University of New Orleans ScholarWorks@UNO
Wavelength Midlo Center for New Orleans Studies
9-1985
Wavelength (September 1985)
Connie Atkinson University of New Orleans
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ISSUE NO. 59•SEPTEMBER 1985
w/'m not sure. but I'm almost positive. that all music came from New Orleans." Ernie K-Doe, 1979
Features Branford Marsalis ...... 22 Smithsonian F olklife ...... 25 I Search for Jazz ...... 27 . • Departments ~~ 4 September News ...... 4 1 \.. Letters to the Editor ·...... · . 7 'I New Bands ...... 8 It's All Music ...... 11 Caribbean ...... 12 WAVELENGTH DIS'I'RmUTION POINTS U.S. lndi~s ...... ' ...... 14 Rhythmatic ...... , ...... 16 METRONOME, NEW YORK PIZZA, TYLER'S, ARCADIAN BOOKS, LE BON TEMPS Rare Record ...... 18 ROULE, NATURE'S WAY, AUDUBON II, FirM, THEO'S MUSHROOM, BOOT, SHANA Video ...... ' ..... 18 HAN'S, MAPLE STREET BOOKS, BRUNO'S, FEET nRST, P.J.'S COFFEE, WHOLE Reviews ...... · ..... 20 FOOD COMPANY, FLAMINGO'S, SMITH'S RECORDS, PONTCHARTRAIN HOTEL, September Listings ...... 30 RECORD 8r VIDEO CONNECTION, TULANE UC, COLUMNS, QUE SERA, MARTIN'S Classifieds ...... 33 WINE CELLAR, JIM RUSSELL RECORDS, PETER'S PIZZA, LOYOLA DANNA, COOTER Last Page ...... 34 BROWN, SIDNEY'S NEWSSTAND, RIVERBEND RESTAURANT, EATS, KI~KO'S, MA PLE LEAF, CARROLLTON STATION, JIMMY'S, BAXTER'S, PENNY POST, CAC, CAN AL RECORDS, FAIRMONT HOTEL, HYATT, THE DIPPING STATION, DEVILLE BOOKS, WERLEIN'S, RECORD RON'S GOOD AND PLENTY RECORDS, KlrB CAMERA Member of CENTER, LE GARAGE, STORYVILLE JAZZ HALL, JAZZ FEST OFFICE, DREAM NetWOfk PALACE, SNUG HARBOR, OLD ABSINTHE BAR, BONGO'S, LA UBRAIRIE, PROUT'S CLUB ALHAMBRA, PARKWAY TAVERN, CAPPS, PEACHES, IS MUSIC, SOUND CITY, Publisher. Nauman S. ~ou. Editor.Connie Zeanuh Alkinson. Associate Editors: ALLIED MUSIC, WHOLE FOOD, LENNY'S MUSIC CENTER, SOUND SHOP, MERRY GO Almnlool Slim. Gene Scaramuuo, Mark Bingham. OfTtee Manager. Diana Rosenberg. Art Director. Eric Gcmhauser. Typog(aphy. Devlin/Monis Associale.'\. Contribut ROUND/SOUND WAREHOUSE, MUSIC STOP, CHANCES, MEMORY LANE RECORDS, trs: Lnu Berney. Allison Brandin. Sl. George Bryan. BobCataliorti, Macon Fry. Carol Gniady. Radnmir Lu7.a: Jr.. Nick Marinello. Melody Mineo. Ric Olivier, Diana RAY FRANSEN DRUM CENTER, GOLD MINE RECORDS, SOUND WAREHOUSE, REC Rn:\Cnberg. Kalamu ya Salaam, Gene ScarJ.muz.zo, Hammond Scott. Sieve Singennan, W1i11am D. White. ORD. BAR, NEXUS, PITr THEATRE, LUIGI'S, UNO STUDENT UNION, AUGIE'S DE Wm•t•lt'll}tlh i:-. published monlhly in New Orleans. Telephone: (504) 895-2342. Mail ,um.cnptions, addre!-.s change..~ to Wuveltmxlh, P.O. Box 15667. New Orleans. LA LAGO, PRIVATEERS, GRAMAPHONE, SOUND SHOP, FRED 8r ETHEL'S, METRO, 70175. Sub>.criptiun rate S 12 per year. Foreign S20 per year (surface). Fir.
WAVELENGTWSEPTEIIBER 1-3 Go-Go's Go Cowgirl The Screamin' Sirens are a hard-working bunch of gals. Playing in New Orleans on a Monday night in the middle of August ain't the easiest of gigs, especially when there's a hot act from England packing them in over at Tulane. But the girls remained undaunted pro ceeding directly from their sound check at Jimmy's to McAlister Auditorium where they passed out flyers and then finagled their way into the New Order concert. The Sirens rounded up a few stray fans from that show, bringing them back to Jimmy's for a late per formance of their own.
where the raft was tied up we seen we figured we would get out our "Oh Lawd, Huck, it's all up wif a barroom gate open and snuck in pipes and have a smoke. So I said, us. We ain't got no luck." and borrowed a few provisions "Jim, look in the tow-sack and get "What is it, Jim? Not another Huck 'n' Jin ("borrowed" is was Pap always us a light, because we're bound to rattlesnake skin?" called it): we got six or eight rolls have all kinds of fire in there." "Lawsy no. Huck. I wish dat of toilet paper and a lot of swizzle So Jim he pawed around in the wuz all it wuz. '' sticks and some matches and a case sack by the first daylight's gleam "Not a spider burnt in the can Visit the of whiskey and a good month's ings, and all of a sudden he com dle?'' worth of pork rinds and a lot of menced to making the worst kind of "No, Mars Huck, lots worsen Cheez-its and popcorn. So we was moan. dat." fixed. What we figured was, since "Oh Lawd, Huck," he said. "Not Pap's footprints?" we had passed Cairo before in the "We done had it now, f'sho'." "Lawsy no, Huck, de worst, jes' Ma-eleat fog, we'd pole on back up north I propped up and said, "What de worst. We got eight hunnerd (A HITHERTO UNPUBUSHED CHAPTER this time, even though it might take are you talkin' about, Jim? What's mile to go, straight north, en nuff'n FROM MARK TWAIN'S "THE ADVEN six months, and get off in Cairo for the matter?'' but Maple Leaf matches!'' TURES OF HUCKLEBERRY FINN,'' sure this time, and be all right in NEWLY EXCAVATED BY PROF. the free states. We had enough pro EVERETTE MADDOX OF THE CARROU visions. TON INSTITUTE OF FINE ARTS.) Well, it was foggy that night, so . Me and Jim done all right in we kind of took it easy until we ju Rock 'n' R~l Orleans, what with Jim doing King dged we was about alongside of For the frrst time in its short his Cosimo Matassa, Tommy Ridgley, Lear in Palmer Park (the Duke had Whitecastle and the fog lifted a lit tory, University of New Orleans Met Bobby Mitchell, Ed Volker, and lots learned him some of the rantin'), tle and a star or two came out, and ro College will offer a course this fall of others for an interview segment." '!-fld on the way down Oak Street to we was feeling pretty brash then, so entitled "A History of New Orleans Fmally Jones says, "I'm going to Rhythm & Blues." Beginning Sep gear the course for the novice as well tember I0 and ending November 19, as the longtime R&B fan. It's going the eleven-week series will be offered to be academic, and it's going to be every Wednesday night from 7pm to fun!!" 9pm at the Lakefront campus. 1lle price of the course is $75 and enroll ment is limited to fifty students. The lecture series will be taught by New Orleans music historian Tad Jones, a writer/researcher in the field for the past thirteen years. Jon~. who is employed by a CBD law fmn, and holds the title of Re searcher in Residence at the William R. Hogan Jazz Archive at Tulane University, says, "Jazz studies have been a part of the college curriculum for the last few decades around the country. I thought it was time that the study of our local "rhythm & blues" music should be brought into the classroom." According to Jones, each evening there will be a lecture for an hour and then, "I've invited some local Signs advertising the Nevilles at the Ritz decorate a New York building. guest musicians and artists like Allen Toussaint, Frankie Ford, Earl King,
4 WAVELENGTH/SEPTEMBER 1985 Publications ..... SPACE IS THE PLACE FOR BOTH SUN RA AND THE L5 SOCIETY. The L5 NEWS is the society's mouthpiece. L5 board members include Isaac "Please love me, I'm a genius!" Asimov, Newt "C-SPAN" Gingrich and Robert "Waterbed" Heinlein. A great many macho. eggheads and pencil necked geeks waxing as only the over-bright can on such subjects as Real Property Rights in Outer Space and Truths- Pleasant and Unpleasam about Military Space. What's great about L5 ts the diversity of opinion and outlook amongst its members. The essays of Dr. Jerry Poumelle are in formative and fascinating, even when one has oppostte views. For info on L5, write to L5 News. 1060 E. Elm, Tucson, Arizona 85719 ...... AVIATION WEEK & SPACE TECHNOLOGY IS THE MAGAZINE OF THE AEROSPACE INDUSTRY. This glossy weekly informs us of the latest de velopments tn air transport, missile engineering, business flying, aeronautic al engineering, and aviomcs. A must-read on Capitol Hill. by scanning this somewhat frightening little magazme you will know about as much on the subjects as the average Senator. The advertising is scary - different com panies trying to sell thetr mtssiles and so forth. If you really want to know how the Defense Department management structure has diluted the im portance of research and engineering functions, making tt near impossible to attract the top people to government jobs, or about Star Wars, Intelsat, SOl or all the other good stuff that will either end our race or take us off this rock we're floating around on, then this is for you. For non-aerospace work ers, it's $60 a year to subscribe. Write to Aviation Week, P.O. Box 1505, Neptune, N.J. 07753 ...... FOOD AND MUSIC SEEM TO GO TOGETHER, MORE SO IN NEW ORLEANS than in other locales. In most places, fat musicians are not cool. But in this town - have another ptece of pie, the bandstand won't break. For nouveau New Orleanians like myself or tounsts or out of to'CYn guests, we are lucky to have the fabulous Mr. Food and his monthly guide for glut tons, MENU. Featuring restaurant reviews, gossip and Sllch public servtces as translating the Antoine's menu into English, Mr. Food is no snob. Victuals from the most fashionable and elite of establishments are discussed within the same pages as po-boys and Popeye's. Menu is good for when you have out of town visitors. Let them decide where to eat and blame the results on Mr. Food. He's led me to a few stinkers, but his taste buds, and his heart seem to be in the right place. He also writes silly stories in the Mad Maga zine tradition, about food, of course. Somehow, Mr. Food keeps his weight down. You can pick up MENU for $16 a year. Write to Menu Subscriber Service, P.O. Box 51831, New Orleans, LA 70151. Zaranba &The Aeshtones "We're back, we're back, we are back," chanted Peter Zaremba after regaining the microphone from the audience that had over taken the stage. The microphone, a gift from Zaremba to the peo ple who had come to see the show, had made a tour of the floor and the stage, being passed from hand-to-hand - everyone get ting a chance to sing - while the Fleshtones kept the rhythm of Lee Dorsey's "Ride Your Pony" pounding. The drum that Zaremba had hustled onto center stage at the beginning of the second en core was taking a licking from four or five would-be per cussionists. Others bent their backs and craned their necks attempting to sing Into the drum's mlc. All the rules of how-you-should-watch-a-concert were out the window. But It was Zaremba and the Fleshtones who had broken the rules first: the second encore didn't begin unt/110 minutes af ter the lights had come on at Jimmy's and half the people were sticking keys Into their car's Ignition. But when the uptown neigh borhood began to rock again, the crowd flooded back through tHe doors and then onto the stage. Then the anarchy mounted, and it was only when the singing and banging and general delerium was about to unglue Jimmy's that Zaremba began the hypnotic reiteration of "We're back, we're back" and this apostle offalnacy regained control of the stage. The audience began to relax, and as the drummers $fackened the ferver of their pounding most people receded to th1 floor. The Fleshtones were allowed to continue the song and dnd the set. When it was over Peter Zaremba hopped lightly off the stage and, with a broad, gentle smile, walked into the audience, which wel comed him with open arms. - Nick Marinello
WAVELENGTH/SEPTEMBER 1985 5 AUGIE'S DELA_
Evi the tim BACK TO SCHOOL off BASH!!
Labor Day To I Weekend Friday, Aug. 30 • Saturday, Aug. 31 • Sunday, Sept.~ 1 • Monday, Sept. 2
• SENSUOUS BANANA EATING CONTEST • BEAUTY CONTEST • BIKINI CONTEST • HOT LEGS CONTEST •TOGA PARTY (ANYONE WEARING A TOGA RECEIVES 2 FREE DRINKS) . • CASH PRIZES • BEER-DRINKING CONTEST • TROPHIES • MACHO MAN CONTEST .• BARTABS • WET T·SHIRT CONTEST
To tl In refer Every. Tuesday is Bahama-Mama '85 Luza Gabc Win an all expense paid trip to the Bahamas more those GRAND PRIZE AWARDED SEPTEMBER 17 the n ~------~ Lengths: descriptive profile of the man Back to School Folks at Wavelength ain't the only responsible for Cox Cable programm trying to find out what a "toot ing, Jim Gabour. It was an entertain with is! The music press in Great ing piece that described television Britain are having problems with the programming done Gabour style - too(t)! " ... showcasing the culture of the But, I reckon I've solved it. city" (in this case the city being New The other night I saw a re-run of Orleans). Evil Roy Slade on TV and in one seen~ Luza did an exceptional job of de townsfolk are reminiscing over the scribing Gabour's creativity and nat lime that Roy's gang stole the whistle ural ability to relate to the New off a mail train they were robbing be Orleans market and to program accor cause he • 'jest loves .the sound of that dingly. Let's face it, New Orleans is a 'toot -toot' . " city in love with itself, so what better OK? Problem solved? Now, let's way to appeal to the New Orleans get back to music. Tum Almost Slim market than television programming loose in Lafayette and let's have a relative to the city and its people. 15-page full interview with Clifton Gabour generates a new and wel Chenier (The Boss). come trend of TV programming that -~- Ken Smith does not promote expensive, pJastic Red Lick Records entertainment, but instead he creates a Wales, U.K. fonnat produced the way most New --- Orleanians can appreciate it - creatively done with a taste of home To the Editor: grown New Orleans culture. I just received your June issue, and Thanks to both Luza and Gabour ------~- read the fascinating story about "My for an interesting article. -- Toot-Toot." Having also just read an Karen Cortello - interview in New Musical Express Research Department with Denise LaSalle who is in Eng WQUE land to promote her single, which New Orleans, Louisiana apparently is running FAST up the charts, I thought of running down a brief story about this song for our To tM Editor: ~~~embers' benefit. I've been doing some research for a It's a beautiful magazine you have, film restoration project I'm working the way, and with me very in on - an original musical made in 6225 S. Claiborne in Louisiana music (I have town here in 1947, with an almost all been three times to New Orleans). I local cast of black singers and danc ~tally love reading it. With "The best ers. Some of the extras, however, for less'' I now know where to go next were members of some traveling min lime I come over . .. strel shows. Although I don't think Tommy Lofgren they're in the film, one of the local Vallentuna, Sweden favorites from around that time was Silas Green from New Orleans. Would any of your readers be famil To the Editor: iar with them? I'm working on es I can't begin to describe the intense tablishing an archives at our umver pleasure that Wavelength has brought sity library on music in the black com me. It has an incredible range and munity here. and any information depth of coverage on New Orleans (particularly photo leads) would help JllUSic, and the intense quality of writ me greatly. Silas Green is well re ing is simply beyond praise. membered, among other reasons, be There are many thanks and appre cause it cost 40-50 cents to get in, and ciation for Wavelength magazine. he only played one night-he played I want to take this time out to com tent shows here-whereas most other mend Wavelength for so many won traveling groups only cost a dime. or derful stories. fifteen cents at most. and played for a Since I have become acquainted week. But he apparently came with your publication, I find it a great through every fall, and his arrival was for infonnation about our local eagerly anticipated by many. Orleans artists and I use it as a I don "t imagine I was in a minority guide quite often on my in having liked the John Fogerty cover shows. (and accompanying article). It seems A note of thanks to you - The Staff that one of the functions your maga Wavelength . .. zine serves so well is to spread the Bobby Mitchell good word on New Orleans music to New Orleans, Louisiana those unfortunate enough to be living And thank you. Mr. Mitchell. for elsewhere, and I'm sure that cover great contribution to New story attracted a lot more attention music. than one of another local artist would have. I liked the angle ofFogcrty-the outsider being so anxious to get in on the Editor: the good things going on down there. In giving credit where it is due, I And. having been in town for only a to an article written by Radomir few days surrrnmding Jazz Fest; I was entitled, "Gabour Encores: Jim glad to have somebody explain to me r's Music City Program reaps what this "tool-toot" furor was all awards for Cox Cable." For about. not familiar with the article or Alex Albright man featured in it, it provided a Greenville, North Carolina
WAVELENGTH/SEPTEMBER 1985 7 n AManer of Style For some bands, the image they present to the public is as carefully orchestrated as the music.
ltnt Revels was standing on the ican and English bands of the last dec sidewalk outside of Jimmy's ade. "At the time I got out of high talking to a group of friends and school I still liked groups like Kiss, fans.F His guitar case in hand, he Queen and Rush, but then I started looked like he was enjoying the long listening to some of my mom's old goodbye he was having with the folks albums.'' These were albums of Elvis that had come to sec his band play. and his contemporaries and they When he took two steps in the direc opened up a new world of rock 'n' roll tion of his car the group took two steps for Flint. "I liked that the songs were with htm so Flint stopped and talked easy to play.'' he adds. some more. It was going to be a slow These two eras of rock then "just get-away. slammed into each other" and Flint's style was born. It's not a style that disappears when he leaves stage. "Mik, Rik and myself - we dress flashy, hot colors- it's the way we dress all the time. People think you're Tin Drum: Simon Fraser, John Rodwig, Kent Hardouin, Steve Walkup. somebody and it just feels more nat ural to us. It 's had its consequences is a nice compliment to the syn of two decades ago. Yet there arc though - Rtck and I have both lost thesized arrangements. "We strive," bands in the New Orleans market that jobs 'cause of the way we look." he candidly continues, "to write mus arc proceeding on simpler lines .. ic that will sell." In 1964 "Gypsy Woman." re "'Commercial' isn't a bad word," "Someone asked me why we were corded by local musician Eddie Pow adds Powers, "it just means that a called 'Tin Drum' when we didn't er!., climbed to number 3 on the New larger audience will be affected by our actually usc any tin drum~ on stage," York charts and for a brief period the music - not just a select group.'' But says Steve Walkup, the band's drum· New Orleanian received national Powers maintains the band is notjust mer. He laughs, though he doesn't attention. Twenty years later his son fashionable. ''Groups like Duran seem to know what the name mean~ Eddie is searching for an even larger Duran say ' we're cool, we're fine. be either. In f 8 WAVELENGTH/SEPTEMBER 1985 bum, Actiwk. In addition, Jellybean fin ished remixing "The Power Of Love" for Huey Lewis, featured in SWvm Spiel bag's &de To Tht Futurt soundtrack. B. J. ThomM is also at Hit Factory, record ing a new album for Columbia, featuring some songs written by CDole King and Gerry Goffin ... At Quadrasonic Studi os in New York, Peter Tosh is mixing his next self-produced reggae release. Gar land Jeffries is also at work in the studio, producing his own project with engineer up and women's clothing, he's certainly Ki1Sha ... At Mission -and justifiably-not at all shy about Control in Los An geles, The Textones are busy remixing a parading his seemingly endless supply new album with producer Bany Gold of catchy hooks, melodies and grooves, berg and engineer Joe Chiccarelli. At as well as his impressive musicianship. Sunset Sound Studios, Deneice Wil Covering all the bases, from the exuber liams is recording with her producer, ant dance numbers "Sussudio " and his Greg Mathisson. Producer Dave Grusin energetic reworking of Motown classic is recording Diane Schuur's new effort "You Can't Hurry Love" to the more for GRP. Stevie Nicks has been record introspective and poignant ballads like ing some cuts for her next project on " One More Night," the hard-~orking Modem/Atlantic . . . At Kaufman As performer hardly paused through this toria Studios in New York, The Power two-hour plus show. Featuring a superb Station are rehearsing for their current brass section and the inspired keyboards national tour . . . Bob Seger is in Miami of Peter Robinson, his backing band was doing overdubs for an upcoming album one of the tightest to have appeared at at Criteria Recording Studios. this venue all year, and needless to say, the sound was also flawless. Collins has been often criticized for his Top Of bland "non-image" (apparently the rea son g1ven for his exclusion from this The Charts year's Oscar ceremonies), but on this evening he scored with his relaxed and No. Albums Singles humorous stage banter and presence. Perhaps the biggest cheer of the night 1 The Dreams Of "Everytime You greeted his sarcastic The Blue Turtle Go ~~Nay" observation that Plul Y0111111 Anne Reinking was unavailable to "per r:~, (Columbia) form" "Against All Odds" (as she had at 2 Brothers In Anns "Shout" the Oscars). A sweet moment of revenge Dirt Straits Tall For fall in a triumph of a show. (Warners) (Mercury) i 3 l.rttle Creatures ··nYou Love Someone Talkllll Hada Set Them Free.. (Sire) az Personal Favorites ~) ~ Metal guitarist Yngwie Malmsteen 4 Son~ From The "GioryD':r.f r picks his five favorite albums: 1. 24 Big air lruct Sp ngsteen T1111 For fall (Columbia) Caprices For Solo Violin, Nicolo Pag (Mercury) aninni; 2. Brandenburg Concertos, 5 Back To The Future " Never Surrender'· I J.S. Bach; 3. Tarkus, Emerson, Lake Corey Hlrt Soundtrau On Tour ••• & Palmer; 4 . U.K. , U.K.; 5. Made In (MCA) (EMI·Amerd) Japan , Deep Purple. Ray Davies (pictured) and 6 Fables Of "The Power Of Love .. The Kinks may be dedicated followers of fasluon, The Reconstruction Huey Lewis I to paraphrase their old hit, and that hasn't kept them from remaining head R.E.M. 1111 News liners for over 20 years now. After some dates on the West Coast at the end of (I.R .S.) (Chrysalis) August, this veteran British band spends most of September in the upper In The Studio ••• 7 Boys And Girls "You Give Good Love" BJ7.1n Ferry Whitney Houston Midwest and the Northeast. While there is no new group album to support, At Planet Sound Studios in New York, ( amers) (Arista) Davies has just released his solo Return To Waterloo video and album. He also The Ramones are recording a new single 8 Be Yourself " Who's Holdmg stars in the new British musical, Absolute Beginners, which is set for release for Beggars Banquet Records with pro Donna Now" ducer Tommy To~t in 1986. Erdelyi and Ed Stasium Ell mica Dell~ . .. Mixmaster/ record producer/Deejay (RCA) (Gordy John JeUybean Benitez is busy at Sigma 9 Flash " F~loYe" Critic's Choice: cumbing to anorexia, the singer/song Sound producing the 12-inch remix of Jlfl flecll Artllll In writer/producer makes an unlikely pop "State Your Mind" for Nile Rodgers' (Epic) (Arista) Phil Collins At The Amphitheatre al idol. But like John at his peak, Collins is bum 8 Mot>ie, scheduled for release this 10 Heart "St. Elmo's Fire By lain Blair quite simply one of the best singer/song August on Warner Bros. . .. At the Hit Hurt =In Motion)"' In many respects, Phil Collins is the El writers around, with a huge stack of hits Factory in New York, Benitez is also pro (Capitol) Parr (Atlantic) ton John of the '80s. Balding and obvi that most other performers would kill ducing "Never Let Another Night Go ously in no immediate danger of sue- for. If he draws the line at wearing ma.ke- By" for Joyce KennedY's upcoming al- Charts courtesy of The Gav1n Report. Warning: The Surgeon General Has Determined That Cigarette Smoking Is Dangerous to Your Health. it's all musjc • i 5 2 mart biuobam It's Rough Out lllere, Sex Fans As the school year begins, we take a nostalgic look back to the golden years of sex in the Sixties. o summer vacation for me. No ing to drive. We love car songs and vacation ever. As the poet sex songs and car sex songs. Stimski once said. "Work is While women are now content to hard.N Work is long, but work don't use cars for transportation, men give make me sing this song.·· their vehicles female names, often So I work. So I sing. So I get up late getting much closer than necessary and watch Phil Donahue. while washing them. This is why soap Phil says, "The only wimps are commercials arc so full of naked men who arc afraid to admit they women touching themselves sensual might be wimps.'' ly. Ad men think all men have shower I admit to being a wimp. A well sex fantasies. The ad men would like Music • Food • Arts • Crafts trained feminist wimp. to be in the showers with the models, Phil Donahue gets very cosmic. It's using their hands to rub. In reality, the Sept 21-22, 1985 too hot to be cosmic. quick cuts in soap ads are no more Where docs love go when it's not than pornography. there anymore? I digress. Sex in the Sixties meant Lafayette Love has always been an undefine visiting a group of friends and dis able quantity. Many arc frozen, but covering there was only one bedroom. few get to thaw. If the ice docs melt, the entire floor covered with beds, look out! It's Love Power! sleep where you will. Sex in the Sixt Love Power was born of the much ies was making love to my voice hoopla-de da decade. you guessed it, teacher on the couch in her studio The Sexual Sixties. Love was all we while her top protege played loud needed, especially when there were piano to cover the sounds. Sex in the only two of us in the room. Love was Sixties was tear gas seeping through everywhere. Radicals found that the window causing much discomfort Love,like Marx. was just a four-letter and not just in the eyes. word and open to interpretation. College students of today were Revolutionaries gave up their big born too late. With all the incurable solutions to big issues in favor of diseases going around. who could cleaning up their own lives, making afford to make love to every attractive their own little universes as beautiful person, even it that's what your genes as possible. The way to social equality tell you to do. Everyone is suspect. Is was through living simply. and de she diseased? Docs he have a dis termined self reliance. not on replac charge? What's that sore on her lip'? ing large systems with others. It's rough out there, sex fans . Most The commercialization of Love guys stick with the five sisters, gals happened overnight. With it came with their favorite, The Mr. Wiggly drugs. Drugs left the realm of the hip Quartet. What a shame. and found their way everywhere. For some. life was altered for the worse. More digression. Most colleges Marijuana destroys memory. teens have pianos in the dormitory lounges. using the weed regularly do mess up There one can find piano players their ability to think clearly. They jamming at all hours of the day and don't call it dope for nothing. The night, often in a style we might call drug LSD-25 changed the face of the "late night noodling with extreme earth. For most who took LSD. life cosmic intention." Serious stuff. changed for the better. For others. the talking, no dancing. just be the awful truths that LSD revcab along and find unity with the piano and with the insights proved to be too player. A great way to meet girls, or much. LSD has left our society with guys. Apparently. there must have thousands of street people, human been hundreds of people staying frozen food. The fortunate ones joined late to bliss-out the passersby the Hari Krishnas. Others wander pentatonic cascades and repetitions.) aimlessly. often mistaken for winos. wasoneofthcm. But, little did I The Bowery in New York has more that years later there would be a acid bum-outs than traditional winos. label supporting this sort of thing A disconcerting experience, to see a promoting it as some major newt person babbling. praying for the re in music. Yow! birth of Jimi Hendrix. Here's my theory: The WintH•·•ml• Now we hear over and over. ·'The Hill record label was born in a Eighties are the Sixties." lounge some wintery night in the This confuses me. Maybe there are Sixties. The innovator of all similarities, but one aspect of the Sixt whoever he or she might be. was ies can't possibly be repeated. SEX. full of speed to sleep. Making his Of all Sixties topics. sex is the best. If to the lounge (let· s blame it on a Vanessa Wiliams had been a Sixties he plays for a few minutes wit kid she never would have posed for "getting into it." Our hero those photographs. Nor would have smoke a joint to "get into it." M Madonna. In the Sixties, both women coat or gloves, he braves the ~"''w"• would have had sex in a car. No night, sucking the smoke into American should have sex until learn- lungs and blowing out big clouds i 10 WAVELENGTH/SEPTEMBER 1115 -=-·----__.._.... -.,as • --~ ~ ---- the fn!ezing air. "Trancing" on the there or be square. Coah! Be here then ,moke clouds, he forgets how cold it or now. Don't eat pork tar-tar. Take "· Realizing his folly, he runs back this quiz, ponder this checklist. m~ide, now sufficiently stoned to "get into it." His numb fingers settle Student Course List mto a "groove thing." As the mind Passing wind while sitting on Nan races and the fingers warm, the music cy Reagan's lap. Gaffe or getting bcgms to expand. He plays the same even? thing over and over. No tension, no Legalize/Decriminalize ... who's release. He does this for an hour, winning the war against drugs? making small changes here and there. Investments in Space ... it's not When he finishes he notices a doe too early to start eyed co-ed who has been meditating Cellular Phones In A Modular to the music. She offers him some World peppermint tea. They go to her room, Teen Lingo ... clam up or chill drink tea and eventually make love. out? They go on for hours, he is speeding How to escape male uniforms B R A N D and never comes. She certainly Designer cookies in a thrift city dOI!sn 't mind until the next day when world her bladder begins to act up. Mean Scuba diving in Bayou St. John COFFEE while, Mr. Cystitis sleeps it off, Chiropracters ... backbreaking & TEA C 0 dreaming of repetition and pounding walletbusters or saints with magic uterine walls. fingers? 7713 Maj,Le • 5432 Magazine That's how to start a record label. If The world's great nursing homes you JUSt want to work for one, stick How to cure ruling class mentality • New OrLeans, Louisiana • hat pins through your cars and you 'II Advertising ... do you know be hired, no questions asked. And who's manipulating your children? what else is there to do? With pro Albert Einstein and the New miscuous behavior impossible, stu Orleans Triangle dents of today are forced to do things Thomas Jefferson ... A further like: look at slavemasters as American Fix basketball games. heroes Listen to awful bands with nice Climates and their effect on be bain:uts. havior Smell their own farts during His Fiesta plates and the Domino tory of Entrepreneurship class. theory . . . the true story Statistics without asterisks, today's Deco and decoration ... too much students have choices to make. Be is not enough 0 g~ ~ SdDIJl S~t AtG~P~ 3941 Bienville Ave. New Orleans, LA (504)482-7894 "For the Professional Service You Deserve" $ 100 What is your sound system SJOO caribb,P;3,?az::: , Jm!e scaramllllO OFF without the sound? OFF A\\Juth II WiUI AMission ~u For years, all eyes have been on young Ziggy Marley ~~~• .J/ CORR£CTIOR to take his father's place as leader of reggae music. $1oo OFF ANY ALBUM OR CASSETTE hose who feel that reggae music the Melody Makers was taking a dif. pop suffered a setback with the death ferent direction altogether ... a w IN THE STORE THRU SEPTEMBER sound with a more of Bob Marley that it has not yet reggae crossover ri STUDENT overcomeT can take heart in three re balanced picture of each of the four TO ANY FALL '85 WITH A VALID I.D. $100 cent releases from Jamaica. The Best children. This project was abandoned $ JOO ofStudio One, Vol. 2 gives the oppor in favor of the album now released. i 1458 N. Broad 949-7068 OFF tunity to hear some of the rich re The only song that has surfaced from d OFF corded history of Jamaica; Burning the earlier sessions is a song by Steve a Spear's Resistance is a reminder that on the B-side of the 7" single, "Nuh e there is still a roots movement; and Leggo,'' taken from Play the Gamt c Play the Game Right, the latest album Right. p by the Melody Makers, features the No new musical ground is broken h THE .ADVANTAGES OF blossoming of Ziggy Marley, son of with the new album, and the lyrics of Rita and Bob, into a singer/songwriter some of the songs reveal a touch of RECORDING AT SEA-SAINT: who very well may someday continue inexperience, but, my God, the youth the work of his father. is only sixteen years old. I'm one who to this list We would like to add your name It's no secret that for years all eyes does believe that reggae music is lack· of GOLD RECORD recording artists who have been on the young Ziggy Marley ing a leader and a direction. I'm not have recorded at Sea-Saint recently. These to take his father's place as the voice sure that Ziggy Marley is going to be are just a few: of the oppressed and the leader of reg that leader. and I do question the way r gae music. Weaker hearts would have his "destiny" is being orchestrated. f Neil Sedaka Patti LaBelle run from such an awesome legacy, but but I'll admit a sense of uplift at the Elvis Costello Ramsey Lewis Ziggy has heard the call and answered promise for the future that this album Air Supply Dr. John with everything that his sixteen years holds. ... your name ... can muster. The new album, although Sea-Saint Allen Toussaint credited to the Melody Makers, is In the past, present and future, true RECORDING STUDIO, INC actually the debut of Ziggy Marley. roots music i,; guaranteed to be heard Hew Orleans, LA 70112 You can also record there for All compositions except for "Chil from Winston Rodney (Burning ( 504) 949-8386 $70.00 per hour. dren Playing ... " were written by Spear). Recently New Orleans was Ziggy, and several, like "Revela treated to both a new release and a live tion," "Rising Sun" and the title performance by this most intense track, arc both lyrically and musically Jamaican performer. Both live and on excellent. The whole album has the the new album, Resistance, Burning Marley Tuff Gong sound and features Spear has updated his sound, adding a the original Waiters with sisters Sharon bit of synthesizer here and there, as and Cedella (We-Too's?) taking the well as the ubiquitous simmons drums backing vocal role from the 1-Threes (drums that are hit with sticks but J:oncerts electro tuce toast are controlled and brother Steve adding a little whose sounds ing. Originally, this latest project by nically). But the playing is as rootsy presents 0 " 0 • 0 • o· Q o • • • • • o o o • o • 0 0 • • • 0 il • • 0 0 • .: oOooo•ooo•O oC ,·o•,••o'ooo;oo , , 00 oo,o 0 o 0 0 0 • 0 o'o • 0 ooo·•"•0 • 0 o • .o 0 ooo •o•o, o 0 Dooo oo,o•,o,oo,• "· •o o o,•o o. •" • 0, 0 0 0 • • (), () 0 • 0 0 • o o 0 0 o,,' o•' o' "o o ••o o o , o, 0 0 0 o o o, 0 e o 0 o ' • • • 0 • 0 o. 0 ' 0 00 0 0. 0 ~ 0 ; • ~ 0 ':. 0 0 c:.: 0 0 0 0 0 0 ~ • 0 0 : ., • ~ , o o 0 o o o' o o o o c o ""' ,o ,'ooo o'ooo 0 0. 0 0 0 , 0 0 00 •/ 0 • 0 • 0. 0 • • • • •• ot:oo oooo ••• o. •Oo"o.o,o0 0 oo·oo.•, '• 0 • 0 0 • • • Oooooo• •,·o•,••o' 0 0 •oo'' ..J •• 'oo"oo oo''•D 'o'O"oo • 0.0 •• 0 0 0 , .,o "ooo• o o, ootJ • 0 •• 0 0 0 0 0 0. 0 0 . • 0 . • 0 0 Ziggy Marley: A promise for the future? - n as ever and Spear remains one of the most popular of all dancehall riddims, 1?,astlit~~s ,.,:~ few performers I've seen who can was recorded by Don Drummond for convey spiritual intensity through just - Coxsone Dodd back around 1965. BOULANGERIE • PATISSERIE the feeling of the music; words aren't Several of the songs on Best of. .. , necessary. His themes, as ever, are like "Love Me Forever" and "Full FRENCH CAFE repatriation and spiritual enlighten Up" are the original use of now fa Wines Now Being Served For ment through Jah Rastafari. Those mous riddims. "Full Up" is better who are interested in hearing Spear's known as "Pass the Dutchie/ lunch and Dinner ' thoughts in 1985 on repatriation Kouchie" by Musical Youth/Mighty Open For Brunch on Weekends should cheek the latest Reggae and Diamonds, and the "Love Me Fore Tuesday Friday 11 am - 10 pm African Beat magazine's cover story ver" riddim is used by Brigadeer Jer- Saturday 9 am- 10 pm with Spear and Marcus Garvey histo - ry on a brand new Coxsone release, a rian Robert Hill. 12" single called "Every Man a Me Sunday 9 am - 6 pm Bredren." And all the songs on Best 2808 Esplanade Ave. • New Orleans, LA On a strictly musical note, run out of. .. , even if not released in the late immediately and buy The Best ofStu Sixties/early Seventies, use riddims Phone: 488-2800 dio One, Vol. 2 if you like rock steady from this period, so the whole album and early reggae of the late Sixties/ has that raw, old sound to it. early Seventies. This is another great And Coxsone Dodd ina 1985 sty lee collection of Coxsone Dodd is now becoming available. Dodd produced singles that most people moved to New York years ago and have never heard. Coxsone Dodd, continued to re-issue much of the owner of Studio One (recording stu great Studio One catalog, but he made dio) is in many ways the man single no more new recordings. But only a BLACK LABEL handedly responsible for reggae mus few months ago he opened a sixteen ic from its beginnings right up to to track studio in NYC and will now be MUSIC, RECORDS, day. It was Dodd who began the prac laying new tracks. Plans are to create tice of putting the versions of songs on new sounds for the. Eighties, and the B-side of 45's. The version (or Dodd is just the man who could pull & TAPES rhythm track or riddim), the music together. the musicians to do it. First from the A-side of a single but without releases from the new studio, howev the singing, has spawned dub music, er, are new vocals over old riddims, DJ music and is largely the foundation two by Brigadeer Jerry and another of today's reggae. Countless records use of the "Heavenless" riddim, (504) 361-4898 that come out today are using re "Music Maker" by Willie Williams. (504) 367-4,382 mixes of the same rhythm tracks that Williams, by the way, wrote Dodd recorded back in the Sixties and "Armagideon (sic) Time," a song Coming Soon to the Westbank! Seventies. In fac,t, "Heavenless," the covered by the Clast~. D Snug Harbor y ·· .Septembe·r ~nug v Music Schedule Harbor WEDNESDAY THURSDAY FRIDAY SATURDAY SUNDAY 4 5 6 7 8 RESTAURANT & JAZZ CLUB Mike Pellera Ellis Marsalis, Guest night - Quartet Astral Project Red Tyler and Harry Connick, New Orleans Jazz Tribute to Monk Germaine Bazzle Jr. Couriers seafood • steaks pizzas • sandwiches 11 12 14 15 THE BEST IN CONTEMPORARY Ellis Marsalis, ~ ...... vu Goudeau- JAZZ AND BLUES Snooks Eaglin Astral Project Red Tyler, Ramsey McLean Album Release with AI Fanell and. Refugees Party convenient to the French Quarter Germaine Bazzle and Central Business District 18 19 20 21 22 626 Frenchmen St. New Orleans, LA 70116 Phil Parnell Ellis Marsalis, Edu and the 949-0696 Quartet Astral Project Pfister Sisters Red Tyler, Sounds of Brazil featuring Jay Germaine Bazzle Bnr Open D:1ily 4pm - 4:1m Griggs Restaurant Open Weekd:1ys 6pm · 12 midnigh Weekends 'til 2am 25 26 27 28 29 Snooks Eaglin Astral Project Quintessence Johnny Adams Joel Simpson Revue "Key's" WAVELENGTH/SEPTEMBER 1985 13 4 More hardcore than yah-hoo, today's southern rock bands have a new message, and Austin is becoming a center for the sound. en years ago, Southern rock time") had a local hit with the won meant a mess o' rednecks with derfully infectious "Freight Train Tlong archetypal beards and Rain," which the Austin Chronidt "South's gonnado it again" mentalit readers' music poll called "song of ies. Today, southern rock bands are the year.'' A reprised rendition of that led by college-age mystics who sing nonsense piece is joined by a number in streams of consciousness. Hidden of fine cuts including ''Translate behind catchy, country-blended Slowly,'' ''Sound and the Fury,'' the guitar pop are statements of angst and instrumental "Hill Country Theme" metaphors of rain. (used oo a Texas T.V. special on Austin, Texas, is the latest site of L.B.J.), and a beautitld pop version this new musical CQitSCiousness. Two of "Blue Eyes Crying in the Rain." recent albums document the evolving (Here's a hint to local musicians: the music scene in this small, progressive next overused metaphor will be college town. Bands on the Block is a "gravity.") compilation of assorted Austin garage Zeitgeist drive a broken-down '73 bands and includes some very good Chevy Impala between gigs, but if sensible southern pop as welt as a full they can make it to New Orleans, side of banal hardcore. Five excellent don't let the rain keep you from seeing cuts begin side A, including Go Dog them. Go's chant-like "The Rain" and the True Believers' "The Rain Won't Indies Hot, Radio Not SOOTO RECORDS Help You." What a boring summer this was on commercial radio! 205 E. Kings Hwy. All the major rec ord companies were churning out Ask For Their New Album Shreveport, LA 71104 these over-produced Anglo-ballads, At Your Favorite (31 8) 865-5681 making this the mellowest summer in twenty-five years. With WTUL off Record Store ! the air, New Orleans new music lov ers don' t know how crazy the young independent labels have gotten. Scouring through underground park ing garages and bus station depots. labels such as Enigma. Twin-Tone, Subterranean and Homestead have been flushing out the most interesting, if sometimes unlistenable, recording artists in many years. Jeffrt>y Lt-e Pit>rce Ordwstral Mant>un•rs in tht' Dark For instance, San Francisco's nco- (Gun Club) (O.M.I>.) The best album to hit my turntable beatniks, The Longshoremen, have Tuo·,day :\ this month comes from an Austin released Grr Huh Yeah (Sub- Le Rio Sibblt>r & Mickey Jarrell N.R.B.Q. group also appearing on Bands on the terranean). The lead vocalist, a cab (f'mm Jumait-a) 1lw,..luy 19 Block. Zeitgeist's Translate Slowly driver named Dog, extols on the vir- Friday 6 Blue Riddt>m Band (DB) is a smoothly textured debut that tues of the ''Putra Car of the Future" Mistrt> att>rs Frida\ 20 combines the plain delivery of John in a Kerouac/cool jazz bop. Although Petrit>s Croslin with the ethereal vocals of most of the album will (\'uno·,:, l'it•w R.mol) clear the room Kim Longacre. Sallmlav 21 Critically acclaimed in five minutes, with this chaotic Jason and the Scordtt>rs throughout the Austin city limits, whirlwind saxophonisms and clash· (lt'nlalnt'l Zeitgeist (which means "spirit of the ing pots and pans percussion. there is '\lmulay 2:1 ~...,...... ,...... -- .... lns~ht 1luor- Fabulous Thundt>rbirds (9:00 p.m. shu~ 14 WAVELENGTH/SEPTEMBER 1985 L------Claus/She said it was because of tucp concerts menopause") the album is im mediately a head spinner. Peter Buck of R.E.M. says this is his current fave. l J Otto's Chemical Lounge is an ex citing, cryptic band from Minneapo lis. On their first album, Spillover (Homestead) they display an infatua ~ense that art tS being created here. tion with Roger Corman soundtracks. n David Thomas & the Pedestrians Husker Dii's Grant Hart produced. lrecord1~d a silly album entitled More Antietam (Homestead) has been de Forever (Twin/Tone). The scribed as a "tuneful carcrash." Ori sounds like an afternoon car- ginally from Louisville, this group of Mel Blanc may have made when three guys-one gal moved to ing was dropped in the Kooi Hoboken, New Jersey for a fresh "Enthusiastic" is a wonderfully breath of musical air. I suppose. ...,.lVII· .. examination of the game Although it is easy to listen to, Anti host. etam is hard to pin down. Maybe if Mo Fungo is a politically con Patti Smith joined the Fall ... band with songs like "Migrant For harmless amateur goofing, try •···~" 1 " Line Workers" and "Ron the Dead Milkmen's Big Lizard in My He Can Rock •n' Roll." Backyard (Enigma). This Phi only problem with this avant ladelphia quartet slips in and out of production, Frederick Douglas harcore categorization, but they're is that the Richard Hell really just out for the fun of it on songs vocals are mumbled beyond com- like "Takin • Retards to the Zoo." One of the strongest albums to come out this summer is Volcano The Chick Corea Elektric Band From the Carolinas come Mojo Suns' The Bright Orange Years and Skid Roper (Enigma), two (Homestead), an aggressive - some buffoons who use the talk times abrasive - post hardcore effort Saturday, September 21, 1985 styleofHowlin' Wolftojibe by Peter Prescott, the former Mission bizarre, psychotic stories. of Burma drummer. Lyrically, this is 8:00 p.m. Tulane's Dixon Hall like "Rockin' Religion," a great cornucopia of puns and Maniac" and "Jesus at chiches. Beer drinkers and other Tickets at all TicketMaster Locations d's" (in which Mojo recalls American youths will enjoy cuts like For more information call: 865-5143 ··1 saw Mommy humping Santa "Cornfield" and the bitter "Jak. " 0 Werlein's for ~\ot ~Roland jY,..-&-c- 0 A~~ KB-100 ge\ KEYBOARD AMP* "End of Summer" ;"\ogS a(\ SPECIALS FREE The JX-8P offers 64 preset patches including of extra extremely th1ck stnng sounds, cross-modulated charge metallic sounds, a variety of special effect and GET a sounds, and many more. II can also store 32 HURRY $225 programmable patches. In addition, the Limited VALUE optional M-16C memory cartridge provides quantity 32 programmable patches. A total of 128 forthis HARDSHELL patches can be 1nstantly recalled even during special. FLIGHT CASE a performance. SIMILAR FREE of In addition to these exciting features, the TO THE KB-300 extra JX-8P offers full MIDI compatibility. SHOWN AT LEFT JUN0-106 is a new poly- charge phonic synthesizer that accepts all MIDI information. Thanks to 16 IN GREATER NEW ORLEANS: MIDI-channel, front e605 Canal Street. Downtown ... . . 524-7511 panel select buttons, • Lakeside. Metaine, LA 831·2621 JUN0-106 can connect •Oakwood. Gretna. LA .. . 362·3131 with any MIDI synthe ePiaza, Lake Forest. East N.O.. 246·6830 sizer or sequencer. Its 61- ALSO IN key, 6-voice polyphonic •Baton Rouge. LA. 7744 Fla Blvd . 926·6800 synthesizer is easy to eB1Ioxi. MS. 3212 W Beach ... 388·4070 work and packed with exciting functions. All program data can be stored on cassette tape. NOW, If qualified, YOU CAN BUY YOUR ROLAND WITH MONTHLY LOW WERLEIN PAYMENTS, CUSTOM-TAILORED TO YOUR BUDGET WAVELENGTH/SEPTEMBER 1885 15 lflyUptic * _ ~enp.. VP,~wum fftula For African Pop Stuck on·authentic African music, or do you long for a short tune with a hook? There's good stuff in both categories. 'm not ready to go on one of my of township music called mbaqanga,a tirades against Caribbean and A fori raw style that features full, rich vocal! Ican attempts at cross-over mustc, over quick, urgent instrumentation but at this time when it seems that Listening to a whole album of mba every other ''African'' pop record qanga can leave you breathless i1 album available in New Orleans has much the same way as punk albums been produced by Bill Laswell, I've A few of the songs on Malopoets sta) got to grumble a little bit. Actually, all within the bounds of authentic mba I really want to do is make a distinc qanga and glow with the benefit pop music, we're ish. With the instrumentation howcl· confronted with foreign languages, er, Meissonnier takes much moll long songs, less than state of the art liberties, slowing down tempos, add· recording and unavailability of the ing extended solos and introducing In discs. Short songs with plenty of struments like steel guitar, talkin1 hooks, and high quality recordings drums and balifone that do not nor· spell success in America, and this is mally appear in township styles. Con· the theory being applied to a few of sequently, that raw edge that I love n Africa's bigger stars by producers Bill mgaqanga is missing, but in its place Laswell and Martin Meissonnier. So is a mellower form that, while na far the results range from really hip authentic, is really pleasant listening fusion that takes the best elements of both worlds, to new forms that have In the case of producer Bill Las· practically nothing to do with the ori well, his results are more like techno ginal African roots. These varying pop meets African pop. For Watto Sit· levels of success have been achieved ta by Mandingo (Foday Musa Suso), by experimenting with Nigerian Afro Laswell used electronic drums play· Beat and juju (Fela's Army Arrange ing disco dancebeats to introduce tra· ment and King Sunny Ade's Island ditional instruments (kora, kalimba Records releases), traditional sounds and dousongoni) of the Mandingo and of Senegal/Gambia (Mandingo's Wollof peoples of the Senegal Watto Sitta and Toure Kunda's Nata Gambia region. This is my favorite lia) and South African township mus album of '85 because of the beautiful ic (Malopoets and Hugh Masekela's sound of the kora and virtuosity ol Techno-Bush). Foday Musa Suso. Toure Kunda li The most subtle tampering was another Senegalese group that plap Meissonnier's production of Nigerian many traditional instruments as well King Sunny Ade's first Island release, as explores traditional vocal styling1 JuJu Music, an album that was a tre and harmonies. Their techno-Bill mendous international success for Laswell-produced album, Natalia, KSA as well as the root of most Amer strays further from the roots in mud icans' interest in African pop. Most the same way as the Malopoets' styles of Nigerian music (including album, but is not as successful in the juju) as well as Congolese and Sene new form it creates. I much prefer galese styles tend to stretch out songs earlierToure Kunda albumsiikeAtM by establishing a groove and then de dou Tilo and Casamance. Even le11 veloping it for 15 or 20 minutes. Con convincing as African pop fusi01 sequently many African pop albums (although good dance music) is Dead· contain only two to four long songs. line's Down by Law, a production b) For KSA's Juju Music, Meissonnier Laswell and Phillip Wilson, which fe had Ade perform shortened versions atures several African musicians like of many different grooves that span Manu Dibango. There is nothin1 ned Ade's more than 30-album wrong with this record, but pleas~ career. But aside from shortening the don't call it African music: songs, picking up a few tempos and Cadence, the pop music of the applying state of the art recording French Antilles (Martinique and techniques to the music, Meissonnier Guadeloupe), continues to grow i1 and Ade presented authentic juju mus popularity, although getting records is ic to the world. proving to be a problem. A true c• A more recent Meissonnier project dence rhythm features a straight ~ has resulted in another fine record on the bass drum,light acoustic gui called Malopoets, although on this playing and a singing style that 1 one he takes the music much further times sounds more like chanting. It's from its roots. The Malopoets are a a mellow, happy style of music thl South African band that plays a style will feel familiar to those who enjoJ 16 WAVELENGTH/SEPTEMBER 1985 zo 0 0 0 a: ongs w Pula ~ anga zJ: ugh ffi (,') Q a: w certain African pop styles like makos has a highly percussive, funky sound sa (from Cameroon) and Congolese to it; Les Aiglons sound close to soca; music. Few cadence records contain Malavoi is acoustic in its approach; only cadence rhythms. though. The and the Haitian compas-based Tabou pop style cadence includes music Combo leans towards a salsa sound. which has been influenced by sounds The most easily available records are from around the Caribbean ... caly by Georges Decimus and Jacob De pso. Latin music and some reggae, svarieux individually and also which makes cadence a strong music together under the name Kassav. all ink between Africa and the Carib Their albums contain a lot of true ca bean. dence rhythms as well as some sappier A typical cadence record will prob music influenced by American soul ably not include as many diverse music. styles as the fantastic ings compilation Until G lobeStyle puts out more album on GlobcStyle Bill called Dance! music, mail order seems like the only lia, Cadence! because that album was de way to obtain this cadence music . .... signed to give a uch cross-section of Write to Musique des Antilles Rec ets' sounds. Each group from Martinique ords and Productions. Inc., 111-28 and Guadeloupe the has developed its Springfield Blvd., Queens Village, efer own blend of sounds. Dede St. Prix NY 11429. Happy hunting. 0 ma less Bon Ton West "Good time music for all occasions" P.O. Box 8406 Santa Cruz, Ca. 95061 (408) 425-5885 West Coast Connection for Louisiana Music and Food. Clubs, Festivals, Private Parties WAYELENGTHISEPTEM 1-17 almgst_slim rnre lerJltd & liS 111. -- _,...... , IUinUI!Iaa..._ New Orleans' on,__ Golden i[UEs-~1 Era lftllllllWU Various (lol-l...,_ ...-~ _ SALES... SERVICE ... INSTRUCTION We Sing the Blues fill"' '- ALL MAJOR BRANDS e COMPETITIVE PRICES Minit LP-0003 ...... •rw:•~._-· .... e COMPLETE TEACHING FACILITIES hile many American baby Wboomers get bleary eyed and 2013 WILLIAMS BLVD. 466-8484 nostalgic over Meet The Beatles and Law," "I Like It Like That," and The Supremes' Greatest Hits, in most eight more classics to boot. Even Orlean ian/ Jefferson ian/Chalmetian though many pre-middle agers have households, it's this album (along this record, it's curiously hard to tum with its companion New Orleans, up at the usual record collecting ~~DKPsROIII.tA Home of the Blues that brings on that haunts. Personally, this post-teenager Big Chill feeling. A simple glance has only unearthed one copy of this over the performers and the songs LP and the closest he ever got to the here should have you pineing over Home of the Blues LP was from an ~~ wide-mouth bottles of Jax, fisticuffs ex-girlfriend who would never give it POOL TABLES DARTS at the F&M Patio and backseat in up (or anything else for that matter!). cidents at the Rockery, in no time. Thankfully, it has been reissued by SANDWICH SHOP BURGERS. FRIES PO-BOYS & SNACKS Many of the biggest New Orleans Bandy - save the period cover and R&B hits from the early Sixties are liner notes - but the ..[IUSic still hits MON ruES WED THURS FfU SAT SUN contained here. " It's Raining, " home. ... ladles' 2 ladles' Dnft Beer 75~- FREE Rotating $1.25 FREE Night Night ...... Oysters Import Bloody " Lipstick Traces," "Mother-In- - Almost Slim Th $1.25 2Free 35' Dnft 35' Dnft Beer Mary'& M~ 8:00.12:00 $2.25 Night 10 a.m. pictu '•···-? Pitchers - 8:00.1:00 4p.m. ~yste pictu PATIO N_OW OPEN \1~~~~..~ ~-~!!!!~-~ mac some 4801 MAGAZINE 899-9228 time lengt It's Super Beta I the 8 As each new improvement makes the old obsolete, video and t THE PROBLEM WITH MOST that technology keeps pace- barely- with human indecision. capa RESTAURANTS IS ... here t calle know that after my last article too marvelous for words. too-d THE ONLY SERVICE YOU GET almost everyone ran out and The second format was introduced Th bought a VCR and you're now an- about a year ago, but until recently ends IS WITH YOUR TIP! xiouslyI awaiting the next episode of was not regarded by videophiles as a Dr. Who's Wheel of Fortune. But for serious contender. Well, with the help those of you who didn't, well aren't of Sony technology (who else?) sever- you the lucky ones. at breakthroughs have made the 0 New technology continues to up- "new" 8mm format the serious grade old ideas and perfect new ones. alternative it was meant to be. When 0 Those of you who don't already have first introduced, 8mm had several a VCR have an even bigger choice drawbacks. not the least of whtch was now. Besides Beta and VHS (both the picture quality that by all reports 0 being available in HiFi Stereo) there was lacking. Also the original 8mm are now two new formats. units needed the camera we well as the 0 The first is an upgrading of the Beta console unit in order to play back () format called Super Beta, which pre- tapes on your television, which meant sents a 20% increase in picture detail dragging the camera and console 0() according to the manufacturers as everywhere you wanted to view your well as anyone I know who's been tapes. able to get their hands on one. Though The original tapes ran only 60 the technology was developed by minutes, then to 90 minutes, but this Sony, San yo was the first company to left much to be desired when com make a Super Beta VCR available in pared to either I /2-inch format (Beta . ~-~. ~~- -·• 0 0 the U.S. Sony now has four different or VHS). The siz.e of the 8mm cassette pure . models available. All Super Beta was the main fascination "'ith the sys part< machines have HiFi Stereo capabilit tem, it being only a little larger than an C/(1/, ies. They range in price from around audio cassette. So seeing the some $400 to $1200. Super Beta technolo possibilities of the system, Sony has copie FOR FAST, PERSONAL SERVICE gy, however, cannot translate regular now jumped into 8mm head first in am hi Beta signals without some loss in troducing an 8mm camcorder (camera musi YOU DESERVE! reproduction. But. not. to fear because and recorder in one unit) which is put ever every Super Beta I've read about has a togelher so that all you need is the I've switch to change the machine's in camera without any other hard"'arc soun NOW SERVING BREAKFAST, LUNCH & DINNER ternal systems to play regular Beta or {excluding \vires) to shoot and sec tdevt Super Beta tapes. Everything I've your tapes. There is also a tuncr'timcr anc"" 3001 MAGAZINE ST. 891·0997 heard about these machmes acknow available so you can record "otT the llll S( ledges the fact that they're simply air." what 18 WAVELENGTH/SEPTEMBER 1985 - - ·-4 -~· :.- I_ _ STORYVILLE --JAZZ BILL-- SEPTEMBER CALENDAR Of Special Events: Dr. John Thursday 19th Big Twist & Mellow Fellows Tuesday 24th Bo Diddley · Thursday 5th The biggest breakthrough here is Japan picture quality. First tests indicate this Oil on Canvas ')'tern (Sony CCD-V8) produces a Virgin Video (Japanese) picture that almost equals a 1/2 inch 55 minutes I0 songs machme (and is actually better than approx. $10 I.99 \\lme 112 mch units)d . While at this tune 90 minutes is still the maximum he price is outrageous! length of tape, Sony's commitment to However anyone who is familiar with Japan the 8mm system (with this camcorder T would pay almost anything and their newer home 8mm to see systems them. and that feature four-hour record1ng for most this is the only opportunity they'll get to see this capability) all indicate that 8mm is group perform because of their de here to stay and could comfortably be mise a few years ago. Japan was a pop called the format of choice in the not too-distant future. group with one of the most distinctive and unique sounds ever created This month 's reviews in that cover both vein. (nd\ of the price scale. No comparison can be made to other groups. You just have to see and hear them! The video is the visual documentation of the live ;tlbum of the same name with enough effects Nosferatu and cutaways to scenes oriental that br F. W. Murnau the group manages to stay somewhat Kartes Video obscured, which is what they tended 63 minutes towards anyway. Japan has always re Sl9.95 lied upon the integrity of their music Clifton Chenier '\ to create the band's image. There is a certain amount of showmanship in Friday 13th ere's the other end of the spectrum volved but even that is covered up Has far as price goes. This is the pretty well with visual effects. Be original Dracula movie with effects tween it all you can see some of how that seem childish now but were out bassist Mick Kam does whatever it is rJgcous in its own time. The movie he's doing to get those great sounds, follows the classic vampire story well and you get some semblance of Japan while the tone of the film flips from live. Some of the performances are scary to humorous to intriguing and too perfect, relying heavily on bad: again. The price makes it easy to sequencing and tapes and lacking ptm:hase and adds to the permanent spontaneity. but on "Art of Parties" pan of your video collection. Nosfer the band gives more and the "live atlt, bl.!ing silent (though inevitably ness" comes through. Since it is only ~<•me mane music is added on most available as an import from Japan (the copies), is a perfect candidate for country). the price is an unavoidable ambient video. You can add your own evil. Maybe several people could pool mu,ic or other sounds to create what money and purchase it together. or sec IN THE FRENCH QUARTER AT THE FARMERS MARKET tier atmo..,phere you like . Actually, if it is rentable. If you've already 1104 DECATUR STREET • 525-8199 I've found that anything works well heard Japan, I really didn't need to MUSICI FOOD/ BOOZE/ DANCINCI \OUndwi-.e with almo-.t anything on take this much time telling you ; you NO COVER EXCEPT AS NOTED tclc\'i,ion. Each combination create-, already know. If you haven't then this One Drink Minimum Per Set anew and different audio - vi~ual prod is something you really should see. I Advance tickets on sale at: IJI:t 'o Icc I free to experiment and rind guarantee you 'II search for more Storyville Bar • Record Ron·s. 1129 Decatur • The Mushroom, 1037 Broadway ~hat you like hcst. afterward-.. 0 WAVELENGTH/SEPTEMBER 1985 19 I revleWJ. $i fz I_ • --- Vinyl Tributes Eddie Harris/Ellis old-time playing"), this duo covered the waterfront, and then some. clearl) Marsalis having a good time and generattng a Tyler's Beer Garden good deal of response from the Thursday, August I, I 985 crowded room. Although Harris has achieved here's nothing much better on a sporadic popular awareness, hi> Thot New Orleans summer night career never took on the momentum than taking in some cool jazz and hot or acceptability that enables Jan blues. On the first Thursday evening musicians to gain long-term com· in August. Eddie Harris, who hails mercia) ity. Eddie Harris IS well from Chicago, came to town to play respected within the Jazz community. with New Orleans' own piano emi and New Orleans mus1c1ans such a' nence, Ellis Marsalis. Harris, who has Red Tyler, Earl Turbinton, and others been called "one of the most brilliant were there in force to check out Harn~ tenor men," was born in Chicago in and hts saxophone playing. Hams re 1936. and began music in church. sponded by playing long and hard. singing in choirs and gospel groups in making his job seem like nice work if Baptist churches throughout Chicago. you can get it. As the night wore on. Harris played piano, vibes, and clar his singing melodies and driving inet before settling on the saxophone, rhythmic punch became pure bittel'i· .IOHN~Y J. AND !Hf HilMI~ following the great jazz lineage of weet odes to beauty. perscverencc. AVAILABLE AT ~ Wardell Gray and Lester Young, de and the triumph of one man over his - '+~ ·. veloping his own unique sound out of instrument, a great man in his chosen METRONOME a light tone, delicate phrasing and profession, unduly ignored surely not sharp blowing. for his talents, but his outspoken hon After becoming an established esty and artistic integrity. SOUND WAREHOUSE ! ... jazzman, Harris worked with vibist/ EDITOR'S NOTE: HARRIS AND MAR pianist/arranger Charles Stepney and SAUS IVIU 8£ COU.ABORAFING ON A\ MUSHROOM ., NUClEAR recorded with Ray Barretto, Ron Car ALBUM THIS MONTH TO Bf.' Cl.,71N LOS ter, Billy Hart, Billy Higgins, Grady HAYRID~ ANGELES. Tate, and Cedar Walton. In 1960, his -;William D. White jazz version of the Exodus movie theme set a pattern for popular accept Preston Frank and the ance of jazz artists by the general public. By 1968, Harris' explorations Swallow Band/Ambrose Over with varieties of sound and. in Sam strumental textures came together as Zydeco Volume 2 part of what came to be known as Arhoolie I 090 "space jazz" on The Electrifying Eddie Harris, especially with "Listen n Zydeco Volume 2 Chris Strach· Here," and in 1969, Harris made a 0 witz continues the tradition of seminal fusion LP with Les McCann bringing some of zydcco ·~finest prac 50,000 RECORDS called Swiss Movement, recorded live titioners to vinyl. 7wleco Volume /, a at the Montreux Jazz Festival. In the collection of seminal performances b) Seventies and Eighties, Harris work Clifton Chenier and others. was re ed the jazz circuit, often in Europe, leased in the early Sixttes and es and recorded, most notably perhaps, tablished Arhoolie's central position with Horace Silver on an excellent LP as a purveyor of authentic zydeco called Spiritualizing The Senses. music. p On this night in New Orleans, Har The first side of Lvdeco Volume 2 ris displayed his quite formidable features seven songs by Preston Frank chops and improvisatory sensibility. and the Swallow Band, some of the Ellis Marsalis was, as usual, the non hottest zydeco waxed in recent yeal"i~ pareil accompaniment, his luxurious The Swallow Band, which perform~ sound and uninterrupted flow of im around Eunice and Opelousas. agination, erudition, and celebration Louisiana, has a strong French sound perfectly supporting and prodding augmented by Carlton Franks' fiddle Harris' often unpredictable twists and and Preston's tear laden vocals and turns. wails. Interestingly the band has fore Harris, who was free before free gone the rub board, relying instead on knew its name, and was fusing differ the drumming of Leo Thomas for a ent strands of music Uazz, movie rhythmic foundation. Thomas is the Collectors Items themes, R&B, funk, you name it) be standout on these sides, propelling the fore fusion was cool, was in fine songs, punctuating the instrumental form, playing a lot, rarely content to breaks and making the whole thing Gifts and Accessories let an idea rest or a phrase drop before rock with some truly idiosyncratic he introduced another string of riffs stick work. Thomas also adds vocals RECORDS FROM 99¢-s2.25 and licks, not always tied up in pretty on his compositions "Shake What packages with bows, but always cohe You Got" and "Why Do You Want rent, improvising in a compositional To Make Me Cry," the two mOSI direction, you might say. From bop R&B-tinged tunes in this French· 3129 Gentilly 3627 S. Carrollton warhorses like " Night In Tunisia" to flavored set. 282-3322 482-6431 snatches of classic jazz ravers such as The other side of Zydeco Volume 2 "Jitterbug Waltz" ("Ellis threw that is a set of "old time zydeco" per· in there, I just answered with some formed by Ambrose Sam in 1983. 20 WAVELENGTH/SEPTEMBER 1115 5 ? Sam is the brother of Herbert ''Good The Springsteen Era of performers as Rock in'" Sam whose early recording regular people. "They Call Me Rocking" may be During the set-up, there was some heard on Z~·deco Volume I. These table hopping done, mostly jour brothers performed during the Fifties nalists hob-nobbing on this opening d when zydeco was rapidly absorbing night. Subjects discussed around me y urban blues and rhythm and blues in included: The ozone in Mandeville, a fluences. Backed by his sons on wash whether or not Ted Kennedy was on e board and drums Sam turns out a acid when he drove off the bridge, primitive blues based set. The high MDA vs . XTC, Nelson Rockefeller's light is a rousing "Old Time heart attack during sex, the Enola Zydeco." Gay, Harry Truman and the Bomb. While the Ambrose Sam side will depression, life ruts, Gerry Wykoff's be of greatest interest to "old time" column in Gambit and A.J. Loria's zydeco enthusiasts, the Preston Frank clothes. Heady topics, brought upon side rocks, and does so without rely no doubt by the fine food and drink ing on the heavy soul and R&B in supplied by our gracious hosts. flections so popular in much modem Rare Silk came on with an extended zydeco. percussion intro reminding one of The -Macon Fry Art Ensemble Of Chicago or The Windham Hillbillies meet Pharoah Aretha Franklin Sanders. As the sound grew. I stopped Aretha Sings the Blues being skeptical. It was soon clear that Columbia FC 40 I 05 this band couli.l play and that all the singers were also decent per iscovered by John Hammond in cussionists. Diving into a Latin D1960, Aretha Franklin was groove, Rare Silk continued to im signed to Columbia where she was press. The singing was excellent, on molded into another Nancy Wilson. a par with the more well known Man black singer soothingly crooning to hattan Transfer. This was music that martini -drinking white audiences. anyone could tell was good, in tune Sulled for seven years by cheesy str and forceful. mg arrangements. Aretha literall) ran The drummer was great. mixing away and joined the Atlantic label Simmons electric and Yamaha acous where she was treated with ··re tic for a rich "studio" sound. His spect." Today on Arista. Aretha is touch was smooth, allowing for many bad; on top with the top ten hit "Free timbres. The bass player. who. from a way of Love." distance. looked a bit like Charles To cash in on Aretha Franklin·., re Manson, gave virtuoso bass de vived popularity. Columbia ex monstrations all night long . While the ecutives reis-,ued a collection of bad keyboard player exhibited the most ION TOU experiments produced by cocktail mundane use of his instruments, he , lounge visionists. There are even two too, was excellent in his own right. with selections made famous by Frank Pretty funky for a band from Col Sinatra ("Only the Lonely" and orado, a place well known for the ul "Drinking Again"). Aretha sounds f timat in whitebread country-rock. soulless - a remarkable feat con Rare Silk is a band worth seeing. THE HOOTER sidering that her success with Atlantic They are clean. almost All-American propelled her into becoming "Queen without being overly so. Good sing ofSoul." Furthermore. this isn'teven ing, good playing, good material. a blues album. but a set of melancholy good sound. good lights As far as I meanderings. Except for the earliest know. that about covers it. cut. ''Maybe I'm A Fool." an un - Mark Bingham encumbered solo effort produced as a demo by Hammond. Aretlw Sin!(.\ the Flshbone Blues is at best a novelty record. And Fish bone not a fun one at that. CBS40032 - St. George Bryan AT TULANE'S!III irst I was knocked out. Then I McALISTER Rare Silk Fwas irritated by their bombast Blue Room and relentlessness. Then I started AUDITORIUM August 7, 1985 liking their approach to chaos and humor. I hope they come to New ot knowing what to expect from a Orleans and play a venue where all Nnight out is one of the pleasures ages can attend. Fishbone plays of music listening. The anticipation, scattered, unfocused teen music in a ,.~UN DAY, or lack of it, often causes extreme very healthy way. These are teens reactions once the evening's fare is from L.A. who play what might be ~ SEPTEMBER 1 revealed. In the case of Rare Silk, I called B&W, as in black and white. had no idea what to expect. From the They are full of cultural influences press kit I could make out that they which transcend any racial or musi were from Colorado, there were four cal categories. Th.ke it in, spit it out. TICKETMASTERTICKETS LOCATIONS, AT ALL singers and they were beginning be Iii to GIGO. Passionately goofy, not successful. derivative. This is not cool, this is OR CALL 888-8181 After the Herb Tassin Orchestra Fishbone. If the song "Purple played their usual fine set to open. the Rain" is really nothing more than an TO CHARGE BY PHONE Rare Silk roadies took some time in old-fashioned country ballad preparing the stage. One of the road siamesed with some Hendrix licks, ies turned out to be one of the singers. then what is Fishbone? A nice touch, areminderthat weare in -Mark Bingham WAVELENGTH/SEPTEMBER 1185 21 M · A R s A L I s From the top of the jazz world~ the eldest .so:n . takes a detour vvith Sti:ng. BY STEVE BLOOM t didn't come as much of a surprise that Branford at least that a black guy playing sax was in Sting's Marsalis was planning to leave brother Wynton's new band. Branford prefers the latter description. quintet for a once-in-a-lifetime rock 'n' roll gig "They don't see me," he said the next week. with Sting. Witness his broad taste in music: "Did you see Qavid Bowie's show? Do you remem Ifrom Debussy to Led Zep. During a recent visit to ber what the sax player looks like?" I couldn't say Branford's Brooklyn, New York, apartment he repe that I did. "That's what I mean. The show was billed atedly played "Tamborine," the cut that follows as Sting and Phil Collins, and that's what the people "Raspberry Beret" on Prince's latest album. He wanted to see. It was nice that Sting wanted me to be likes the crunch of the bass and drums, and Prince's there, but, like with Wynton, you have to always sly vocals. Contrast to Wynton: If he liked it, he keep in check. I know better- the crowd is cheering wouldn't admit it. Branford has no such hang-ups for them. When I play a solo, if Sting goes to the about what turns him on musically. bathroom, they'll watch him go to the toilet." Bran So then there was Branford several months later ford smiles weakly and shrugs, "That's the way it tooting his horn for all the world to see, on the same is." stage as Sting and Phil Collins at the Live-Aid be-in Is this any way for a man to talk who is currently in at Wembley, England. They did barely-rehearsed the midst of an eight-month world tour with the acoustic versions of "Roxanne," "Every Breath Golden One, whose sax riffs embellish Sting's Top You Take," and "Driven to Tears." Everyone Ten album, The Dream of the Blue Turtles, whose cheered. Millions now knew Branford Marsali~r fleeting image is a highlight of the "Set Them Free" 22 WAVELENGTH/SEPTEMBER 1985 video? Maybe not, but Branford, like Wynton, The limousine comment is telling, because Bran months prior to going out with Sting. Sting wanted to shoots from the lip; if something's on his mind, he ford is blue-collar in his lifestyle and politically begin the tour in June, but Branford said he was tends to say it, damn the consequences. (Well, not left-of-center in his thinking. He and Wynton share a committed to his brother-as was Kirkland. Await· always: He asked that his unfavorable comments brownstone in a break-even black section of Brook ing them when they arrived home were pink slips. about Phil Collins remain off-the-record.) lyn that perhaps reminds them of their uptown up courtesy ofWynton. "He fired me," says Branford. •'The show in London was a hundred thousand bringing in New Orleans. The building often resem still stunned. "I got back, was ready to do the gigs, times more sincere than Philadelphia," he con ble~ a crash-pad for wayward musicians, if not a kind and found out I wasn't playing no more. He told me tinues. "PhiWy was just a bunch of pompous, who's of dorm for friends and relatives. Clothes, empty and Kenny, 'Sorry I didn't tell you sooner. That's whopowershit. We're all at a thing for Ethiopia, and beverage containers, sheet music, cassettes, in the way it is."' there's Miele. Jagger pulling Tina's skirt off. Dylan struments, and suitcases are strewn everywhere. Branford wasn't particularly upbeat about thil was about as high as the Georgia pines and Keith Marsalis lives upstairs with his newlywed, Teri, in state of affairs and asked that we change the subject. Richard was about to fall off the stage. It was relative peace and quiet. Before he left for Japan in We talked sports for awhile (he's a Mets, Jets and obvious people were there for exposure purposes. August, where he was meeting up with Sting, the Knicks fanatic), he mentioned that he had just com The Beach Boys ... give me a fuckin' break! two brothers weren't talking. Wynton and Branford pleted a classical record for CBS Masterworks, and "All of the British people came with their egos were literally passing each other in the hallways. finally we got around to the raison d'etre of this severely in check. It was much more organized and Here's the scoop: Branford returned from London interview: rock 'n' roll. Marsalis says he first started much less heopla. Sting drove there in his van. There in May after performing in Sting's video and partici listening to the Police ''when a friend of mine played weren't any limousines-none. I think the spirit of pating in a documentary on the band (Kenny Kirk Zenyatta Mondatta for me. It caught my attention, so [Bob] Geldof [Live-Aid's organizer) caught on with land, keyboards; Darryl Jones, bass; Omar Hakim, I went out and bought Synchronicity thinking it was everyone. There was a completely different vibe." drums); he expected to play with Wynton in the two Zenyatta. Then I just went crazy. "That was the first rock 'n' roll I'd I istened to since 1979," he adds. "Before that I'd been into Led Zep, Elton John up until Captain Fantastic & tht Brown Dirt Cowboy . .. but then it became Michael Jackson syndrome: You become a superstar by what you wear or what you do, not really based on ho11 well you perform. But that's understandabl!!, be cause we're dealing with people, and they kno11 about as much about music as they know about government. If you have a society that would elect a Reagan, then you can't expect them to know any thing about music." Pretty strong language, you say? Well, that may ·souNd explain what Branford's doing with Sting, who hard· ly hides his displeasure with the world powers that be. The Dream of the Blue Turtles is filled with broadsides at Reagan and Russia, heroin and false METAIRIE, CHeK heroism, death and destruction. "His shit's so hip," LA. M U s c raves Branford. ''The songs he writes are so differ ent. They're about the same themes all the time poverty, starvation, spurned love and all that-but they all have different sounds to them." Sting equally admires Branford. He first heard him on Branford's solo album, Scenes in the City, while touring in 1983. Later, when the Police dis banded, he got in touch. "Sting was thinking of getting a bunch of guys who'd expereimented in jazz, because he wanted a jazz sensibility in his music-which is what rock 'n' roll so desperately needs.'' (Branford subsequently introduced Sting to Kirkland and Jones; Sting selected Hakim himself.) On the record, which Branford claims "could have been mixed a little better'' (translation: his contributions could be more audible), and in concert Branford play the foil to Sting's salient vocals, much in the same way Clarence Clemons follows Spring steen's leads. "We've gotten to be like that," Bran· ford concedes, "but on a much higher level. " ''Sting tries to get me to play more-l feel I should play less. I feel I should complement his voice. Counter-melodies are nice when they're es tablished, but when they happen all the time it gets redundant." What if Sting demands that he play more? "I play less," he says. "Unless he really, really. begs me to play more." Perched at the top of the jazz world, while at the same time united with one of rock's majordomos. re~ Branford Marsalis would seem to have the musk cull business wrapped around his finger. What else could cau he ask for? "What's gonna make me happy is if and enough musicians come to the gigs and really feel \ like we're playing some hip shit," Branford says. 19~ "It's like playing football. The thing that makes icat your day is going in and blowing the other team off as 1 the earth ... earning their respect, but in an in cxhl timidating way. Like the [Los Angeles] Raiders. on t That's what will make my day. Wa "My father says,'What Sting's trying to do is to I create a Frankenstein. Unfortunately, Frankensteia ciat can't have children.' Sting just wants to get some dig shit so big and so bad that it will force people to deal the with the realities of music. We'll have to see," too Branford pauses pensively, "we'll have to see. "0 3-J 1 24 WAVELENGTH/SEPTEMBER 1985 0 IS t- ;, 1. te 's is t. id 1- LOUISIANA COMES ro· ·Fiddlers, floats, Indians and gumbo were hits at the Smithsonian American Folklife Festival. BY KALAMU YA SALAAM "Would it be true to say that formance tents, a small performance secondline Marching Club costumes. "Brownie" Ford, a cowboy ballader, what makes Louisiana so narrative tent, a cooking exhibition/ The boat building display included Curt Blackwell, and old-time fiddler different is Cajun culture, ' 1 tent, a small tent for a gigantic St. the actual construction of various and Clifford Blake a cotton press cal a Washington reporter asks in a radio Joseph· s altar. three crafts demonstra types of small boats used in the ler from Nachitoches. Blackwell and interview. I respond unhesitantly, tion tents, a boat building area and a bayous, swamps and rivers of Ford worked together everyday on the ''No." tent for the Mardi Gras float makers. Louisiana. narrative stage trading jokes, re Louisiana is different from the rest The Barth family represented the The "foodways" exhibit included miniscences and songs which were of the United States. no doubt, Mardi Gras float-making tradition. cooks from all over Louisiana who part of their personal life experiences though Cajun culture is neither the The Barths arc the last major float demonstrated how to fix everything growing up in Louisiana through the only nor the most imJX>rtant differ builders who handcraft their floats us from gumbo to pralines. Twenties, Thirties and Forties. Black ence. As I patiently explained to the ing paper mache. Joseph Barth Ill, Of course the main attraction at the well performed with a wry joy and reporter. white Americans note Cajun during one of the many narrative dis folk festival was the music. Although light touches of humor, while Brow culture as distmctively different be cussions, talked about the pride the a decision was made not to include nie was a basic as dirt and full of cause CaJuns look so much like them Barth family has in maintaining the Fifties New Orleans R&B as an urban tongue twisting sayings that provoked and yet arc so different. tradition of building paper mache folk music form, there was a healthy both bellylaughs and reflection. Clif We were in D.C. to celebrate the floats and masks. They drove a large cross section of Louisiana folk music ford Blake told stories and demon 1985 Smithsonian Festival of Amer float to D.C. for the festival (and got a represented. The Hayride String strated work songs and field hollers. ican folklife which hosted Louisiana ticket in Georgia and the float driver Band, featuring Louisiana State fiddle He was an authentic and important 3.) the featured state. The Louisiana was jailed overnight for driving an champion Bill Kirkpatrick, out of the pre-instrumental blues link and his edtibit took up a two block long stretch oversized float). Shreveport area represented presence and charm added a great deal on the left side of the mall between the Other crafts people included "sur Louisiana's bluegrass tradition. Other to the depth of the daily narratives Washington Monument and the Capi vivalists," i.e. craft workers who members of the String Band included about early Louisiana life. tol building. Over I00 artisans, musi used their work to live off the land: Douglas "Dobber" Johnson on fid The Cajun music tradition spanned cians and chefs represented the in duck decoy carvers, net makers, cat dle, Mike Kirkpatrick on guitar and early to contemporary Cajun sounds. digenous folk culture of Louisiana at fish cage makers; "home crafts": William "Lum" York on bass who The "old-time Creole music" trio of the festival. All events were free and basket makers, weavers. quilters, and provided amusing antics such as liter Bois Sec Ardoin on accordion, Con took place June 26-June 30, and July cornshuck weavers; "decorative ally riding his bass as he played ray Fontenot on fiddle and Morris 3-July 7. 1985. crafts": St. Joseph's Alter decorators, Aditionally there were illuminating Ardoin on guitar offered a flashback The layout included two main per- Mardi Gras Indian costumes and performances from Thomas Edison to the developing years of Cajun mus- ic. The Mamou Hour Cajun Band fea slurred notes on their jump blues tured an all-star line up of Sady Cour numbers. The Houserockers is a trio ville on fiddle, Lee Manuel on fiddle, led by drummer and harmonica/ 92-year-old Dennis McGee on fiddle vocalist Hezekiah Early and sup (who was often the life of the party ported by guitarist James Baker. with his infectious good humor - The gospel tradition was repre although he used a wheel chair to get sented by an old time a cappella gospel around, he would occasionally jump quartet (referring to the four part har up to dance when one of the other mony and not the number of memb bands was playing a particularly hot ers), the Zion Travellers. The Zion number), Allie Young on accordion Travellers are led by tenor singer Rev. and D. L. Menard on guitar. Contem Burnell Offlee and include Ado porary Cajun music was represented Dyson, tenor, Robert McKinnis, by the band File led by boat builder tenor, James Harvey, baritone, and and guitarist Ray Brassieur and in Rev. Williams, bass. Their singing cluding Ward LormaQ._ on accordion, was some of the strongest music at the Faren Serrette lead vocals and fiddle, folk festival. The urban folk gospel Kevin Sherin on bass and Peter tradition was represented by the Ott Stevens on drums. Zydeco music was Family singers under the direction of represented by the St. Landry Play Rev. E. L. Ott (the father of the fami boys featuring Calvin Carriere on fid ly) and including Elijah Ott (son), dle, Phillip Carriere on drums, J. C. tenor, Jerry Ott, Sr. (Rev. Ott's Gallow on frottoir (the metal scrub brother), alto and guitar, Patricia Ann board worn on the chest and strum Ott (daughter), alto, Purvis Ott (son), med with metallic objects), R.L. alto and Solomon Ott (son), bass. The Joubert on guitar and Nolton Semien Ott family provided an interesting on aGcordion. contrast to the Zion Travellers, but The country blues tradition was were equally as traditional in their represented by Baton Rouge area stylings as they favored the key of G musicians Silas Hogan on vocals and and the rolling rhythms associated and old hall. On one memorable night guitar (as he often quipped, "my with country music. interesting mixture of young large whom were well Henry Gray was pounding a barrel guitar is 23 years old, that hat I got is The Mardi Gras Indian tradition musicians, all of brass band house blues, while country fiddler 41 years old and I'm 73 years old; was ably represented by the White grounded in the traditional techniques. The Bill Kirkpatrick, Cajun fiddlers De· we're antiques and that's why I like Cloud Hunters under the leadership of repertoire and of Gustave wey Bat fa and Can ray Fontenot added them ole antique blues") and Arthur Big Chief Charles Taylor. The gang rhythm section consisted the Barbar the strings with guitars from Cajun "Guitar" Kelley on vocals and consisted of -spyboy Keith Barnes, Lit Wright on snare drum and the highly and country musicians plus percus· guitar, ably abetted by Silas· son, Chief Tony Guy, Flagboy George ian brothers (nephews of sion from Uncle Bird and drums and Sam Hogan, on drums, with frequent Harden, Secondliner/percussionist respected drummer and composer Street Para percussion from India drummers who collaborations from barrel house pian Albert "AI" Richardson and Paul Barbarian ''Bourbon Second didn't speak English- you get the ist Henry Gray, who also did his own Witchdoctor/tub player Lionel "Un de" and "Paul Barbarian's drum (Charles) and idea. set with drummer Sam Hogan. Silas cle Bird" Oubichon. Needless to say, line") on bass and Down on the mall, there were hot Hogan and Guitar Kelley have been there was nothing in D.C. that had tuba (Lucien). Maynard Chatters were the trombon sets when Canray and J. C. Gallo11 working together for over fifteen prepared folk festival attendees for the Awood Johnson tenor sax would sit in with File, or when one of years as a blues duo and continue impact of the Indians stretching out ists, David Grillier played and the country fiddlers would sit in with working on weekends in the Baton with. feathered chants. ophone and Joseph Torregano White played the Ott family as they did some stomp Rouge area. Rounding out the music. was the Michael ''Dr. Jazz" was ing cowboy gospel. Then there was A second gospel group was Heze Young Tuxedo Brass band under the clarinet. The Young Tuxedo a mighty ruck the dancing to the St. Landry zydeco kiah and the Houserockers, a great sterling direction of cornetist Gregg responsible for raising field on three version of "When The Saints Go crowd pleaser which featured rousing Stafford (who celebrated his birthday us marching around the twice for a parade and once Marching In." trombone work from 85-year-old Pee on stage and kept up the Louis Arm occasions, a mock funeral which featured a Perhaps the most interesting Wee Whittaker who often used the strong tradition of dirty cornet playing for Johnson of the Ave aspect of the music was that much of it stage floor or the chest of some young including smears, wah-\\-ahs, half fake-dead Gerald by the Mardi Gras was performed by musicians who lady in the audience to push the slide valves and hand in and across the bell nue Steppers ported a medical stretcher. Gerald were 10, 15 and sometimes over 20 of his trombone in on certain craftily of the horn notes). The band was an Indians on was laid out in black with a gin bottle years past 65 years old, the accepted on his chest and miraculously arose to age of retirement. Although their lead a wicked second line. chops were less than what they were in Legendary New Orleans tap danc the prime of these musicians, no one ers Oliver "Porkchop" Anderson and had to make apologies for age because Isaac "Kidney Stew" Mason served each one played with passion as grand marshalls and featured I don't think much was heard about secondliners for the Young Tuxedo the folk festival here in Louisiana, but Brass Band. it sure was a big hit in D.C. and Although not officially a part of the offered Louisiana the best publicity Louisiana delegation, New Orleans on a national level it has had in years. Ninth Ward bluesman Boogie Bill especially post-WF (World's Fairl Webb led a trio every evening in a years. Much of the success of the fes· dance party celebration as part of the tival (some D.C. staff members as· cultural conservation aspect of the sessed this festival the best ever even festival which included Maya In though it was the latest one getting dians, Cowboy songsters and started because of contract com· storytellers, musicians from Laos, the plications. which, as we all know, ru famous and highly respected Fairfield par for the course with Louisiana). I Four Gospel Quartet and other per was due to two facts. One, Louisiana formers and aspects of traditional cul is culturally diverse and musicalh ture which are threatened by contem rich and two,.state folklorist Nick Spit· porary callousness. zer was wisely interested in serving a Perhaps one of the most interesting spicy gumbo of sounds and sighll aspects of the festival was watching· rather than an elegant but unrepresen· blues tradition and listening to the melting of various tative fancy soup. Spitzer opted for tne country t d musical genres in both performance putting together a little bit of every· nd Guitar KelleY represen e at night at the parties in the dorm. thing rather than a whole lot of any Silas Hogan a . and We were housed at Georgetown Uni one thing. It was not always filling bul versity and had nightly receptions in a it never failed to satisfy. 0 BY JERRY KARP was trying to find Terrell's on St. Bernard on a Sunday night. I'd been there before, a time or two, but couldn't remember the block, exactly. Since it was a Sunday, the sublime Red Tyler was playingI his tenor sax, and the beautiful Germaine Bazzle was singing - a significant slice of the history of jazz and R&B in New Orleans over the last twenty or so years on a small stage, going at it sweet and spicy all night long for a meager three bucks. I found the place and all was as it should be, from a fan's point of view, though I thought, "People should be hanging from the rafters here. There should · I be a line around the block." Naturally, if that had been the case, the grumbling would be heard from some quarters, "Oh, yeah, Terrell's used to be good on Sunday nights until it got 'discovered.' Now that giant crowd's a drag." Of course you wouldn't hear that from the musicians or the bar owner. On this particular night nothing was a drag. With Tyler and Bazzle was drummer Johnny Vidacovich. Phil Parnell was on electric keyboards, and Steve Masakowski on electric bass. (I've been there on other nights when Masakowski played guitar and Jim Singleton performed on his stand-up bass.) Tyl er played ''You Don't Know What Love Is,'' though it was evident from his solo that he knew very well. After that, Vidacovich looked at Tyler and said, "How about ... " and then sang a few notes. Red looked at the drummer and laughed. · 'Oh, sure,'· he said, and sang the tunc right back. "It's on you, man." "No," Vidacovich said, "it's on you." So Tyler shrugged and turned to his microphone as if trying to take it by surprise. He started playmg and the band kicked in. It was Horace Silver's "Song for My Father.·· The point here (had you lost faith that there'd be one'?) is not to sing the praises of Sunday nights at Terrell's, although praise is due, but to express the feeling that some of the most satisfying listening to be done in New Orleans, as far as progressive jazz is concerned, is in clubs like Terrell's - places you have to drive around for a while to find unless you live in that neighborhood. Places that arc intimate enough so that you can listen to the musicians decide what to play, and rag each other and encourage each other. As we roll into September and cooler weather and energy back into the community, and lately he's percussionist Mark Sanders. They came together begin the climb out from under our air-conditioned been playing with a lot of fire. a gig at the New Orleans Jazz and Heritage rocks, or return from vacation spots in bearable You might want to check out Herlin Riley next in 1978, and have been playing together since then. climes, there are one or two new places offering live time you see his name listed anywhere, because he's on and off. There was even an album in 1982 on Itt progressive jazz that wait our patronage. Although just not in town that much anymore. This is one very Gramavision label (Dagradi's second, but the there are still not enough clubs around to keep all the good drummer, good enough so that famed pianist with Astral Project). excellent players in this city working regularly, from Ahmad Jamal has been taking him away to strange The band's appearances have been sporadic, be· a listener's point of view quite a bit of music can be places like New York City. It's easy to imagine him cause all the band members have busy schedules. found out there. catching on up there, and coming back home less and Dagradi in particular has been out of town a lot over less frequently, so look sharp while he's still around. the years, playing and traveling with Carla Bley'1 One relatively new spot is Cheeky Chink's at the There are a lot of good drummers in New Orleans. band. Even so, Astra Project's performances often comer of Rampart and St. Philip, just outside Arm Eventually, they all play at Snug Harbor on French have been memorable. strong Park. Veteran alto sax man Earl Turbinton men Street in Faubourg Marigny. In terms of hiring a "It even surprises me how well we play thinks the place "could be the best thing since Lu variety of musicians in interesting combinations, together," Dagradi says. "If there's been a lon£ and Charlie's," and in fact the new club sits close to Snug Harbor has done its part for several years. period where we haven't played. it's always like a where that famed establishment once stood. During the summer months, the club departed from slap in the face because it's so hot all the t Turbinton was playing in Cheeky Chink's the first jazz to a certain extent, bringing in quite a few blues Hopefully, the band will be seen a lot more this time I wandered in. At that time there was no cover. and R&B acts. In September, jazz will be featured and in the years to come." Lately they've been asking for a whole dollar. Tur about eighty percent of the time, and the music These guys all play a lot, all over the place, in binton was fronting a rhythm section that included schedule expanded to five nights a week from four, kinds of bands. and they know each other well To Herlin Riley on drums and Elton Heron on electric according to manager Glen Mcnish. hear what they'll sound like after a month or so bass. The club is small and set up so that except for "I hired the blues bands thinking they might bring playing together weekly should be a treat, like Heron's amp, the trio needed no mikes at all - in more people, but they never did any better than the ing for the last batch at a hot crawfish boil. music direct to you with no electronic middle man! jazz groups," Men ish says. "Although those bands Earl blew all the barnacles out of my brain that night, played great and did everything we asked them, I Another high profile and these days is a group and Herlin Riley pounded some sense into me at last. think that people like to dance to blues and R&B. young players called The New Orleans Jazz Couri· I'm glad to report that there was a very healthy crowd People just don't think of Snug Harbor as a place to ers. The Couriers play with a high level of enthu in Cheeky Chink's the last time or two I was there, come dance." So Mcnish and his partners arc going siasm. They're all good and getting better. They so perhaps the place is going to thrive. Maybe you back to a heavy dose of jazz and hoping for the best. display a reverence for the music which is in part should go make sure it does. stamp of Ellis Marsalis, with whom they have On the subject of these two particular musicians, One piece of welcomed news is the appearance of studied. Their gigs are usually solid affairs fil Turbin ton and Riley, I would like to suggest that you Astral Project at Snug Harbor each Thursday in with compositions by writers like Monk and W make it a point to go see both of them sometime September. Astral Project is a post-bopensemble led Shorter. I often find my attention nabbed by drum· soon, with whomever they might be playing. Earl by tenor saxophonist Tony Dagradi. Included in the mer Noel Kendrick, a lyrical and imaginative player. Turbinton because, well, it's easy to take a guy like group are pianist David Torkanowsky, drummer Also with the Couriers is pianist Harry Conoid.. Jr. this for granted. He's a true veteran who puts a lot of Johnny Vidacovich, bass player Jim Singleton, and Connick is probably the New Orleans tall .· .. PAT 21 WAVELENGTH/SEPTEMBER 1915 .. .....·------_ ...... ,.contender in the ··Young Player You Should lie Smith with Willie Tee and Steve Masakowski on at their Monday Night haunt at The Glass House on Now Because He's So Good Already That Thursdays. and the enduring James Rivers on Fri Saratoga Street by the time you read this. There's a ·Blowing Everybody Away And He'll Probably days and Saturdays. Tyler's is a comfortable place to classic off-the-beaten-track club for yUu (except tU ' •l~~>rn.m•• Real Famou~ And Then You'll Be Sorry listen to music, and about the only thing happening those who live in the neighborhood. who would Because You'll Only Be Able To See Him Twice A for jazz uptown more than once a week. Here's probably rather not sec this in print). I think it's Year" category. The other mu~icians in the group hoping the crowds return and they can go back to a wonderful that while The Dozen play all the major trumpeter Jamal Sharif, alto saxophonist Kelvin seven-night schedule. festivals in Europe, when they come back home they Harrison, tenor saxophonist Victor Goines, and bas Also back in town after time spent in the street return to a bar about the size of a Plymouth. You will Reginald Veal. heat of New York City is bass player Ramsey sweat, and you will dance, and you will be made Goines, Kendrick and Veal also perform regularly McLean. The Rammeroo has at least three group whole. Until the Dirty Dozen's return, Tuba Fats and Ellis Marsalis. Marsalis was out of town for projects happening currently, although not all of the Chosen Few hold down the fort at The Glass of August but will be back at his regular them necessarily have commercial potential at this House admirably. •IArPttr•"~'~"Y night gig with Germaine Bazzle at Tyl time. The Survivors is the R&B flavored ensemble Well, alii set out to do here was to run down some uptown on Magazine Street. in September. At that features Charmaine and Charles Neville, along of the good things that are gomg on in town and some writing it was still up in the air whether or not with Reggie Houston. The Survivors play quite a bit. of the musicians who are making it happen. Of 'd be settling back into his regular Sunday night Their Sunday night gigs at Cosimo's in The Quarter course I left out some good clubs and a giant band sets at Snug Harbor. I hope he does, but either way, were a blast (too bad that club has given up music at stand full of terrific musicians (here are two players I I'm sure he' II be getting plenty of playing time there . least for the time being). should be tarred and feathered for not mentioning: AI Lately the group has been featuring singers in its Then there's the Refugees, slated for at least one Bclletto and Mike Pellera). All I'm trying to suggest shows; Germaine Bazzle, Lady BJ and Johnny gig (at Snug Harbor) this month . See if this docsn 't is that you do some investigating of your own. have joined Marsalis over the past couple of peak your interest: McLean on piano, acoustic bass To those who know a little something about the months, and it·~ interesting, though of course not and electric bass, George Porter on electric bass, New Orleans music scene as a whole, it may seem as surprising, to see the differences in the sets with each Steve Masakowski and Scott Goudeau on electric if I have grinned a little too widely throughout this vocalist. It· s also good to sec Marsalis offer his guitar, and Herlin Riley and (probably) Johnny report. Like I said, this is only a sharing of things l guidance to the younger players on the bandstand, as Vidacovich on drums. Bring plenty ofCoppertone to like. By no means do I wish to give the impression v.·ell as in the classroom. It would do my heart good. keep from getting your skin peeled off. that I believe this city to be a musical Eden, where though, to catch Ellis playing a date or two with his Also in existence, though currently in limbo, is groupies throw roses, promoters throw money, and former rhythm section of bass player Bill Huntington Sneak Attack, which features McLean on piano, A&R men throw record contracts. and drummer James Black. two of my favorites from Kirk Joseph and Roger Lewis (both of the Dirty Maybe someday I'll write a column about a town way back. Just a suggestion. Dozen) on tuba and baritone sax. respectively. with of great musicians who have to scuffle for fifty whomever they can find to play drums, depending dollar-a-night gigs, where club owners think promo Speaking of Tyler's (I was. just a second ago), on when they get hired. tion is a way to pick up women, musicians think an owner Fred Laredo reports that the club will be Obviously. Ramsey is not stuck in a rut. and while interview appointment is somewhere below polish cutting its music schedule back to four nights a week his shows can be serious affairs, they are never grim. ing doorknobs on the priority list, and fans think. it' !\ "until things get a little better." Besides the Ah. yes, the Dirty Dozen. They spent the summer cute for artists to starve. But I doubt it. There's too Marsalis/Bazzle Wednesday night affair will be Lcs- shaking down the whole planet. I hope they're back much good music to hear. D WAVELENGTH/SEPTEMBER 1985 29 Blylrd'a Jazz Ally, 701 Bourbon, 524·9200. ing R&B; Tuesdays: Bob Sloane from 8 until I Through Tues.10: Jazz Unlimited Group. a.m.: Fridays, saturdays and Sundays: Mike Blul R00111, in the Fairmont Hotel. 529·7111 . Bunis from 4 until 9. succeeded by the Bobby S1l Dancing, dining, chic and eclat. Through Tues.3: Ellis Quartet who contmue on unlll 2 or so. Ta The Ink Spots (waiter' waiter! percolator!). Mallon Bourbon, 641 Bourbon, 522·8818. cal Fn Thurs.5 through Tues .17 Carol Lawrence. for September listings. fol Wed.18 through Oct.1 : The Spinners. Reserva· MIITialt Hlllll, 581-1000. Tues.-sat. . 8·12 23 lions. p.m., Jeanne D'Avray in the River View Lounge Se llooapll'tl'a Rltrut, 1007 Decatur, 561 ·9473. M1hoglny Hll, 309 Bourbon, 525·5595. Evety lu! Music changes dally-walk by and check. night but Tuesdays, the Dukes of Dixieland, three 8a Brw Houat, Jackson Brewery, Decatur St. , shows nightly beginning at 9. On the evening rA Th 525·9843. Call for Information. the day when children are fair of face, Banu Gib Th Cljun Country, 327 Bourbon, 523·8630. son and the Hot Jazz Orchestra take over. as wei M• Tues.·Sun: the Gela Kaye Band at 8. Mon .·Wed.: as on Sun.15 when the O's of D.L. will be in New Tn Mike Cascio. York. sa Cbelky Clllnk'a, 1001 N. Rampart, 523·1007. Muwtll'a, 400 Burgundy, 522·0879. Call b so Music 11 to 2 a.m.: Fri. 6: Exile. sat.7: Master· listings. mind. Sun.8: Poetry reading by Yictove. Fri. 13: Old Absinthe House, 400 Bourbon. Wednesdays· Chakula and Chink, New Orleans' only black MOndays: Bryan Lee and the Jumpstreet Five. comedy team (unless you count Ernie K·Doe as 9:30 to 2:30 . Tuesdays: Mason Ruffner and lht lh two), and the Theron Lewis Trio. sat.14: Los Blues Rockers, beginning at the same time w -va Comitas and Chakula and Chink. Fri.20: TBA: ending thirty minutes earlier. M sat.21 and Frl.27: the Waher Payton Trio. Old Opera HluM, 601 Bourbon, 522·3265. pe sat.28: TBA. Tuesday and Wednesday and saturday: Choco W' Cllillll'a, 1201 Burgundy, 561·9018. Jazz on late Milk. Thursdays, Fridays and Sundays: lht Ne Sundays and occasionally on Wednesdays; call Opera House Band with the BT Connection. Ire the .. for lnfonnatton. ,_..... Hill, 726 St. Peter. 523-8939. To ..,_ ...... 534 Frenchmen, 9-U-6860. Sun. : Harold Dejan and the Olympia Brass Band. an Sal.7: The Radiators. Frl.13: The Radiators, Mon. and Thurs: Kid Thomas Valentine. Tues. La meaning don't walk under ladders, light three on and Fri.: Kid Sheik Colar. Wed. and Sal.: Tile Pr1 a match, throw your hat on bed and If you see Ed Humphrey Brothers. mt Voelker. toss some san over your lett shoulder. or Rlpl s-11 Hteal, 300 Bourbon, 586-0300. St1 maybe make the sign of the cross or something. Call for current lineup. sa sat.21 : Uncle Stan and Auntie Vera. ~'a !Ill Club, 441 Bourbon, 566-1507. From Ru F._.. C..., In the Fairmont Hole!, 529-7111. 9, Sun.·Sat. . the Celtic Folk Singers. ba MOII.·Sat., from 9, Ginny Chehardy. Sllplrt 1:111• ... Thurs. ·Fri .• 9 p.m. ·1 a.m. F-..... 522 Bourbon, 522·7626. Music and saturdays from 10 p.m. until 1 a.m., Salr every day: OIMir and the Rockets from noon. Townes. Sat .• 3-6 p.m. and Sun .• 4 to 7 p.m. • Thomas Jelferlon and His Creole Jazz Band from Sally Townes with Diane and Zelda. frllllr, 20 7 p.m. AMFM fnlm midnight until amost light. 711 Clllb, 111 Bourbon, 525-8379. Tues.·Sal .• CONCERTs · Ftllllp, 2600 Chartres, 945-2222. Thurs.·Frl: from 9:30. Randy Hebert, In the SllowU...... - ...... Delgado. 12 Kenny Ani. Mondays, Wednesdays llld Satur· Wed. ·Sun .• 9 p.m.· 2 a.m.• AI Broussard In lilt noon. Building 1. 3rd floor Dnrna Hal; inblna ctays: Kenny Butler. Music from 7:30. Main Bal. Stlldlr. 1 tlon al 483-41118...... Fer,__ c-t. Superdaml, M4 ell*, 544 IDuftlolt. 523-8611. Gary Brown a.g ltlrW, 626 Frenchmen, 949-0698. 7:30 p.m. lnbnlldonll 861-7974. and Feelings, Wednesday, ThursclaJ n Sunday Wed.4: the Mike Pillara lluar1ll In a Tribute • ...... 21 from 9 until 3, and Fridays and Satufdays from Monk-Ttlebllou&, not Capuchins, Franciscans. CIM C.. E11111r11 Till. Dbuln Hill, Tulane. 10 until 4. Southern Cooking, il4ondays and lie. Thurs.5: Astral Project. Frt.ll: Ellis Marsalis. •...,.2 Tuesdays from 91113, and Saturday and Sunday Red Tyler and Germaine Bazzle. Sat.7: ttany ...._ Ctt 't ...... II AIIMia Za This Slllldly, 22 from 3:15 to 9:15 . Connick Jr.. and others. Sun.8: The New day long lele (laiMIII lridudes Jean Knight, Irma Cr1UW sa ...... _, UNO L.akefront Arena. Nl ,_...,, In the Hilton, 523-4374. Pete Or1eans Jazz Couriers. Wed.11: Snooks Eaglin. Thomas, Bourre, the Dirty Dozen, Pete Fountain Fountain and his band nightly at 10; one show Thurs.12: Astral Project. Frl.13: Marsalis. Tyler and Creole Cookln' with Tomalo; Radiofone will Frldly, 21 only. reservations. and Bazzle In musical variations on the Eterni have lis cellular phones on display and visitors llzelll, 1018 Decatur, 522·0862. Saturdays and Triangle. sat.14: Ramsey Mclean and Refugees. (anywhere!); .... Orlllnl Clllllt ...... e.tr Sundays, 11 a.m. to 1 p.m. • The Pfister Sisters Sun.15: Scott Goudeau and a tape release party can make free calls coast-kH:OaSI ty. Delgado. noon, Builcllng 1. 3rd·-a... floor Drama free admission for 1 adult, 1 kid, with Radiofone HaH; information at 483-4168. remembering September" In the rain; with Amasa which is certainly better than a lime release par· 1'101'. Rain date: Sun.8 Thl ..... lip; ...... C6rty llld a...... Miller keeping up whh them; from 1 to 6 p.m., ty. Wed.18: Phil Parnell Quartet. Thurs.19: .,_. lllld, UNO Baseball Stadium; information John Royen and New Orleans Rhythm. Fridays Astral Project. Fri.20: Les Soeurs Pfister and , Nora Wixted. Wld.adly,4 at 868-7974. and saturdays, 8 to midnight their Slants On Chants Seminar. Sat.21 : U.· Till ,_ Tep~; Till T... lallliia, direct from the llylll Hteal, 561-1234. Sundays, 10 a.m.· 2 sails, Tyler and Bazzle. Sun.22: Edu and lilt SMn Rooms ol Gloom and the Ball ol Confusion, Sundly, 29 p.m., Chuck Credo and the Basin Street Six In Sounds ol Brazil. Wed.25: Snooks Eagln. respectively; Audubon Zoo. 8 p.m. Tlc:klbnaster. the Courtyard Restaurant. Fridays, 4-8 p.m. In THurs.26: Astral Project. Frl.27: Quintessence the Mint Julep Lounge, Bobby Curt and the (of lbsenism?). Sal.28: The Johnny Mill frllllr, • Summertime Blues. Revue. sponsored by Hartz Mountain. Sun.29: Jullll. Jackson Brewery, Decatur St. Call for Joel Simpson's Keys (the Five Keys? 88 Keyes ill by ..... September Information. Dick Tracy? The Keys To Canlerbury?)-WII, ---·Delgldo, noon. pertormedBuilding 1. 3rd floor J(,...Dnlma ....Hall; OUTTATOWN a..d..tl 111111, 541 Bourbon, 524-7611 . Night· he's been rehearsing them across the street m lnb1l'llllon .. 483-4168. ly Wednesday through Saturday from 9 until 2 where I'm writing this and frankly I tllouglll SUAdly,15 a.m.. Pizzazz. In the Plano Bar: Mondays, maybe he had gotten wise and was runnillf Frldly, 13 Wednesdays, Thursdays: Bob Sloane at the Bywater's biggest numbers partor-just klc*& Till ...... be per1ormlng at New piano from 5 until 9. followed by Mike Bullis do- Joel ... - ..... Carrollton Stallon. York's South Street Seaport, where free concerts IIIMnlly,14 art given on the weekend. A C1ll~l'llllll llr 1111 Artl, Canal Place; partld 25 tlnlglt Sllurdly 28 PIRIS Include 1N111bers ol the New Orleans Sym WldMidly phony. the New Orleans City Ballet, and the Tlll1111 ~ .... ·-...... will be held Opera, as well as Le Clique. The occasion will at the Marriott Marquis Hotel in New York Chy; benefit the abOve three cultural Institutions as emphasis thiS year Is on independent labels, well as the New Orleans Museum ol Art. Tickets clubs and college radio. Ten new panels, instruc· from The Committee to Celebrate The Arts. 365 llonal and educational workshop series, open to canal St.• Suite 380, New Orleans 70130. all; information at 2~2-265-4160 . Sundly, 15 aq.a; Thl ltlallrl; Trulll, McAlister Auditor· LIVE MUSIC ium; Tlc:ketmaster. Of the second o1 these groups, we can only add that If you don't have ~ FRENCH QUARTER, ;orne enthusiasm for a group with a song called " Dcln't Take My Car Out Tonight," then shame MARIGNY & CBD onya. Andrew .,..... 1111._111, 221 Royal St., T__,, 17 529-2803. Saturdays at "*!night: the lenaCious triumvirate ol Becky Allen, Ricky Graham ~~ • T.. Fer Fwa; Till ArlwiDrwl, Saengef, 8 Fred Palmisano-but considering the prv p.m.: Tlcketmaster. Speaking o1 tears. did you know thlt Heraclitus was called The Weeping these three 11M hod -with the mortality rate ol cabarets. call before you go. Philcllophel becauSe he grtMd so loudly over Altlat Call, 808 lbervlle. 523-9358. tall for list the lbSunllllls ol mankind? IngS (aside: this - Is, lncldlntally, where I saw that nonpareil 1111 o1 gratlltl last Carnival ...... ,,11 night: If You Valid For Rllgan You Can't Shit llrlllll'll M11111,.. .. Till 111111. Jlmmv's. Here-Your Asshole's In Waslllnglon). ~~~.... ~ ii-zirld71J~•5T.. ,._, ...... _,_i.$~ 7 Sllryvlle, 1100 Decatur, 525-8199. Live jazz. Weasey's , 1610 Belle Chasse Highway, Taping of Music City shows on Wednesdays. 361-7902. Fifties, Sixties and Top .40 music Free admission and the shows will be seen the featuring L.A. Lightning and Bobby Cure and the following Wednesday on Cable Channel2 (no, not Summertime Blues. Call for dates, times, whys 23 right after Mother Angelica-that's my show). and wherefores. Sept.11. Catfish Hotel Orchestra. 18: the ever luscious John Fred Gourner and the Playboy • UPTOWN Band. 24 : Astral Project Special events: Thurs 5: 8o Oiddley. Fri.13: Clifton Chenier. Benny's, 938 Valence Street, 895-9405 Mon Thurs. t9: Or. John. Tues.24: Big Tw1st and the days: J Monque·o Blues Band. Wednesdays JD Mellow Fellows. Music every night. and the Jammers. Cyril Neville and the All Stars Tropical Isle, 738 Toulouse, 523-9492. Fridays matenalize weekly but that is matter for phone Saturdays, 10-2: Mack Taylor on piano, playing calls and not for us. some of everythmg; no cover. Carrollton Station, 8140 Willow. 865-9190. Mostly blues or blues-related. Sat. 7: R.L. Burn ~ LAKEFRONT side. Fri.13: Dash Riprock. More to come. Caronna's, 2032 Magazine, 523-8527. Call, if Augle's OtLago, West End Park. Rock and roil of you dare -anoos sorts. Through the Labor Day Weekend. Chez Trigg, 1825 Magazine, 528-9898 Who can Murmurs upstairs, Penny Lane downstairs, and say? Somethmg, but what? perhaps a nude descending the sta1rs. Labor Day Gllss House, 2519 South Saratoga, 895-9279. Weekend Back To School Bash, contests. Mondays: The Chosen Few with Tuba Fats. Nexus, 6200 Elysian F1elds. 288-3440. Fndays Jimmy's, 8200 Willow, 866-9549. Tues.3: Jef from 6 until 10, Jackie Jones and Dav1d frey LePiara. Fri.6: Le Rio Sibbler and Mickey Torkanowsky alternate sets with Chns Severn Jarrett. Sat. 7: Mistreaters. Sun.8: The Fan and Juhan Garcia. Late sets Friday and Saturday: tabulous Thunderb1rds. Thurs .12 : Rogues. Lady BJ . Fri.13. Uncle Stan and Auntie Vera. Sat.14: Privateers, 6207 Franklin Ave .• 288-5550 . New Radiators. Sun 15: Gregg Allman (tent -Foster mustc. Thursdays: Force of Habtl. Sat 7 Perfect Tent & Awmng?). Wed.18: Orches1ral Manoeu Strangers (in an imperfect world , I mtght add) . veres In The Dark, certamly one of the great band Sat.14: The Arnvals. Sat.21 : Vazquez and the names . Thurs.19: N.R.B.Q. Fri.20: The Blue Rumbas, direct from the Tropicana Club and pro Riddem Band. Sat.21 : Petries, a new concoct1on bably wearing those shtrts with the puffy. layered spawned by Vance OeGeneres, but I thought the tnlly sleeves. Sat.28. Silent Partner. Petries were spawned by Rob and Laura Petrie. Stan's Hard Rock Cafe, 1928 West End Park , Mon .23: Jason and the Scorchers. Fri.27: Big 288-0044 . Sun . I : Zebra. Fri 20 and Sat.21: Youth. Sat.28: the return ol Sheik Michael Zebra. O'Hara. Maple Leaf, 8316 Oak, 866-9359 Wed. J. Monque'D. Thurs .. Bourre. Tuesdays: 3: David ~METAIRIE Doucet. 10 : R.L. Burns1de. 17 and 24: TBA Fri.6: The Radiators. Sat7: Exuma. Fri.13 N. Causeway Blvd . 834-3105. Chances, 2301 : can for information Gatemouth Brown. Sat,14: Beausoleil. Fri.20 Rockin ' Oopsie and the Twisters. Sat.21. Li'l Copeland's Cafe, 701 Veterans Blvd Sunday: the Boys of Joy. Fri. 27 · The lhe Jtmmy Maxwell Trio, featuring Rene Netto Queeme and Radiators. Sat.28. Killer Bees. and Bob Tassm. from noon to 3. Nexus Uptown, 1700 Louisiana Avenue. A new 3624 Florida Ave., Kenner, 468-9964 . Docks, club still threatemng to open on the quasi-historic Country music mghtly; Wednesdays : male strip Nitecap Lounge where. a dozen pers, for ladies only, 8 to 10. site of the old years or so ago, The Meters were the house Landmark Hotel, 2601 Severn Ave .. 888-9500. band. Tuesdays through Thursdays at 9, and Fndays The (known Plnny Pat, 5110 Danneer. Sundays: Always and Saturdays at 10, the Creole Cookin' Jazz by the band simply as 1 'hooler'). The folksy nasal timbre of the hooter permeates open mike. Check the board as you go in . Band their music" ~"'m, August 1985); they're opening for Squeeze It McAlister Pontchartraln Hotel, 2031 St. Charles Ave., McAllister's, 3619 Fat City Avenue, 456-1525. Auditorium, Sunday 15. 524-0581. Piano bar 1n the Bayou Lounge nightly .3 Victonan Blitz, something like a Tues from 5. Biedermeier Avalanche. Tues.10: The Noise. Tyler's, 5234 Magazine, 891-4989 . Modern Sun.29: Gary Esoien; Julie Kane. All readings are Film/Video Production , Sat. , Oct.19, 2-5 p.m. Tues.17: Lillian Axe. Tues.24 : Razor White. Ellis Marsalis and Germaine followed by a piano bar with Fred Kasten; the information on these and regular classes at Showboat, 3712 Hessmer Ave , 887-9682 . Cali jazz. Wednesdays: : Leslie Smith and Willie Tee. t1me is 3 p.m. Information at 524-8626. for the month's listings. Bazzle Thursdays usual declamation Fridays and Saturdays: James Rivers. the bar at 866-9359. The St. Bernard Report, with co-hosts Mary Ser Group Bits From Beach Reading: pas and Keefe Esteves, Channel T-33, ~MID-CITY W-St. Bernard only). Interviews with local na No one, regardless of how esteemed or digni tional acts, along wtth concert information and fted, was spared [Jack Warner's) tasteless jokes. Chinatown, 1717 Canal St., 525-7937. Fridays: RANDOM updates. Mondays through Fridays at 6:30p.m. Introduced to Madame Chiang Kai-shek, he Vtelnamese music from 9 Other mghts: Voi Vic 'n' Nat'ty, 5:30 p.m. in Orleans and Jeffer apologized for forgetting hts laundry. When Albert nhung chuong dac sac do cac nghe s1 tho1. danh DIVERSIONS son, shown again in Orleans at 10:30 , Einstein paid a visit to the Warner studio in the tu San Franctsco, Los Angeles, Houstoo ... ve weekdays. Reruns the first fortnight of early 1930s, Jack pumped the professor's hand tnnh dien , Vol cac loai thus pham kho dac sac. Saturday, 14 September. Mon 2: Lords of the New Church. and immediately informed him, ''I have a theory ol Co ban va cho muon bang nhac, video tape, FHI The Koall makes her debut at the official Tues.3: Lillian Axe. Wed.4: Raw Power (Italy's opening of the Australian Exhibit at Audubon Zoo . relatives, too. Don't hire 'em." -Hollywood 11 rock band). Thurs.5: Fleshtones. Fri.6: cassette Dynasties, Stephen Farber and Marc Green . Dorotlly' I Mtdalon, 3232 Orleans Ave. R&B On loan for seven weeks from the San Diego Zoo, Stanley Clarl 32 WAVELENGTH/SEPTEMBER 1985 Stoq~e'~ Studio ~ MIDI KEYBOARD SET·UP I BUY COLLE&nONS -any amount, any cate 6- $1500.00; Roland MS0-100- gory. Disc jockeys, sell me the records you're Drumulator (wtmod) & sync box - not playing. Pay cash-fair prices. Record Ron "S·TRACK.. Anvil case for JP-6-$180.00. All for makes house calls. 1129 Decatur Street, 524- COMPLETE 8-TRACK Noise reduction, analog ...., ..... uv. (318) 323·9729 9444. FACILITY and digital delays, flanger, PLAYER needed for ,newly formed group, TICKETSAVER •• chorus, reverb, drum machine. Crustaceans. Dynamic tension acid Parking Ticket Protection Services, Inc. Never • KEYBOARDS amps, drums, plano and Experience demanded but will tram. Call pay another parking ticket. For more information • DRUMS • GUITARS synthesizer Included. 947-0902 or Eric 947·8316 on becoming a member call 529-3194. • DIGITAL REVERB $20 an Hr. • 3 Hr. Min. FORMING BAND HAIRCUTS $5.DD • DIGITAL ECHO cassette Dupes by Duran, Berlin, and Power Station Mention this ad and receive a haircut for $5 thru guitarist and synthesizer player for lineup. Sept. 15. 581·7773. Scott Randolph Designs, • STUDIO MUSICIANS For your next album, demo for details 443·3244 Ltd. tape or radio spot AVAILABLE can stonee DRUMMER for Uncle Stan & Auntie Vera is PROFESSIONAL Stump Removal. Reasonable STEVE 466-H974 or accepting a limited number of students Call rates 362·6171 TOM 464-6335 (504) 467·3655 . 866-5592. PROFESSIONAL Staging Rentals. Killzone Pro HOT STRINGS ductions, Ltd. , 1233 Dryades, N 0 ,LA 70113. New Orleans' favorite string group for your 529-3194 . or party. Call 837-3633 . PHONE Answering Serv1ce, Reasonable Rates. MIREAULT, Astrologer. Umque - Rea· 581-7773. 522-9166 . JAM BY PHONE 1ST seeks musicians for mostly original TECHNOLOGICAL BREAKTHROUGH! . Chns - 524-5270 New invention patent no . 4,491,694 . Band prac tice by inexpensive teleconference method. Schematic $12.50. Kit $65.00. Assembled Shepard H. Samuels $99.00. Money orders only please. Allow 4-6 Attorney At Law weeks for delivery. Includes postage and han Available for Consultation dling. Telestudio, P.O. Box 73920, Metairie, LA 70033-3920. and Contract Negotiation GUITARIST lookmg for drummer, bassist, and Music& vocalist. Looking for people whose profession is in the business community (9-5), but who still Entertainment Law love to play music for their own enjoyment. Groups: Maiden, Sabbath, Ozzy, Scorpions, 866-8755 Zeppelin, Van Halen, Priest, Sister, and Crue. If interested or know someone, call David: Day: 363-6300, Evenings: 394-7742 D ...No 3 •. The Cold, Tony Dagradi, WWOZ, George Pol1er & Joy nde, Pa1n<:e Fisher WAVELENGTH D. No.7 Neville Brothers, Walter Washongton, Dave Bartholo mew, Roy Brown, N-leviathan, Ron Cuccoa .No 10 Roy Brown. larry Williams, James Rivera, larry the BACK ISSUES Punk, Musicians' Unoon, Beach Music 'J .No 11 .R'n'R Specoal Section, King Floyd, Hlstovals Acadoen1, lois Dejean. Peter Tosh D .No. 12 .George Fonola, Danny Barker, Frankie Ford, lenny Zenith, Irving Mclean, Dr. John's " MO WAVELENGTH/SEPTEMBER 1985 33 ------~-. The Neville Brothers were a great . . press time, Rankin was appealing 1 - . ~·~-~~~"' ..... ______...... ~~ success as open~ng act on tour with .. . . the Nazareth, Pennsylvania, comp3fl\ Huey Lewis and the News. Fact is, . . for an exchange. local papers often gave the Nevilles oF Goo 0 R£A!>ot1S .. Of all the different styles of Afri equal raves with the main act. This . . traditional and pop music, the St) didn't bother our hero Huey, howev .. that appeals to New Orleanians 1 .. Not lo JNHIU.t· . .. er: He just invited the Valence Stteet · '. . . . juju, with its emphasis on bas gang to join him for a few tunes, and . . . L------~--~ .. . . rhythms by talking drums and elect~ even to come out occasionally for a guitars. On Sunday, September 2Q1 well-deserved encore with hirn at the ·. .. . . Quint Davis is bringing the juju Ch~ end of the evening. The Nevilles, : . . . . ;-. ... Commander Himself, Ebenezo~ who've been traveling all over the Obey, to Jimmy's. Eighteen Nigeriarl country this summer, are back in town .. musicians and singers will be onsta~ now but will soon be off again to the . to acco.mpany Obey, who has ~ . ( . Coast. . over 20 million records in his nati~ . . I . . I Louisiana Week at New York's " country: Those who loved the rec~· .. . . I Lone Star Cafe fueled the New . . . . . or live performances of King Su . Orleans fame even hotter in the Big • . . . Ade should not miss thls chance to Apple. A full-page ad in the Village , • one of the innovators of the style Voice invited New Yorkers to sample .. . . juju now played by Ade and othen Ramsey McLean's Survivors, Allen . • Shreveport's A-Train - Mili Toussaint, Dr. John, Johnny ...... Honeycutt, Bruce and Budd~ Flet!i Adams,· Golden Eagles, ReBirth, . . David Egan, John Howe, and ~ ' .· ~ . Rockin' Dopsie, Katie Webster, . ~ Griffith- have a new album out tM ( . Earl King, Dirty Dozen, and Be .. . , ... \ . . , . . month. A-Train will be in Los ausoleil. ('fhe issue of Village Voice 1\ . geles for the Street Scene Festi\ had John Morthland's article on the .. . • . September 29, and at Club Linge "To"ot Toot" wars on the cover - .· .. ' on the 28th with zydeco star Ma· where will it all end?) Sian of the mats ' . ~ . .. Handy, for Bill Bentley's Fall B Cyndi Lauper was so taken with . ... The new single by Bas Cl . . . • Lake Charles' Katie Webster that she .. ' 'Two Sides of Bas Clas,'' feature~ sent the pianist and blues better two ,. . . • rocker on side one ("Can't Say No' dozen yellow roses to her hotel, then and a down home tune on side t~ came down to the Lone Star the next . . . ("La La LaTe Da"). Keyboardist~ night, dressed (as astute New Orlea .. • the single was Mike Lawler, a frie~ nian eyewitnesses attested) as "a nor ~ of the band who toured with Jamti mal person." Introduced to the not .. Brown and Porter Waggoner ,~ fooled-for-one-minute audience as had the distinction of being the fi~ "Susan Lamplighter," Lauper pro . . person to play a synthesizer at ~ ceeded to join Webster for a take-no . ' Grand Ole Opry - infidel! T prisoners version of Shirley and Cobena is back with the band Lee's "Let The Good Times Roll. " , . . . ·. ·.' drums: , Katie (if you've not heard her shame ' . . . /HI/f~/.J:7e That's New Orleans born Earl Pii on you- she's pure dynamite and . . . mer, one of the greatest drummtf every single person in Europe has all . .. . -there ever was anywhere, playi~ her records) was a contributor ~o . ~ drums on Elvis Costello's n~ Mason Ruffner's upcoming album Fans of Excello recording artist loyal club following along the way), album. Ray Brown plays bass ... while she was in New York, laying · Guitar Gable may be puzzled at the will return the second week of Octo lis Marsalis' son Wynton sat in w down her piano tracks in one day. cover of his new Flyright album. ber for another winter here. On their his dad at a few of Ellis's regular gi, Music and K-Paul's are .not the only You're right, that's not Gable. Flyr way they'll participate in the Seaport on Wednesday evenings at Tyler's · imports to New York. Dixie Beer is ight promises to correct the problem Jazz Festival in New York. August ... Rumor has it that T• now available in several locations at a tout suite ... Paul Simon flew to Local guitarist John Rankin won Cold's Bert Smith will be joinil mere $2.50 a longneck. At last check Lafayette recently to record with second place in the national American Force of Habit soon ... Clift blackened redfish was going for $37 a Rockin' Dopsie; Simon also has col Fingerstyle Guitar Festival held in Chenier's opening a new zydecocl shot at K-Paul's. (New Orleanians felt laborated with Los Lobos ... Milwaukee August 6-1 I. Rankin was near Opelousas ... The globe-trotti. at home with the New Orleans rent-a Java, the Wisconsin band that elated at his prize, a Martin 000-28, Radiators have been experimenti cops at the door, but the $37 black came south for the winter last year to worth about $1,000, but a little dis with playing totally acoustic on oc~ ened redfish was for nothern appetites ''get closer to the music and culture of appointed to find it was a right-handed sion. Catch them at the always e only.) · New Orleans" (and established a guitar, John being a southpaw. As of perimental Dream Palace ... Contemporary Jazz ·Dial from New Orleans' Direct Finest Musicians to subscribe to ~@Yead~q/tf~ Scott Kevin Goudeau Ava#able on Cassette Only 504/895-2342 from local stores or order from Broken Records and charge to your 5120 Perrier St. Visa or Mastercharge N.O., La. 70115 Only $12 for one year 34 WAVELENGTHISEPTEIIBE 1- New Orleans Music Awards Ceremony to Saenger Theatre my :an The Awards were estabished to acknowledge the contributions and achievements of those creative and yle talented musicians and communications people in our community who carry on the musical traditions of is this great city. iSS Our objective for this second year's event is to aid in the effort of the NewOrleansArtistsAgainst Hunger :ric & Homelessness, and to contribute to the finding ofa permanent home for the bust of the late Professor l9, Longhair. Our goal is to stage the New Orleans Annual Music Awards Ceremony and to develop ways of helping those in the industries, by raising $100,000 for this year's spectacular ceremony. The ceremony of the Second Annual New Orleans Music Awards will be held Saturday, November .:30, 1985 at the Saenger Theatre of the Performing Arts. This Black Tie Reception starts at 7:00 p.m., Awards start at 8:00 p.m. We are asking for your support of this year's awards ceremony, by way of our co-sponsorhsip program. Co-Sponsors are the deciding voting factors in the second round of balloting which determines the award winners. The general public can nominate the artists, by ballots in each of the following categories. The tabulation of ballots will be done by the certified accounting firm of Alexander Grant & Company. THE CATEGORIES ARE: Female & Male Vocalist of the year, Pop Group, Rhythm & Blues Group, Rising Star (Outstanding New Artist), Jazz Solo Musicians, J~zz Group, Gospel Group, Dixieland Group, Folk Group, Country & Wester Group, Cajun Group, Latin Group. Musical Night Club and Entertainer of the year. I"ROFESSIOrtAL VOTING CATEGORIES Arrangement (Recording), Engineer (Recording). Recording Studios, Songwriter of the year, Jingle of the year, Album Cover (Graphic Arts Awards to Art Director), Photography (Album Cover), Drummer, Keyborad. Piano, Saxaphone, Trumpet Bass, Guitar, Percussionist Rhythm Guitar, and November 30, 1985 Trombone, plus 12 special categories. CONGRAtULATIONS TO LAST YEAR'S WINNERS: Lady B.J., Aaron Neville, The Sheiks, The Neville Brothers, Carla Baker, Wynton Marsalis, "Radiators, Desire, Gatemouth Brown, Allen Toussaint Bill Johnson, Tracy Borges, Donnie Taylor, AI Taylor, Fire Water, Margie Joseph, Irma Thomas, Rocks of Harmony, Porky Jones, Fats Domino, B. Lewis. Ernie·K·Doe, King Floyd, Jean Knight L. l..ucien Edwards, Barry Mendelson, AI Hirt Nick Bazoo, Kidd Jordan. AJ'IID SPECIAL THAJ'IIKS TO: Edwards Printing, Inc., the proud sponsor of the First Annual Music Awards Ceremony, has pledged their support in the continuing development of the New Orleans Annual Music Awards Ceremony. We are seeking your support for our co-sponsorship program. Sincerely, Edward J. Cross, Ill. Director Yes. I'll support the Co-Sponsorship Program, by my contribution below: The Co-Sponsorship contribution indicated entitles you or your company to these benefits: 1) Voting Rights- Sponsor's vote on each of the categories determining the award winners. 2) Your name or company's name will be listed in the "It's Official Souvenir Program Journal." 5,000 copies of the journal will be printed. 3) Advance, discount tickets notice - 2 weeks in advance. 4) Discount tuxedo rental rates. 5) Certificate of Co-Sponsorship, suitable for framing. NAME COMPANY NAME ADDRESS SIGNATURE DATE MAKE YOUR TAX DEDUCTIBLE DONATION CHECK PAYABLE TO: THt:. Nt:.W ORLt:.AJ'IIS I'RJSIC AWARDS, INC. • 1240 South Broad Ave. • New Orleans, Louisiana 70125 • (504) 822·1.581 . . . . . . . . . . .. . ,,,,,, ' ' ··, '', ' NEW ORLEANS' DEFINITIVE STORE FOR RECORDS, TAPES & VIDEOS --ALSO VISIT THE METRO CAFE-- Pleasant a t M agazine I New Orleans, Louisiana 70115