forget the words You gotta know how to pony, for years. This day he said, 'I got something really to his song. They used to boo and throw bottles at Like Bony Morone. good today.' I said, 'It better be, because I'm get hIm. . " You gotta know how to twist, ting ready to got to lunch.' So he sang 'Sick and ''Sick and Tired'' proved to be a big local hit for Goes like this. Tired,' and said, 'What do you think of that?' I Kenner in 1957. It inspired a version by Fats Mash potatoes, said, 'You got it!' I didn't need no more. Sure Domino the following year that became a substan Do the alligator. enough, we recorded the tune and it was a very big tial national chart buster. Nonetheless, Kenner Twist a twister, tune for Chris." would have only one more record on Imperial. Like little sister. "Lew Chudd [owner oflmperial] said he couldn't Then you get your yo-yo, ccording to Lee Bates, a fine soul singer in handle him," continues Dave Bartholomew. "he Say hey, let's go-go. his own right and later a chauffeur for Ken said he didn't have a voice and he didn't think he That's right. All the previously mentioned artists, A ner, there was considerable time between the was selling. One thing Chris had, he was a hell of plus a number of other major artists and lesser actual recording of "Sick and Tired," and its re a writer. And he was original. Lew Chudd dismiss known ones, have recorded versions of one of the lease. ''Chris was hauling sacks of sugar on the docks ed him, but it turned out he was wrong because most recognizable rock 'n' roll songs of all time, after he cut 'Sick and Tired,' "says Bates. "He was he stirred the world up a couple of times. '' ''Land Of 1000 Dances,'' which was written and at his sister's house when the record first came on After receiving his release from Imperial, Ken recorded originally by New Orleanian Chris Ken the radio. He didn't even know they were playing ner began making the rounds of the local indepen ner. But Kenner was much more than a one-shot his record. His sister had to say, 'Chris, that's you dent labels. He stopped in to see Joe Banashak, who wonder. Besides having his material recorded by on the radio!' He didn't even know himself! All owned A-1 Distributors, the company that was get scores of other artists, he also managed to cut a few of a sudden, bam. Chris is in a station wagon and ting Minit Records off the ground in 1959. Al of his own hits. Kenner ranks next to Allen Tous we are working on the road." though Banashak felt most of his material sound saint and Bartholomew-Domino as a songwriter, yet ed too much like "Sick and Tired," he expressed . his death a few years ago went virtually unnoticed interest in recording a tune Kenner had down on and his work has largely been taken for granted. a demo tape called ''I Like It Like That.'' The pro Christopher Kenner was born on Christmas Day ject had to be scrapped for a time when the two in 1929 in Kenner, Louisiana, a suburb of New couldn't come to contractual terms because Ken Orleans in adjacent Jefferson Parish. Like many ner apparently demanded an exorbitant we a other R&B performers, Kenner began singing with record. his local church choir as a youth, and later with a Eventually Kenner approached Wallace Daven gospel group, the Harmonizing Four. port, who had a small label called Pontchartrain, After moving to New Orleans to work as a long and cut the rambunctious "Don't Make No Noise." shoreman, Kenner continued to sing in an infor Soon after, he had an isolated release on Joe Ruf mal gospel quartet with his brother, John Davis, fino's Ron label "Rocket to the Moon," but neither and Earl King. Gospel singing would influence sold like "Sick and Tired." Kenner greatly, even after he made the switch to Later, in 1961, Kenner reapproached Banashak, R&B in the late Fifties. who had since embarked on a new label called A squat, heavyset man of medium height, Ken Valiant, with Irving Smith, the owner of a local ner easily assumed his nickname, "Bear." Before record shop. This time the two came to an agree turning to songwriting, Kenner had tried prize ment and Kenner was dispatched to the studio with fighting to pick up some extra money. "Chris had Allen Toussaint at the helm as arranger and pro been trying a long time before he got a break," ducer. They cut "I Like It Like That," the tune recalls Earl King. "Every time one of these record Kenner had originally pitched to Banashak. companies came to town Chris would be down at ''Chris didn't happen until he got with Allen,'' Cosimo's trying to audition. Johnny Vincent [Ace says Earl King. ''His stuff would turn a lot of peo Records] was interested in a tune Chris had and he ple off.~ It took Allen to interpret what he meant. wanted someone else to cut it. Left to right: Buddy Williams, drummer; Johnny If you'd ever heard some of those tunes before they "Chris was always kind of a loner. He wasn't in Adams; unknown comedian; Chris Kenner, 1964. were cut they were nowhere near what the records to the Dew Drop or the Tiajuana scene in those were like. days . But you could always see him on the corner ''Chris kept the songs in his head. He got a lot 24 WAVELENGTH I APRIL 1984 of his ideas from Willie Mabon and Joe Turner. I that only sounded good when they came out of think a lot of his songs sounded like Willie Mabon's 'Chris was like J. y Chris. I think Allen intimidated Chris a bit because style on 'I Don't Know.' His whole theme of writing of his talent. Chris would always be sober and on was around Willie Mabon." Reed. If he was sober, it time for those sessions when Allen was around. You Just as the record peeled off the presses, Banashak was abnormal.' have to give Allen a lot of the credit for Chris' suc and Smith were forced to change the name of their cess because he really worked hard on those songs.'' label when it was brought to their attention that -Earl King Later that year, Kenner wrote and recorded the a Valiant label was already in existence in Califor song which would become synonomous with his nia. Banashak knew that deejays were constantly name, ''Land Of A 1000 Dances'' (reworking an looking for "instant" hits, so he decided to give that night. He'd give all his money to some woman old spiritual, "Children Go Where I Send You") them some-he named the label Instant Records, in the projects. by interspersing verses about all the current dance which would soon become one of the most influen "My job was to try and keep him sober. He never trends. Whether he could handle it or not, rock 'n' tial and important R&B labels in New Orleans. was too good on stage except when he wasn 't drunk. roll immortality was on the immediate horizon. The name change hindered "I Like It Like That'' Drink took over his mind and he lost a lot of gigs. Curiously, nowhere on the record does Kenner say initially, but after a few months of moderate sales, Some nights I remember he couldn't even stand up anything about a "land of a thousand dances, " it spilled its exuberance over onto the national R&B to sing. But when Chris ate, I ate. He kept me alive. even though he does name twenty or thirty dances. charts and the pop charts soon after. When the He was that kind of guy.'' But a privileged listen to the master of the tune smoke finally cleared, "I Like It Like That" sold On the record front, Kenner's second Instant clears up the mystery. It contains a ten-second in one-half-million records during its seventeen-week release, ''Packin' Up,'' fell far short of the promise troduction that was omitted from the issued record. climb to #2 in Billboard's Hot 100. Kenner ap of his debut disc, selling poorly even in New On it Kenner moans in uue gospel fashion, ''I'm peared on Dick Ciark'sAmencan BandstandinJune Orleans. Not so though for his third Instant release, gonna take you, baby, I'm gonna take you to a and his song was nominated for a prestigious Gram "Something You Got," which didn't hit national place. The name of the place is the land of a thou my Award. Quite a beginning for Kenner and a new ly, but became one of the biggest local records of sand dances,'' and then the band falls in. Later on record company. the Sixties. Kenner even forgets a verse and manages to moan " 'Something You Got' sold a lot of records instead of sing at other appropriate moments. nfortunately, probably no one was more ill here," recalls Instant's boss Joe Banashak. "I "Chris kept the songs in his head, " says Lee suited to rock 'n' roll stardom than Chris couldn't figure out why because I couldn't even give Bates, who observed a number of Kenner's sessions. UKenner. A kind but simple man, Kenner's it away as close as Baton Rouge. Well, I asked K "He didn't write down nothing. Chris would get drinking and spending sprees were legendary. Doe and Benny Spellman why the record was sell behind the piano and moan and groan until he Besides constantly frustrating promoters by missing ing and they said, 'Don't you know, man? The kids came up with an idea and then he was ready to gigs-not to mention forgetting the words to his are learning to dance the Popeye to 'Something You CUt.'' songs-he just didn't behave in the manner befit Got.' Well, I'll tell you how dances affected records: ting a person with the #2 record in the country. we sold 30,000 records and that was just in New t the start, ''Land Of A 1000 Dances'' failed "Chris was like Jimmy Reed ," says Earl King, Orleans off the Popeye.'' to catch on, even in New Orleans. This was "If he was sober, it was abnormaL When Chris got Kenner had a couple of other releases on Instant A much to the chagrin of Joe Banashak who his money, he put himself up in a hotel room. As in 1962, the gospel-flavored "Time" and "Let Me desperately needed a hit to save his struggling dis long as he had his liquor, he would isolate himself Show You How To Twist." The latter incorporated tributorship. To bolster sales of the record , from the public. If he had liquor and room service, the "I Like It Like That" formula while trying to Banashak suggested that Kenner try to get Fats that was his thing. He'd stay there until all the cash in on the latest dance craze. "Twist" and its Domino to record it for Fats' new label, ABC. On money was gone. When he was broke he was on flip, "Johnny Little" were a departure from most the advice of his lawyer, Cbarles Levy, Fats agreed the street and back to normal. " of Kenner's early releases in that both sides were to cover the tune in return for 50% ot the song's Lee Bates concurs. "Chris was a hotel man, he penned by arranger Allen Toussaint (under the alias publishing and writer's credit. Kenner was broke liked to stay up in a room. We had been with him N. Neville). again and was only too happy to get some advance in the morning when he had three or four thou ''Allen had trouble writing for Chris,'' claims money. But if that wasn't enough, Kenner also sand dollars and he'd be begging money for drinks Banashak. ''He took all these funny little breaths cemented a similar deal with Fats for the rights to W AVELENGTII I APRIL 1984 25 "Something You Got" and "Packin' Up." a deal. What I didn't know was that the pressing bottles and drinks thrown at him by an irate au Even Domino's cover failed to stir the ashes of plant had an order for 15,000 the very next day. dience, when they felt that the authentic item was Kenner's version, however, and " Dances" was con But it was too late, the record started breaking aJI actually a fraud. sidered all but dead. To make matters worse, A-1 over the country. Rejuvenated by "Land Of A 1000 Dances," filed for bankruptcy, putting the entire Instant label ''Atlantic took the credit for making 'Land Of Banashak reactivated Instant with a series of releases in limbo. 1000 Dances' happen but it was already break by local artists, including Kenner. "Come Back and However, after more than a year, a strange thing ing without them. They had the single and I leas See" and "What's Wrong With Life" were good happened to the record, as Joe Banashak picks up ed an album to them a little later. It was a good tunes, but only scored around New Orleans. the story: 'Losing the distributorship was a real move for Chris. I was going through a dry period Towards the end of 1963, Kenner, Johnny blow. I was completely out of the record business and it put him on an active label.'' Adams, George French, Joe Jones, Eskew Reeder for a while. I started pulling weeds and cutting grass Kenner's version of "Dances" reached a respec and Earl King were in Detroit auditioning for the to relax my mind. Well, I got a call one day from table #77 during its seven-week stay in the charts, Motown label. According to Earl King, Berry Gor a distributor in Chicago who wanted 2,000 copies but really that was just the beginning. Kenner dy was set to sign Kenner, who was nearing the close of 'Land Of 1000 Dances,' and the record started started gigging on the road again, often with tragi of his Instant contract. "At the time, 'Land Of A happening there. Then Atlantic came to see me and comic results. Percy StovaJI recalled that there was 1000 Dances' was #1 in Detroit and it was scorching. they were interested in the record. I owed them more than one Chris Kenner imitator posing as our Chris had a gig at the Greystone BaJlroom with some money and I needed some too, so I signed hero. Once he related, the real Chris Kenner had George French and Johnny Adams. When those guys got through, there was no response from the audience. But when Bear got up there, it was like a time bomb went off. He must have been sober that night because when he hit the stage, everybody in the place fell out screaming and hollering. "That's the thing about a hit record, once it gets going, things snowball and there's not much you have to do. 1 thmk the reason why a lot of Motown groups put 'Land Of A 1000 Dances' on their albums was because it was such a hit in Detroit. Berry Gordy was all set to sign Chris, in fact they recorded some stuff, but Chris split a day before the rest of us and left Berry with the hotel bill to SE-505 pay. I think that made him leery about Chris and nothing ever became of it.'' Improved 2-way stereophonic headphones with new polyester film diaphragm, and volume enner eventually did get a premature release and tone controls. rom Instant in 1964, engineered by Charles evy, who was now also Kenner's legal counsel. Soon after, Kenner signed a songwriter's contract for Fats Domino. In return for writing ma terial exclusively for Domino, Kenner received a $500 advance, and $20 a week for the 20-week dura tion of the contract, to be subtracted from his forth coming royalties. On top of that, Fats would receive half of the writer's credit and, of course, half of the publishing money. Although nothing much came of the Domino ar rangement, quite suddenly, a number of covers of Kenner's tunes became national hits. In the sum mer of 1964, fellow New Orleanian Alvin Robin son had a #52 hit with "Something You Got." Then early the following year, a garage band from California, Cannibal and the Headhunters, scored a #30 hit with "Land Of A 1000 Dances," which was followed by the Dave Clark Five's rendering of " I Like It Like That," which notched in at #7. Not to be outdone, Wilson Pickett had his biggest record ever in 1966 with " Land Of A 1000 Dances," which climbed to #6. As a result, Kenner was on the receiving end of a tremendous amount ofBMI songwriters' royalties. ''I think all that money was a shock,'' says Earl King. "I really think it did a number on his mind. A lot of people didn't think Chris was getting his SE-505 features a two-way speaker design, with the money at all because every time you'd see him he woofer employing 45mm (1-25/32 inch) diameter poly regular $75.00 was out on the ester film diaphragm for a thrilling and dynamic bass re streets looking like a bum-but that sponse. The Tweeter uses 32mm (1·1/• inch) diameter was Chris. polyester film for extended and subtle high frequency re "Chris was the only guy that ever owed money sponse. Moreover, the tweeter is enhanced by its to BMI. Every time I would see him, he'd ask me aluminum voice coil that improves response linearity and NOW to type a letter to BMI to get an advance. And they improves the large input acceptability. Overall, use of would send it because they knew that money was polyester film means that the SE-505 delivers a consis tently excellent transient response. The unit has inde coming in. Every few months they'd send him a pendent volume controls and tone controls for each check for three or four thousand dollars.'' $29.95 Eventually channel, both attached to the body of the set. Kenner resigned with Banashak in 1965 after he failed to secure a better deal elsewhere, but he would have mixed results there. Banashak leased a session on Kenner to Uptown Records, STE.,EO Iii Fl CO. which was produced by Allen Toussaint. Although 1909 TULANE AVE. 524-2343 "The Life Of My Baby" b /w "They Took My Convenient Storeside Parking Open Daily 9-5 - Closed Sunday Money" was a catchy single, it failed to click. Long-term Financing Available through CIT - Free Delivery "Never Reach Perfection" and "What's Wrong With Life" later appeared on Instant and captured VISA - MASTER CARD - MR SOL Cont'd on page 36 26 WA VELENG111 I APRIL 1984 The Delicate Tongue Of Leroy jones ew Orleans trumpeter Leroy Jones was only ''The longest gig for me on Bourbon Street was fourteen years old when he was chosen to like six weeks, so I never had the opportunity to N perform during half-time ceremonies at the build up a following. And they'd always hire an 1972 Superbowl. In predictable show biz fashion, other band, a white band playing Dixieland. At one the promoters chose to dub him ' 'Little Louis Arm place I worked the owner was sitting at the bar with strong.'' Seemingly contrived and overblown, the his buddies sending notes up to me saying 'Play title is actually quite appropriate, fitting Jones' more Dixieland music.' Meanwhile, the house is mastery of the traditional New Orleans idiom and already 80% full. So I got on the mike, I said, 'This his musical attitude as well. Like Armstrong, he gals sing gospel, you know, the soul... " is the reason you're hiring so-and-so, because they finds no contradiction in being an unabashed enter In 1974 Leroy left the Fairview band in the hands play Dixieland. And I asked the people in the audi tainer as well as a self-conscious artist. "I want to of younger musicians, and formed his own Hurri ence-and I don't normally do that 'cause it's not make people happy," Leroy says, with words that cane Brass Band. This group played the Smithso in my nature-I said, 'Are you folks enjoying this deflect the seriousness of his ambition. "Make 'em nian Institute of Folklore Festival as well as inter music?' And everybody applauded. The owner call snap their fingers.'' mission sets for a few Quincy Jones-Brothers Johnson ed me outside afterwards, he was really mad. The New Orleans musical community, at least, concerts. The seemingly incongruous combination '' 'What do you mean by embarrassing me in knows what he's up to. Fellow New Orleans trum of contemporary funk and New Orleans street jazz front of customers?' peter Terrance Blanchard, in an interview conducted did not phase Jones, who views all music as a kind " 'Well, you insulted me by sending that stupid soon after joining Art Blakey's Jazz Messengers, of organic whole. "I don't believe in cutting myself note up. You knew what kind of music you were spoke about Jones as "the first person to really open off from the latest sounds. I like Michael Jackson, getting when you hired me. Furthermore, will you my eyes to how a trumpet should be played. Even llike some of the things Grover Washington is do let me play out my week in peace and leave me when he was in high school, he was monstrous. It's ing. I guess my favorite pop groups would be Earth alone?' '' a shame he doesn' t get the recognition that he Wind & Fire ... and the Crusaders." And you thought jazz had something to do with should.'' Having recently landed a gig five nights By the end of 1976,Jones turned down a scholar freedom of expression .. . a week at the prestigious Hotel Intercontinental, ship to Loyola's School of Music ("My learning Jones now has the opportunity to expand his local comes from being around other musicians") and he final irony of all this is that Leroy Jones is following. The entertainer in him just couldn't be began playing with Lee Bates and Hot Corp. Inc. , still trying to shake off a misbegotten reputa I• satisfied with remaining a musician's musician. a Bourbon Street-based jazz-rock and rhythm and Ttion as a " Dixieland" player. In a city where Born in New' Orleans' Lower Ninth Ward in blues band. so many of the downtown clubs feature only the 1958, Leroy began playing trumpet at age eleven, With this group, Jones made his first extended safest and most commercial jazz, this kind of situa first inspired and instructed by his trumpet-playing but ultimately ill-fated excursion outside New tion is hardly surprising. Leroy feels fortunate to music teacher, Sister Mary Hilary. By the end of one Orleans. Mter a four week, thoroughly mismanag have a gig on his own terms. At Pete's Pub in the year he was already playing well enough to lead the ed jaunt through central Florida, he returned home Intercontinental, he draws his listeners .n with jazz/ Fairview Baptist Church Christian Band, a group broke and without prospects for steady work. pop warhorses like "Ain't Misbehavin' "and then initiated by the Reverend Andrew Darby and direc A major turning point for the young musician proceeds to challenge them with an extended rendi ted by two elder statesmen of the New Orleans jazz came about a year later when clarinetist Hollis Car tion of John Coltrane's ballad "Naima." It is in scene: Danny Barker and Charlie Barbarin, Sr. Bark mouche hired him for his' 'Jazz Cajuns'' group. It these more introspective numbers that Jones gets er remembers that the Jones garage on St. Denis wasn't so much the music they were playing that most involved. Street was the center of activity for the neighbor made it special, nor even the fact it was here that ''When people think of a trumpet player, they . hood's musical youth. Jones began developing his vocal talents. But it was often think of somebody who's gonna blow them ''I used to walk down the street and listen to Carmouch who introduced him to the bebop mas out of the damn window. But it can be played deli Leroy and his friends playing rock music,'' Barker ters- and particularly trumpeter Clifford Brown. cately, and that's the type of trumpet playing that said, "and I got to thinking that they should be "I though bebop was crazy music. I didn't under I want to explore." playing jazz. Leroy could play with sense, not just stand it. But then, I never even heard of Clifford Since 1980, Leroy has had an increasing number foolishness.'' Brown until1978. That music was as foreign to me of opportunities to perform outside New Orleans. Before long the Fairview Band began playing local as avant garde would be to someone who just listens While the response is always greater (Holland made parades and concertS (including the New Orleans to straight music. I started late with it, but now I him an honorary "Ambassador of Goodwill" and Jazz and Heritage Festival), eventually attracting na feel I can fit comfortably in any musical situation. a Canadian promoter paired him with Eddie tional and international attention, winning engage "Cieanhead" Vinson), Jones has no plans to leave ments at a Kennedy Center jazz tribute and later his hometown permanently. And he hasn't been for a BBC broadcast. ''Even when he was in losing any sleep over the prospect of recording con Though raised a Catholic, Leroy has a deep appre tracts or producers or big-time management firms. ciation for the Baptist Church influence in his high school, he was Interest in the music itself is foremost in his mind. music. " I've always had the church in my music, monstrous. '' "I want to play with total logic and continuity," you know, the Baptist spirituals like 'Bye and Bye,' he says. "I've only been playing for 15 years. I'm 'Closer Walk With Thee,' 'Saints Go Marching In.' -Terrence Blanchard still practicing. I'm looking forward to where I' II And then we used to sit in church and watch those be ten years from now. '' • 28 WA VEI.ENGTII I APRIL 1984 Top of the Charts No. Albums Singles Tlte boys i11 Dur1111 Dumn strike cool poses. 1 1984. ''Jum ·· Pl1oto: t\1111 S1111111111 Van Halen Van ~len (Warner Bros.) (Warner Bros.) 2 Milk and Honel. ''Thriller:· Critic's Choice John Lennon Michael Jackson lain Blair Takes On "The Fab Five" Yoko Ono (Epic) (Polydor) Duran Duran is perhaps the perfect band for 1984. Everywhere you look 3 Footloose "99 Luftballoons." you see their videos, their posters, their soundtrack Nena (Columbia) (Epic) image - on TV, in clubs, on bedroom walls. And everywhere they go they 4 Learning to Crawl, "Wra~ped Around The Pretenders Your 1nger." provoke the kind of adolescent hysteria (Sire) The Police (A&M) the likes of which America hasn't seen since the Fab Four first conquered these 5 90125. " Girls Just Want Yes to Have Fun." shores some twenty years ago. But every (Atco) Cyndi lauper (Portrait) generation needs its own heroes, and in 6 Christine McVie. " Nobody Told Me ... that respect there's nothing false or Christine McVie John Lennon calculating about the frenzied scream (Warner Bros.) (Polydor) ing that greeted the band at their sold 7 Touch, "I Want a New Dru~," out LA shows. But while The Beatles Eurythmics (RCA) Huey Lewis & the ews immediately appeared as four real kids (Chrysalis) from the streets, complete with blem 8 Genesis, " Karma Chameleon." ishes and all, Duran Duran have magi Genesis Culture Club cally emerged as five perfect beauty {Atlantic) (Virgin/Epic) queens - the logical result of their 9 Somewhere in " Got a Hold on Me ." stunning MTV campaign that built an Africa. Christine McVie entire image on exotic locations, and Manfred Mann's (Warner Bros.) Earth Band (Arista) carefullv manicured sex. But of course there's a price to pay, 10 Windows and " Here Comes the and in a bizarre twist, the hysterical On Tour Wails, Rain Again," Oan Fogelbel'l! Eurythmics (RCA) girls who rushed to the Forum to see Van Halen rocks all over the U.S.A. through mid-May. (Full Moon/Ep1c) their heroes in the flesh seemed far Courtesy ofThe Gavin Report. a national radio music more obsessed by their huge video a new LP. The Automat! has the Dream trade /OUrnal images on the screen above the stage Hottest Videos Syndicate recording their forthcoming than the lads themselves. Faced with sim Top Five Sony Video '45s A&M record with Sandy Pearlman, Personal Favorites ilar abandoned adulation twenty years along with projects by Narada Michael ago, The Fab Four wisely decided to re 1. David Bowie (" China Girl," " Let's Walden and Holly Near ... No less than Neal Schon, lead guitarist for Journey, tire from the circus of touring and con Dance," and "Modern Love") hm bona-fide guitar heroes are at New picks his five favorite guitar players: centrate on their music in the studios. 2. Duran, Duran ("Girls On Film ," York's Blue Rock Recording. Tom Ver 1. Albert King; 2. B. B. King; 3. Jeff Considering Duran Duran's latest song "Hungry Like the Wolf") laine is completing his new self-pro Beck; .t. Michael Bloomfield; 5. Eddie writing efforts, it might be wiser for 3. Michael Nesmith ("Rio" and "Cruising " duced Warners album, while Ouis Sped Van Halen them just to concentrate on their videos. trom.Eiephant Parts) ding is doing some demos. Meanwhile 4. Jesse Rae ("Rusha" and " Desire") Blue Rock owner/Emmy-winning pro 5. Todd Rundgren Videosyncracy ("Hide ducer Eddie Carvin is working on a proj " away," "Can We Still Be Friends," and ect with a new group, The Hard beats ... "Time Heals") The Plugz, lggy Pop and Burning Sensa tions are among the groups featured in Top New Sony Video '45s the soundtrack to Universal's new film, 1. Phil Collins ("In the Air Tonight," " I Repo-Ma11 . Peter McCarthy is producing Missed Again," "Through These Walls" the music at Cherokee Recording in LA and "Can't Hurry Love" ) with engineer Brad Gildennan. Recent 2. Sheena Easton ("Telephone," " Machin action at Cherokee also includes Barbra ery," " Ice Out in the Rain," and " Morning Streisand co-producing her new CBS Train (9 to 5)" ) single with Marilyn and Allen Berg 3. Iron Maiden (" Run to the Hills," "The man, and Lindsay Buckingham com Number of the Beast," " Flight of Icarus" pleting an Elektra project with producer/ and "The Troopers") engineer Gordon Fordyce ... Ultra-hot 4. Rick Derringer (Video LP including " Easy remix specialist John "Jellybean" Ben Action ," " Rock and Roll Hoochie Koo" itez is remixing singles for a wide range and "Hang On Sloopy'') of artists at Sigma Sound Studios/NY. In 5. The Kinks (" Come Dancin'," " Don't for the "Jellybean treatment" are Paul Forget to Dance," "Predictable ," and Simon, Cyndi Lauper, Billy Idol and "State of Confusion" ) two tracks from the Footloose soundtrack by Bonnie Tyler and Deniece Williams. John Luongo is also at Sigma completing In the Studio . .. a Blancmange album and a remix of Jefferson Starship are hard at work on Huey lewis & the News' "I Wanna New their new RCA/Grunt album with pro Drug." At sister studio Sigma Sound/ ducer Ron Nevison. The group cut Philadelphia, hitmakers Gamble & basic tracks at the Automatt before Huff are producing a new record for The moving over to the Plant for mixing O 'Jays . .. Translator spent a weekend at and overdubs. These two prominent San Francisco's Hyde Street Studios re Bay Area studios have been hosting cently, cutting a three-song demo with 17 mg. "tar", more than their share of California engineer Garry Kreiman ... New York's based talent recently. Bonnie Hayes & Soundworks Digital Audio/Video Stu Warning: The Surgeon General Has Determined 1.3 mg. nicotine the Wild Combo are at the Plant finish dios Ltd. reports that Joe Cocker is in the That Cigarette Smoking Is Dangerous to Your Health. av. per cigarene ing up their new album Brave New Girl studio working on a new record with by FTC method. and Tim Weisburg is also at work on producer Gary Katz. april listings Wednesday, 18 Mummenach•nz, not a cycle of prints by one of the German "Little Masters," but a mime theatre I dance troupe. Dixon Hall, 8 Sunday,1 p.m. Information at 865·5143. April llool'• Anti·R••dlng: Poetry •nd Pro•• of S.tlre, Nonaen•• •nd Friday, 20 Abaurdlty, Maple Leaf Bar, 2:30 onward, Cllmu Bluea a.nd, Riverboat President. caps with bells and inflatable pigs' bladders available at the door. Saturday, 21 N•tlon•l Art Critic• llorum, Contem· Jeff Lorber Fualon, Riverboat President. porary Arts Center, 1 p.m. Call523·1216 for Jud•• Prleat, Mississippi Gulf Coast Col· more information. iseum, Biloxi. Moz•rt Spring Concert with orchestra. Sunday, 22 St. Louis Cathedral, 3 p.m., free. Jud•• Prleat, Baton Rouge Centroplex. Tuesday, 3 Wednesday, 25 Ad•m Ant; the Rom•ntlca, UNO Lake Mualc •t Mldd•y, clarinet and piano front Arena. works performed by Van Philpot and John White. Rogers Memorial Chapel, Tulane, Song• of Love •nd Betr•y•l, a cabaret free. show with Parisian mezzo Helen Delavault, which sounds like just cup of caf'conc; Friday, 27 Yvette Guilbert, of course, sang songs that At the ll•lr Orounda, Bo Diddley, Li'l alternated between Thomist Piety and the Queenie and the Skin Twins, Guitar Slim. ghoulishness of the Theatre Grand Guignol. Jr., a cast of thousands. - hope Mme. Delevault is keeping this valuable tradition alive. J•zz Feat Annlvera•ry P•rty, spon· sored by Liberty Bank, Riverboat President, Wednesday, 4 7 p.m. and midnight. Fats Domino, the · Mualc •t Mldd•y, violin and piano Neville Brothers, Dr. John plays Mac sonatas performed by Peter Hansen and Rebennack. Kelly Parkinson; Rogers Chapel, Tulane, noon, free. Saturday, 28 Adem Z.g•J•wakl, Polish poet and At the llelr Orounda, Fats Domino, Solidarity leader, reads from his works. Jerry (I Remember When Mama Said .. .) Tulane, place TBA, 7:30; information at Butler, Swamp Pop revue, vigintillions more. 865-5260. Junior Phllh•rmonlc Society of New Friday, 6 Or... na in concert, Dixon Hall, 10:45 a.m. Ted Nugent, the man whose idea of a Soul •t the S•enger, Saenger Theatre, peaceable kingdom is a trophy room-but 7 p.m. and midnight. Ray Charles, the Ius· still, a nonpareil. UNO Lakefront Arena, 8. cious Raelettes. and the Rav Charles Or Or•••roota, Riverboat President. Sooner chestra; AI Green; Dave Bartholomew's big or later, you'll wait a million years because band with guest vocalist Johnny Adams. the river is wide ... or something like that. Sunday, 29 Friday, 6-Sunday, 8 At the F•lr Orounda, AI Green, Earl WTUL Fund·Relalng M•rethon, on the King, Odomankoma Kyerema Troupe of Quad with scads of live bands, including the Ghana and all the rice in China as well. ~plights on Saturday. Day long; free. S.lute to New Orle•n• J•zz, Riverboat Sunday, a President, 8 p .m. Included on this voyage Tul•n• Concert B•nd, Jackson Square, through luxe, calma et hot-cha are Pete 1 p.m. Free. Fountain, Linda Hopkins. Percy and Willie Ch•mber Mualc, Grace Episcopal Humphrey's Preservation Hall Bands and Church, 7:30; mezzo Leslie Jones and a such international favorites as the Neptune Rockln' Dopsle, chamber ensemble perform Bach's trio Jazz Band of Zimbabwe, the N.O. Rascals Maple Leaf Bar, April 6. sonata from the Musical Offering. lnforma· of Osaka and the only·slightly-more·sedate tion at 488·5142. sounding Sensation Jazz Band of Canada. World S•xophone Qu•rtet, Snug Har bor. shows at 6 and 9. Wednesday, 11 Mualc •t Mldd•y, David Evenson in a piano recital, Rogers Memorial Chapel, Tulane. free. French M•rket Concert Serlea, All Thursday, 12 from 1 to 3, all free. Sun.1: Pierre Descant. Eurythmic•; Re•l Life, McAlister Audi· Sat.7: Frankie Lynn. Sun.8: Ted Riley. torium, 8 p.m. Another salute to Emil Dal· Sat.14: legendary New Orleans drummer croze. who needs all of them he can get. Chester Zardis. Sun.15: Frank Fedenco. 81ster Aimee, the world premiere of a Sat.21 : Danny Barker. Sun.22; Herman new opera by Odaline de Ia Martinez and Sherman's Young Tuxedo Jazz Band, join· John Whiting based on the career, which ed at 3 by the Desire Community Chorus. some might call nefarious, of the founder Sat.28: Andrew Hall's Society Jazz Band. of the Four Square Gospel, Sister Aimee Sun.29: Pud Brown. Semple McPherson, whose kidnapping was one of the most mordantly lively cause· New Orle•n• Phllh•rmonlc·Symph· celebres of the Twenties. Dixon Hall, ony, Orpheum Theatre. Tues.3 through Tulane, 8 p.m. Information at 865-5269. Thurs.5, Andrew Massey conducts, Guher and Suher are duo-piano soloists, in a pro· gram of Mozart, Beethoven and Brahms Saturday, 14 Tues.24 and Wed.25: Philippe Entremont J•zz lmprovla•tlon•l Clinic with conducts with Gabriele Fontana as guest J•mey Aeberaold, saxophonist and soprano in a program of arias by Mozart. teacher; Dixon Hall, Room 118, 1 p.m. In· Puccini and Stravinsky. formation at 865·5139. 81ater Aimee, as above. Sunday, 15 S.x Concert with J•m•y Aeberaold, Antler'•• 555 Jefferson, Lafayette. Dixon Hall, 7:30 p.m. Information at 318-234·8877. 865-5139. The Big Apple, Highway 1. Larose, New Orle•n• Symphony, free open-air 693·8688. Seats 2000! concert, Washington Square Park, 2 p.m. Booker'•• 1040 Texas Ave .. Shreveport Information at 524-0404. 318-425-2292. Boys of the Lough, Billy T•ylor •nd Trio, a benefit for NOC Chief'• Southalde, (formerly Trinity's). Tlpltlna's, April 1. CA, International Room of the Fairmont. 7 4365 Perkins Road, Baton Rouge. p.m. Information at 899·0055. 388-9884. 30 WAVELENGTii I APRIL 1984 Circle In The Square, Shreve Square, Society Jazz Band from 8 (horn charts by Shreveport. 318-222-2216. Nell Nolan). CIMc:r'• Lllndln• end Brick Street Deje Vu, 400 Dauphine, 523-9170. Live Tawem, Shreve Square, Shreveport, music Sundays in the afternoons; we're told 318-227-9611 . by our network of informers that the bands Deeperedo Seloon, Highway 90, are young and that (for those elderly cus Raceland, 1-537-3647. tomers wheeled in in their patent chairs) blporlum, 2183 Highland Road, Baton they bring back perfectly that dim period Rouge, 387-9538. of Sike-A-Delia. IMcii'.-A Cefe, 5202 Desiard Street. Dorothr'• Medelllon, 3232 Orleans. Monroe, 318-343-9950. Snake-dancing, examples of adiposa dolo G11teon Street Lounge, Covington, rosa in motion for Bolero-eyed girl wat 1-892-7057. chers, and Fridays and Saturdays, Johnny Grwlt Street Dence Hell, 113 Grant Adams and Walter Washington with the Street, Lafayette, 318-332-9569. House Band. . Fri.6: ~·· Club, 517 Parkway, Breaux Drwem Pelece, 534 Frenchmen Bridge, 318-332-9569. Nine Miles. Sat.7: U 'l Queenie and the Skin .._...... _• ., Shreve Square, Shreveport, Twins. Fri.13: Allison and the Distractions. 318-227·9611 . Sat.21 : Mason Ruffner. Fri.27: the Sam lro11 Horse, 403 Phillip, Thibodaux, Brothers Frve (is this anything like the Seven 1-447-9991 . Santini Brothers?). Sat.28: Marcia Ball...... _.. Street C.fe, 209 Jefferson, 1801 Club, 1801 Stumpf Blvd., 367-9670. lafayette, 318-234-9647. Wednesdays through Saturdays: Janet ...... , Breaux Bridge Highway, Breaux Lynn and Ya Ya. Bridge, 318-332-4648. Felrmont Court, in the Fairmont Hotel, The 01' Corner Ber, 221 Poydras, 529-7111. Tuesdays to Saturdays, Judy Breaux Bridge, 318-332-9512. Duggan occupies the piano bench from 9 ,_•• Piece, Old Town, Slidell. to 1. Sundays and Mondays: Pat Mitchell ,...._.loe'e,12375 Florida Blvd., Baton at the same hours, and again during the Rouge, 1-273-2376. week from 5 to 7 .. lllarediH Club, 121 S. Buchanan, Fet c.ts, 505 Gretna Blvd., Gretna, lafayette, 318-232-5313. 362-Q598. Wednesdays: Nifty Fiftys at 9. illartr Town, Military Road, Slidell, Thurs. through Sat.: Janie Grice and Cross 1-649-3867. town Traffic at 10:30. Sundays: Nifty Fiftys Rubr'• Rendez·V-, Highway 190 in at 7:30. Mandeville, 1-626-9933. 544 Club, 544 Bourbon, 523-8611 . RlletJ llell, 540 E. King's Highway, Wednesdays through Saturdays, Gary Shreveport. Brown and Feelings. CMS from 9 to 9 lcerlett 0'•• 1025 Broad, Lake Charles, Fridays through Sundays and from 9 to 3 318-436-8742. other evenings. llck'e Muelc Hell, Highway 31 , St. Mar Fool on the Hill, 1000 Bayou Black Dr., tinville, 318-394-3867. Houma, 851-6892. Sun.1: A Blue-Eyed Soul ._~~_ end L.obster Inn'• Flrealde Revue. Fri.& Sat.7: Bugs Henderson. Fri.13: ,., 820 E. King's Highway, Shreveport, that Blue-Eyed Soul Revue again. Sat.14: 318-868-5306. The Sheiks. ._mboet Annle'a, Shreve Square, Pwte F_._.,., In the HiHon, 523--4374. Shreveport, 318-424-8297. Pete Fountain and his band, at 10 nightly; Tenth Floor, Shreve Square, Shreveport, one show only and reservations probably Johnny Reno at Tip's April 7. 318-425-7539. a good idea. TebJ'e, 1303 Grimme! Drive, Shreveport, Oenllo C.fe end Ber, 1018 Decatur, 318-222-9903. 522-o862. Alfresco ragtime piano each afternoon and again as night is falling. Houllben'a. 315 Bourbon, 523-7412. Uve music of a jazz nature outside on weekdays from 7 to 11 saving Fridays; the music moves inside on weekends and starts two Aor'•• 1925 Sophie Wright Place, hours later. 525-7239. Wed.14: The Models. Other dates Ike'• Pl8ce, 1701 N. Broad, 944-9337. TBA. Sundays: Red Morgan and his band from lillie'• Del Latlo, West End Park. Sun.1: 8. Thurs: Dynamite Red. Fri. and Sat.: Step Keystone. Wed.4: Damascus. Thurs.5: Vital per the OJ. Signs. Fri.6 through Sun.8: Silk-n-5teel. .-...... ,• ., 8200 Willow, 866-9549. Thurs.5: Wed.11 : Chain Gang. Thurs.12: The Clique. The New Aviators. Fri.6: WTUL's rock-on Fri.13 through Sun.15: Rainstreet. Wed.18 marathon. Sat.7: Force of Habit and The lfld Thurs.19: South. F ri.20 through Sun.22: Mistreaters. Tues.10 : The Deno Cruise Aqua. Wed.25: Andalusia. Thurs.26: Fury. Band. Fri.13: The Models. Sat.14: The Back Fri.27 through Sun.29: Tricks, courtesy of beats. Thurs.19: Slow Sculpture. Fri.20: 3-D Renaud Camus. B. Sat.21 : Mrs. Bates and the Hands. Fri.27: 1uu Geate, 7011 Read Blvd., 242-9710. The Radiators. Sat.28: Pop Combo. Fri. May Sunday through Thurs.: Larry Janca at 8. 4: Backbeats. Sat. May 5: The Neville Fri. and Sat.: Larry Janca's Legionnaires Brothers. (just as long as you can't catch that disease Le Moulin Rou••• 501 Bourbon, from getting too close), featuring AI Claude 524-4299. A Night In Old New Orleans with Brenda, at 10. {hope the Spring Fiesta Assoc. doesn't get 11ue Room, in the Fairmont Hotel, wind of this ...) ; with Becky Allen and her 529-7111 . Through April10: Roger Miller, Ollorine Chorines demonstrating why care Reuben, Reuben, Prytanla Theatre In April. like a pendulum do, and all the rest of it. forgot the city; shows at 8 and 10, nightly Wed.11 through Tues.24: The Platters. save Sundays. Sun.4: Oluck Easterling and Real Ufe, McAlister Auditorium, Aprtl12. Wed.25 through May 8: Robert Goulet. his band, from 9. Mon.5: Wanda Rouzan Reservations; dancing, as well. and her band. loltbr'• Piece, 520 East St. Bernard The Lewee, 738 Toulouse, 523-9492. Mon H9Jway, Olalmette, 27Hl137. Fridays and day through Saturday, Ralph Cox, from 8. Saturdays: Bobby Cure and the Summer Sundays: Jazz jam. lime Blues. The Loop, 6207 Franklin Avenue, lonllperte•a Retreat, 1007 Decatur, 282-Q501. Sat.7: The Generics. Sat.14: 561-9473. Ralph Cox, every day except Force of Habit. Sat.2 1: Nothing Personal. Sunday. Sat.28: The Models. lountJ, 1926 West End Park, 282-9144. ..pie Leef Ber, 8301 Oak, 866-9359. Certainly the darkest and most "intime" of Tuesdays: U'l Queenie and the Skin Twins; W.E. clubs. Fridays and Saturdays: Cross Wednesdays: Mason Ruffner and the Blues CNer. Rockers. Thursdays: Bruce Daigrepont and C.fe St. Cherlea, 509 Canal Street, Bourre. Sundays: the Wabash Company 522-5266. Wednesdays through Saturdays, (sans cannonballs). Mondays: Endangered lhe James Drew Trio, including Jim Single Species with Terry Manuel, Cyril Neville and ton and Jeff Boudreaux. Charles Moore. Thurs.5: Annual Cajun Carrollton Stetlon, 8140 Willow, Dance Contest. Fri.6: Rockin' Oopsie and 865-9190. Blue grass Sundays, call for the the Twisters. Sat.7: Beausoleil. Fri.13 and other six days. Sat.14: The Killer Bees (Bea Benaderet? Column• Hotel, 3811 St. Charles, Bea Lillie?) Fri.20: Exurna. Sat.21 : Red 899-9308. Wednesdays: Andrew Hall's Beans and Rice Rewe. Fri.27: Marcia Ball. N FRO Ronnie Earl and the Broadcasters ··smoking'' BT-l 023 The Cold Cuts "Meat The Cold Cutsl" BT-1021 Anson Funderburgh and the Rockets Johnny Reno and "She Knocks his Sax Maniacs Me Outl" "Born To Blow" BT-1022 BTEP-1025 Anson Funderburgh and the Rockets "Talk To You By Hand" BT-l 001 Buckwheat Zydeco's "J 00°/o Fortified Zydeco" Black Top Records are distributed in the U.S. by Rounder Records, One Camp St., Cambridge, Mass. 02140 (ph. 617-354-0700) 32 WAVELENGTII I APRIL 1984 Sat.28: Gatemouth Brown. Sun.29: Zachary Sun.1: Boys of the Lough (is Lough anything Richard preceded by the Wabash like a Slough, especially that one of Des· Company. pond that John Bunyan wrote about). Menefee's, 1101 N. Rampart, 566-0464. Thurs.5: McCoy Tyner and Tuts Washing Gall for information. ton (now that's some inspired program· Munster's Dance Hall and Bar, 627 m1ng). Fri.6: The Neville Brothers. Sat.?: Lyons, 899·9109. Sat.7: Hour Gang. Sat.14: Johnny Reno and His Sax Maniacs. Sun.8: Esplanade. Sat.21 : Esplanade. Sat.28: The WTUL Marathon with T·Bone Burnett who Ravens. made perhaps the indispensable recording Old Absinthe Bar, 400 Bourbon, of "Diamonds Are A Girl's Best Friend" 524·7761. Wednesdays through Sundays: no kiddin'. Thurs.10 : TBA. Thurs.12: Jason Bryan Lee from 10 until 4 a.m. Saturdays and the Nashville Scorchers. Fri.13: the and Sundays: Mason Ruffner and his Blues Neville Brothers. Sat.14: Steve Morse and Rockers, from 4 to 9, and again on Mon· Woodenhead. Sun.15: WWOZ farewell par day and Tuesday from 9:30 until 2 a.m. ty. Tues. 17: John Mayall and his Blues Old Opera House, 601 Bourbon. Mon.· Breakers with special guest " retired" Stone Fri., the Loose Band from 4:45 to 8:30. Mick Taylor (tentative). Thurs.19: Joe Tues.-Sat. : Aubry Twins, from 9:15 'til. Sat., " K1ng " Carrasco and the Crowns. Fri.20: Sun.: ELS from 3.30 to 8:30. Koko Taylor and her Blues Machine-and Parkvlaw Tavern, 910 N. Carrollton, get out of the way when she kick starts that 482·2680. Fri.6: Bourre. Fri.13: Tim Wil sucker. Sat.21 : The Bat1ste Brothers pay liams. Fn.20: The Renegades. Fri.27: tribute to the late, great Jackie Wilson. Mason Ruffner and the Blues Rockers and Tues.24: Touchstone. Thurs.26: Culture and shockers. the Soul Defenders. Fri.27: Clifton Chenier Penny Post, 5110 Danneel. Sundays, and his Red Hot Louisiana Band. Sat.28: always open mike. Check the board as you The Neville Brothers. Sun.29: Marc1a Ball. go in. Mon.30: TBA. Tues. May 1: Bo Diddley and Pete's Pub, Hotel lnter·Continental, Offspnng. Wed. May 2: Battle of the Brass 525-5566. Every day from 9 to 12, trumpeter Bands, featuring the Dirty Dozen, the Pin· Leroy Jones. stripes, and the Chosen Few with Tuba Player'• Club, 399 N. Claiborne, Fats. Thurs. May 3: The Gladiators. 528·9988. Thursdays: Reggae Night. Tyler' s, 5234 Magazine, 891·4989. Pontchartraln Hotel, Bayou Bar, 2031 Modern jazz, good raw oysters. Mondays: StCharles Ave., 524·0851 . Bruce Versen Ellis Marsalis and Steve Masakowski. Tues. : from 5 until 9, during the week, save Leslie Smith with Rick Daniels, Mike Thursdays and Fridays. Joel Simpson takes Pellera, Rudy McCormick. Wed.: Mike over post·cocktail and post·prandial Pellera Quartet. Thursdays: Germaine Baz keyboard duties and is joined by Rusty zle. Fridays and Saturdays: The James Gilder on bass on Saturdays. Rivers Movement. Sundays: John Kaytron Preservation Hall, 726 St. Peter, and Sally Townes. 523·8939. Along with Galatoire's and K Paul's, one of the three places in town that consistently draws a long and deserved line outside; the only amenities are the musical ones. Sundays: Harold Dejan and the Olym Contemporary Arts Canter, 900 Camp, pia Brass Band. Mondays and Thursdays: 523·1216. Through Sun.15: Miss Marga Kid Thomas Valentine. Tuesdays and rida 's Way, a play whose only character is Fndays: Kid Sheik Colar. Wednesdays and an 8th grade biology teacher. Saturdays: The Humphrey Brothers. Mlnacapalll'a Dinner Thaat,., 7901 S. Riverboat President, Canal Street Claiborne, 888·7000. Through May 5: Docks, 524·SAIL. Fri.6: The Grassroots. Oklahoma! Sat.?: Irma Thomas. Fri.20: Climax Blues Players Dinner Theatre, 1221 Airline The Killer Bees at the Maple Leaf Bar, April 13 and 14. Band. Sat.21 : Jeff Lorber Fusion. Fri.27 and Highway, 835·9057. From Sat.?: A Shot In Sat.28: Jazz Fest events, for details of The Dark, a French sex-and·crime farce, which see Concert listings. turned into (of all things) an Inspector Seaport Cafe and Bar, 424 Bourbon, Clou'seau movie on these shores. 568·0981 . Tuesdays through Saturdays, Rosa Dinner Theatre, 201 Robert St., Sally Townes. Gretna, 367-5400. Through Sat.21 : Last of 711 Club, 71 1 Bourbon, 525-8379. In the the Red Hot Lovers, a Neil Simon farce. Showroom, Nora Wixted and John Autin Thurs.26 through June 2: Impolite Comedy, from 9 on Sundays and Mondays; each certainly a promising title. other night, Randy Hebert. In the piano bar Saenger, 524·0876. Through Sun.1: from 8, Thursdays-Mondays, AI Camelot, with Richard Harris going through Broussard. the Lerner and Loewe version of La Morte Club Sliver Dollar, 1254 N. Claiborne, d 'Arthur. Tues.3 through Sun.15: On Your 822-5226. Call for listings. Toes, the Rodgers and Hart musical about Slidell Hotel Bar, Slidell, 643-7020. a vaudevillian who gets involved with a Wed.4-Sat. 7: TBA. Sun.1 : Silk·n·Steele. temperamental ballerina, played in this in· Sun.8: Trace. Wed.11-Sat.14: Fresh. stance by Leslie Caron. This musical is Thurs.19-Sun.22: Skruples. Thurs.26: probably remembered more for introducing Sheiks. Fri.27: Topcats. Sun.29: Trace. baUet to Broadway in the form of Slaughter Snug Harttor, 626 Frenchmen, 949{)696. On Tenth Avenue, rather than for its often Thurs.5: The Harry Connick, Jr. Quartet. delicious score-"Quiet Night," "Too Good Fri.6: Tony Klaatka's Quintet. Sat. 7: The for the Average Man," " The Heart Is Pfister Sisters in their salute to Clabber Girl Quicker Than The Eye," and the often-over and Arm & Hammer, Baking The Blues looked title number. Away. Sun.8: World Saxophone Quartet at Theatre Marlgny, 616 Frenchmen, 6 and 9. Thurs.12: Sensational Uptown 944-2653. Through Sat.21 : Love When You Fri.13: The Surv1vors led by aeoona1r Least Expect It by actor-play· Songs of Love and Betrayal, Toulouse Theatre, April 3. Ramsey Mclean. Sat.14: Lyle. Sat.15: Edu wright·social·worker·bon·vivant Richard and the Sounds of Brazil. Thurs.19: Sam Chaney; the play deals with age crisis in a Edu and Henrietta Alves and the Sounds of Brazil, Snug Harbor, Henry's 4-H Club (finally, some decP.nt fami· homosexual man. With the T.M. troupe: April 15. ly entertainment). Fri.20: The Pfister Sisters Sheran Schreiber, David Swisher, et al. Call in their A Nightingale Sang In Coliseum the theatre for performance dates and Square revue. Sat.21 : Guitar Wars with times. Brad Catron, Steve Mars and Jimmy Robin T oulouse Theat re, 61 5 Toulouse, son and Queensbury Rules. Sun.22: Mike 522-7852. Fridays through Sundays at 8: Pellera, David Torkanowksy, Johnny Vida· One Mo ' Time. Tues.3: Songs of Love and * covich. Thurs.26: Consensus. Fri.27: The Betrayal, cabaret with mezzo soprano Ellis Marsalis Quintet. Sat.28: Alvin Batiste. Helene Delavault. Sun.29: TBA. UNO Theatre, 286·6806. Fri.27 through Sugar Mill, Kenner. Fri.6: The Nobles. May 2: Ondine, Giradoux's fantasy about Sat.7: Sneeker. Fri.13: Southwind. Sat.14: a nixie, sort of. The Contours. Fri.20: The Nobles. Sat.21 : Southwind. Fri.27: Sneeker. Sat.28: South Wind. Wednesdays and Thursdays: The Top cats from 10. Tlpltlna•a, 501 Napoleon, 899·9114. Contemporary Arts Canter, 900 Camp, Wednesdays in April: The Dirty Dozen. 523-1216. Wed.4· Pe rsonal Problems, I;JifliltJ;I 1\11131~1•1;1 ljtJIII;IlM ~«•,:Me C:lliiQt,, SAT. 7th-Beau SUNDAYS solei! Wabash Co. FRI. 1 3/SAT. Blue Grass 14th-Killer Bees Band, 8 pm MONDAYS-The Endangered FRIDAY 20th-Exuma Species w/Terry Manuel, Cyril Neville & Charles Moore SATURDAY 21st-Red Beans & Rice Revue TUESDAYS-Li'l Queenie & The Skin Twins mm FRI. 27th-Marcia Ball EVENING CONCERTS WEDNESDAYS-Mason Ruffner & SAT. 28th-Gatemouth FRIDAY, APRIL 27, Riverboat President. 7 OOPM & 12:00 Midnight' Liberty Bank's " Jazz Fest1val Anniversary The Blues Rockers um Brown Party," Fats Dommo; Or John plays Mac Rebennack, the Neville Brothers. ($16.00). IIW:tiJil SATURDAY, APRIL 28, Saenger Theater. 7:00PM & 12:00 Midnight. "Soul at the Saenger." Ray Charles, the THURSDAYS-Bruce Daigrepont SUNDAY 29th-Zachary Raelettes, and the Ray Charles Orchestra: AI Green: the Dave Bartholomew B1g Band wrth guest vocalist Johnny & Bourre Richard Adams, ($16.75 or $13.75 reserved seats) . DANCE CONTEST SUNDAY, APRIL 29, Riverboat President, 8:00PM, "Salute to New Orleans Jazz," Pete Founta1n; Linda Hopkins CAJUN with the N.D. Storyvrlle Jazz Band: Percy and Wrllie Humphrey's Preservation Hall Jazz Band Following the FRI. 6th-Rockin' ATTRACTIONS- THURSDAY, APRIL 5th concert there will be an " International N.O Jazz Jamboree" featunng the Neptune Jazz Band of Zrmbabwe, the Dopsie & The 8316 Oak Street 8 66-9359 N.D. Rascals of Osaka. Japan, ($15.00 general adm1ssron) . lltiHIQ31 Twisters TUESDAY, MAY 1, Theatre of Performing Arts. 7:30PM, " Fus1on Nrght," wrth Stanley Clarke and George Duke: Gato Barbieri; Steve Masakowskr & Mars, ($16.00 or $13.50 reserved seats) WEDNESDAY, MAY 2, Riverboat President, ?·OOPM & 12:00 Midnight' , " Tnbute to Muddy Waters," wrth the James Cotton Band, Ta1Mahal , the Fabulous Thunderbrrds: Etta James: Prnetop Perkrns; Bob Margolin, and a specral f1lm segment, ($16.00). THURSDAY, MAY 3, Riverboat President, 9 OOPM, "Jazz Crurse," Sonny Rollins, Herbre Mann & the Famrly of Mann; ElliS Marsalis pays tnbute to Duke Ellrngton. ($15.00 general admrss10n) Prout's Club Alhambra. 728 N Clarborne, 12:00 Midnight, " Prout's Jazz Jam I," wrth George Adams, Don Pullen, Reggre Workman. Ed Blackwell, Edward " K1dd " Jordan, Alvin Batrste, Smokey Johnson, Fred Kemp, Eart Turbmton, Jr., Willie Tee. Jrm Srngleton, and others, ($8 00 general admrssron) . FRIDAY, MAY 4, R1verboat Pres1dent, 7 OOPM & 12:00 Midnight' , " The Golden Age of Rock n' Roll," Roy Or brson, Johnny Rrvers. Irma Thomas & the Professronals, ($17.00 general admrssron) Prout's Club Alhambra, 728 N Clarborne, 12·00 Mrdnight. "Prout's Jazz Jam II ," wrth Woody Shaw. Joe New man, Ellis Marsalis. James Black. Dav1d Torkanowsky, Johnny Vrdacovrch. Tony Dagrad1 , and others. ($8.00 general admrss1on) SATURDAY, MAY 5, RIVerboat President, ?·OOPM & 12:00 Midnight' , " N.D. Rhythm Reunion," featunng the original Meters (Art Neville, keyboards; Zrgaboo Modeliste, drums; Leo Nocentelli, gurtar: and George Porter, Jr., bass) . and therr spec1al guest Dr. John: Steel Pulse: the Dirty Dozen Brass Band , ($16 00 general admission) . 'The Riverboat President will cruise for all except midnight concerts. LOUISIANA HERITAGE FAIR Farr Grounds Race Track. Apnl27·28-29. May 5·6, 11 ·00AM-7:00PM FAIR MENU-Over 80 drfferent culinary delights mcluding crawfish tamales. fresh-squeezed Plaquemmes Pansh orange JUICe, blackened redfish, allrgator prquante, seafood gumbo, bOiled crawfish, shnmp creole, hot boudm, red beans and nee. po-boys, Jambalaya, and lots more. FAIR CRAFTS-Over 100 artisans from Lours1ana and all over drsplayrng , demonstratmg, and selling therr work Plus Korndu wrth tradrt10nal Atncan and contemporary Afncan Amencan crafts FAIR MUSIC-10 stages of srmultaneous mus1c wrth over 300 performances . Srx outdoor stages and four tents. Over 12 drfferent types of musrc FAIR MUSIC SCHEDULE FRIDAY, APRIL 27-Bo Drddley, Kid Sherk & The Storyvrlle Ramblers, L1l Queenre & the Skrn Twms, Total Con trol, Lenny Zenith Pop Combo. Ulhan Boutte & Her Jazz Friends, Bourre, James Drew Quartet, Jay Monque'd Blues Band, John Delafose. Ed Frank/Fred Kemp Sextet, George " Slim" Heard, The Aubry Twms & Fresh Arr, r r r J f-1. r ,rd5 The Pfister Sisters, Golden Eagles, Gurtar Slim, Jr., Phil Parnell, Arthur Mitchell, Can ray Fontenot. The Sto ryville Stompers, Allison & the Drstractions, Mastermind. Pin Stripe Brass Band, Davrd & Roselyn, The NOW Band ... J J "eco , SATURDAY, APRIL 28-Fats Dom1no. Clarence " Gatemouth" Brown, Jerry Butler, Linda Hopkins, Clifton Chen ier, Kid Thomas Valentine, AI Belletto Quartet, The Improvisational Arts Quintet, The Dixi-Kups, Onward Brass Band, Marcia Ball, The Metrics. The James Rivers Movement, Neptune Jazz Band of Zimbabwe, Sam Brothers tAore MoneY· 5, Frankie Ford's Swamp Pop Jam featuring Johnny Allen, Warren Storm , Van & Grace Broussard, Rod Bernard & Jivin' Gene, Tommy Ridgely & the Untouchables. Daniel Ponce, Lloyd Glenn, A. J. Loria, The Copas Brothers, Bobby Marchan & Higher Ground , Bobby Mitchell, Charles Barbarin Memorial Brass Band, Gary Brown & Feel ings, Luther Kent Blues Band, Kent Jordan Quintet, Bill Malone ... • ,~our ~&~ SUNDAY, APRIL 2t-AI Green, Rita Coolidge, Arnett Cobb, Clarence " Frogman" Henry, Bobby " Blue" Bland, 0 Zachary Richard & the Bayou Rhythm Band, New Leviathan Oriental Foxtrot Orch., Earl King , The Radiators, Papa John Creach, Wallace Davenport, Dollar Brand , The Wild Magnolias, Willie Tee, Alvin " Red" Tyler & The Gentlemen of Jazz w/Germaine Bazzle, Odomankoma Kyerema Troupe of Ghana, Russ Russell & the Rustlers, f f Select from Thousands f Helen Brock & the New Gospellettes of Houston, TX, Sady Courville & the Mamou Hour Band, Katie Webster Trio, Allen Fontenot. Eddie Bo & Robert Parker, Tony Dagradi & Astral Project, Doc Paulin Brass Band. The j of NEW & USED Batiste Brothers, The Whrte Eagles, Tim Wrlhams, Joseph Chaillot ... SATURDAY, MAY hlerry Lee Lewis, GrandMaster Flash, Odetta, John Lee Hooker, Irma Thomas & the Profes LP's & Cassettes sionals, Danny Barker & His Jazz Hounds w/Blue Lu Barker, The Sheiks, Ellis Marsalis, Ed Blackwell, George Adams, Reggie Workman & Don Pullen, Oliver Morgan , Jean Knight & Jessie Hill, Dirty Oozen Brass Band, The Saxon Superstars of Nassau, Bahamas, Dewey Balla & Friends, Kid Jordan's Elektrik Band, Placide Adams f Many OUT-OF-PRINT Titles & the Original Dixieland Hall Jazz Band, Rrsing Star Drums & Fife Corps, Willie Metcalf, Alvin Batiste, Majestrc r & COLLECTOR'S ITEMS Brass Band, Beausoleil, Ruben " Mr. Salsa" Gonzalez, R. L. Burnside, Troy DeRamus & the Country Kings .. SUNDAY, MAY fH!ill Monroe & the Bluegrass Boys, The Manhattans, Steel Pulse. Mose Allison, The Neville Brothers, Queen Ida & the Bon Temps Zydeco Band, Woody Shaw, Joe Newman, Percy Humphrey & the Cres j Rock • Jazz • Classical cent City Joymakers, Olympia Brass Band, Snooks Eaglin , Earl Turbinton, Lil Queenie & the Percolators Re union, Odetta, Charles Brown, Saxon Superstars of Nassau, Bahamas, Lee Dorsey, Caliente, Young Tuxedo ( Comedy • Soundtracks Brass Band , Johnny Adams & Walter Washington , Exuma, Louisiana Purchase, The Famous Corinthian Gospel Singers of San Francisco, Deacon John, R. L. Burnside, The Survivors, Rockin Tabby Thomas & The Mighty House Rockers w/Henry Gray ... f & More!!! 'This is a partial list, a complete list with performance times will be available on the grounds. j (Schedule may be subject to change.) TICKET INFORMATION Adult nckets-$5.00 in advance, $7.00 at gate. Children 12 and under accompanied by parents-S1.50 in advance, $2.00 at gate. Tickets available from all New Orleans and Baton Rouge Ticketmaster outlets or by mail order by sending a self rr addressed, stamped envelope, price of the tickets plus $2.00 for shipping and handling to New Orleans Jazz & j Heritage Festival. P.O. Box 2530, New Orleans, LA 70176. 3129 Gentilly Blvd. 3627 S. Carrollton Ave. 601 Terry Pkwy. j 282-3322 482-6431 361-5656 International Hotel~ ~EASTERN- WA VELENG1H I APRIL 1~ described by its maker, litterateur Ishmael stracts by Allison Stewart. Reed as a black soap opera. Wed.11 : Wild Bienville Gallery, 1800 Hastings Place, rose, a documentary on the northern Min 523-5889. In April: graphics by Debra nesota Iron Range by John Hanson and Howell and paintings by Henry Klinowia, Sandra Schulburg. Wed.18: the Louisiana direct from America's Dairyland. Committee for the Humanities will present Contemporary Arts Center, 900 Camp, films and tapes they've recently funded and 523·1216. Sun.1: The National Art Critics also discuss what they might be prepared Forum-just the thing for April Fool's. to do in the future. Wed.25: Open Screen Through Sun .29: the Festival of New Works. ing. Delgado Pine Arts Gallery. Through Loyola ' s Film Buffa Institute, Wed.4: a show by interior design students. 895-3196. Tues.2: II Bidone, a 1955 Fellini Fri.6 through Mon.23: student photography. overlooked because of La Strada and Fri.27 through May 9: Fine Arts students' Cabiria, but better than the former and show. almost the equal of the latter-and grim. Galerle Slmonne Stern, 2727 Prytania, Broderick Crawford's death-without-re 895-2452. Through Thurs.26: New work by demption at the end has true terribilita, as Richard Johnson. From Sat.28: abstract do his scenes with the crippled girl; he plays patntings and prints by James Groff. a confidence man who disguises himself as A Gallery For Fine Photography, 5432 a priest. Thurs.12: Five Easy Pieces, Bob Magazine, 891-1002. Through Wed.11 : col Rafelson's overrated bit of redneck-anomie, or photographs by Canadian contemporary with some sterling performances amidst its photographers, in conjunction with the relentlessly privileged low-key study of Canadian Consul Great Rivers exhibition. romanticism bursting out of unlikely Thurs.12 through May: photographs by the quarters-especially Helena Kallianotes' last great living master of the classical by-now-legendary turn as the foulmouthed allegory and the symbolic portrait, Clarence ecology-minded hitchhiking dyke. Mon.16: John Laughlin. Giulietta deg/i Spiriti, Fellini's 1965 G ..perl Polk Art Gallery, 831 St. Peter, methedrine-fashion-show-cum-phantasma 524·9373. Through April: paintings on paper goria of a bourgeois' housewife's day by Justin McCarthy. dreams is certainly one of the screen's Historic New Orleans Collection, 533 most ooulentlv oddball works. Worth see Royal Street, 523-4662. Through Sat.7: The ing for its macabre pacing alone-like corp Rites of Rex, an exhibition showtng how the ses wttn Keys tn tnetr oacl NEW ORLEANS IN EUROPE BAND INSTRUMENT RENT A1 Read All About It In F001NOTE To qualified individuals, groups and com MAGAZINE, Europe's only New Orleans panies: Guitars, Amps, PA Systems, Music Magazine . We carry news , record Drums, Microphones, Electric Keyboards. and book reviews, interesting articles on Everything you need for large or small the great New Orleans Musicians past and bands. RENT ONE NIGHT OR ONE present. Fifteen years of publication. Sam MONTH . WERLEIN'S Band Office, ple issue $2; a six-issue subscription $15 . Exr.47 , 524-7511, at 605 Canal St., N.O. THE NEW Write to Terry Dash, 66 High Street, Mel La . bourn, Royston, Hens. SG8 6AJ England. 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HARDWARE ALL AMPS PRICED TO SELL tlo._-tt~t 45% to 50% OFF @iJ SALE! ! !#.!!:PRICED FROM 6999 ...._ ~CLUDING EG, SPECTRA. 40°/o OFF! RADIAN TUESDAYS: LADIES NIGHT 8:00-1a:oo PM Two Free WEDNESDAY: DRAIT BEER NIGHT (SitvVvONS) SOS-8 as• A GLASS $2.00 PITCHERS ~ CYMBALS THURSDAY: SO< OLD STYLE LONGNECKS ELECTRONIC DR 9 PM-1a AM FRIDAYS: FREE OYSTERS & as• DRAIT BEER 45°/o OFF $129995 S PM-8 PM IN STOCK 5 SETS ARRIVING SOON- ROYALE 5 PC SET SANDWICH SHOP =::Sina~er Boa~ W/ HARDWARE DQNT' ALL NEW PATIO NOW OPEN I 47995 MISS OUT! 4801 MAGAZINE 899-9228 WAVELENGTH I APRIL 1984 37 last page pure: graduation from I.SU. able performance on two Beausoleil albums and of course, birth April already, whi in Pineville. ch reminds us of the absolute Pineville? Isn't that where worst-band-in-the-world they have the insane April Wine, hailing from asylum? Canada, which is north of Destrehan. April aJso Seriously, gentle readers (to cop a phrase from Miss reminds us of the wonderful Nino Tempo & April Manners), we almost felt as if we were going nuts Stevens, whose "Deep Purple" was bumped from when we opened an innocent-looking package from the Number One posicion on Billboard's Hot 100 Pressure Drop Records and discovered "Mental in November, 1963 by ''I'm Leaving It Up To You" Disorder,'' the latest album by Jon Neulin. Whew! sung by Louisiana's own Dale & Grace. The day We almost thought it said "Jon Newlin." Jon before, President John F. Kennedy was assassinated Neulin is a sort of fruity Englishman with an by a man who once lived on Magazine Street. A Eraserhead hair-do; Jon Newlin is, of course, this mournful nation responded by purchasing sufficient journal's resident aesthete/typographer, a deacon at quantities of the Singing Nun's "Dominique" to St. Ch2des Avenue Presbyterian Church and the enable that curious record to top the pop charts for father of three adolescent daughters, alJ of the entire month of December, whom at 1963. tend Country Day. Well, it is now 1984 and anonymous persons are Denise from Siren wishes to announce that her spray-painting Bible verses on highway underpasses Uh oh. The Killer's back in town. brother is the band's new guitarist and that they'll and plagues of locusts are arriving in New Orleans both open for His lmperialJalapenone$,Joe "King" for the World's Fair and Rev. Jerry Lee Lewis (see 37th time) of the Nevilles, Aaron recently confided Carrasco, at Tipitina's on April 19. Johnny Reno, Revelation 19:7-8) is cruising down from Nesbit, that Mis the only thing that wrests him away from home the brother-in-law of Carrasco's foxy organist, will sissippi to preach at the Jazz and Heritage Festival. and televised wrestling matches is an "Amos 'n' An bring his Sax Mani2cs to the same venue on April 7. The Killer will be accompanied on stage by- and dy" double-feature at the Pitt. We'll certainly se You' ll notice we haven't made any perverse we 're cutting our own throats by saying this because cond that emotion! references to male anatomy so far but have we men we promised Quint Davis that we could keep a secret Speaking of Algonquin). Calhoun, we have been tioned the Meters? In French? Might we quote from but since you've probably caught on to the religious notified by JoeJones, "theatrical management con jazz, Blues and Co., the Parisian "journal tailJe dans drifr of this month's issue, we feel that it is in the sultant," that he is "the only authirize [sic] person la pierre par des gens qui n 'y connaissent rien pour best ecumenical interest of our readers to spilJ the on planet earth [sic] to handle James Booker's ceux qui ne savent pas grand (lucky) beans- direct chose,'' edited by Col from Belgium, the Singing busine$. ''Concerning this matter, the Piano Prince ette Sawisky? Nun! And not only that-Rev. Lewis plans to marry couJd not be reached for comment. Mr. Jones, for • 'lis participent au Festival de Montreux ou le the Singing Nun during his encore and we've heard the benefit of those wee babes in the audience who public ne leur reserve pas un acceuil des plus that either Governor Edwin Edwards orJJ.Jackson think Low life of Sudin' Jesus is an old man, was chaleureux, ainsi qu'au cours du concert de Paris, will perform the ceremony. responsible for the 1960 hit, "You Talk Too Much." une majorite de fossiles, dans une salle Pleyel plutot Meanwhile,John Travolta, who looks like someone Steve Conn of Boulder, Colorado, leads a band vide, est loin de se douter que Ia musique populaire from Kenner, spent part of last month listening to called Gris Gris, which plays "slightly demented" de New Orleans a pu evolver depuis les beaux jours guitarist Steve Masakowski at Tyler's and dancing to music and can't get booked at the Jazz Fest. Conn de !'Original Dixieland Band en 1914 Endangered Species (featuring ." Cyril Neville and complains that it's discrimination against Coloradolts Certainement! Oh, by the way, Terry Manuel) boys and girls: at the Maple Leaf. Speaking (for the and if anybody wants to check, his blOO Lenny's: PRESENTS Saturday Night Pops Tribute To Arthur Fiedler In the style of Arthur Fiedler, conductor Joel Levine leads the Philharmonic in a "Beatles Melody'', Tchaikovsky's "1812 Overture" and a special "Pops Hoedown" arranged by one of Arthur Fiedler's favorite arrangers Richard Hayman. MAY 5/8:00 PM TICKET IN FO RMAT ION : Orpheum Theatre Box Office Lake Terrace Shopping Center 129 University 1540 Robert E. Lee Boulevard Place New Orleans, Louisiana 70122 New Orleans, LA. 70112 (504)282-1087 525-0500 38 WAVELENGTII I APRil 1984 APRIL McCoy Tyner MUSIC STARTS AT 9:30 MONDAY-THURSDAY 10:30 P.M. FRIDAY-suNDAY Tbanday Friday Satvclay 1 2 3 4 5 6 7 McCOY BOYS CLOSED UPriCHTS DIRTY TYNER THE NEVILLE JOHNNY OF THE DOZEN W/ SPECIAL GUEST BROTHERS RENO LOUCH BRASS BAND TUTS AND HIS WASHINCTON SAX MANIACS 8 9 10 11 12 13 14 WTUL MARATHON CLOSED UK·SUBS DIRTY JASON NEVILLE STEVE WIT·BONE DOZEN &THE BROTHERS MORSE BURNETT BRASS BAND NASHVILLE WITH PLUS OTHER SCORCHERS WOODEN HEAD SPECIAL GUESTS THE BATISTE 15 wwoz·s 16 17 JOHN. 18 19 20 21 BROTHERS 1984 BLUES REVUE FAREWELL MAYALL'S DIRTY JOE "KINC" KOKO FEATURING MUSIC OF THE PARTY CLOSED BLUES DOZEN TAYLOR 60'S AN 0 70'S- BREAKERS CARRASCO Johnny Adams & others In a w / all kinds of FEATURING FORMER BRASS BAND &THE CROWNS AND HER BLUES MACHINE tribute to Jackie music, starting at ROLLING STONE Wilson & the music of 7:30. Call 891 ·2335 MICKTAYLOR Otis Redding, Wilson for details. Picket. etc. 24 26 28 22 23 25 27 CLIFTON CLOSED TOUCH· DIRTY THE ORICINAL CHENIER NEVILLE CULTURE & HIS RED·HOT STONE DOZEN AND THE BROTHERS ~CLOSED BRASS BAND LA. BAND SOUL DEFENDERS W / SPECIAL GUEST REGGAE from JAMAICA LLOYD CLENN 29 MARCIA 30 1 MAY 2 BAnLE 3 4 5 BALL LI'L BO OF THE THE DEACON THE W/SPECIAL GUEST QUEENIE DIDDLEY BRASS BANDS GLADIATORS JOHN RADIATORS KAnE WEBSTER FEATURING The Dirty & The N.O. Blues Revue AND THE AND Dozen, The Pinstripes, REGGAE FROM w/ Speclal Guest Etta 6 PERCOLATORS OFFSPRINC and The Chosen Few JAMAICA Ja mes & Earl King THE NEVILLE w/ Tuba Fats BROTHERS 501 Napoleon .Ave., comer Tchoupitoulas- Phone 899-9114