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Wavelength Midlo Center for New Orleans Studies

2-1981

Wavelength (February 1981)

Connie Atkinson University of New Orleans

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This Book is brought to you for free and open access by the Midlo Center for New Orleans Studies at ScholarWorks@UNO. It has been accepted for inclusion in Wavelength by an authorized administrator of ScholarWorks@UNO. For more information, please contact [email protected]. EW ORLEANS MUSIC MAGAZINE

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Departments February ______4 Puzzle 2 Rhythm & Blues 3 Rare Records 4 Rock 5 Country 7 Jazz 9 Reviews 6 Deco Last Page 8 New Wave Cover Photo by Josephine Sacabo Publisher, Patrick Berry. Editor, Connie Atkinson. Contract Adnn.isin g Sales, Kathleen Bishop, Steve Gifford. Contributing Ar· Avant Garde lists. Skip Bolen. Julia Nead. Kathleen Perry. C irculation, Laverne Kelly. Contributors. Carlos Boll, Jerry Brock, Bill Cat, Yorke Corbin. Ron Cuccia, Steve Cunningham, Zeke Fishhead, Steve Graves, Gilben Hetherwick, Coril Joseph, Andy Kaslow, Tim Lyman, Bunny Matthews, Hammond Scott, Jim Scheurich, Almost Slim, Rhodes Spedale, Keith Twitchell.

Wo"ltngrh is pub~shed monthly in New Orleans. Telephone (504) 529-5962. Mail subscriptions, address changes 10 Wavelength Box 15667, New Orleans, La. 70175. Subscription rate, SS per year. Foreign, SIS per year. The entire contents of Wavelength are copyright © 1980 Wavelength. 1 PBIVAIB SBOWIII OF YOUB I'AVOBIIB Exotic Cards BOVIll POB OILY $4! Posters (II YOUB 010 LIVIBI aoo• !) Collectables Join our VIDEO CASSETTE TRADING CLUB and have access to hundreds of video tapes in VHS or Beta format. Ceiling Fans Major motion pictures such as Superman, '10', The Rose, etc. can be kept for up to4 days for only $4.00, or pay $6.00 and keep them as long as you I ike! Sport features and Cartoons THE are also available. Call891-4213 or come in and see us for membership details. REDSTAR co. 4020 Magazine St. 899-4010 3331 St. Charles Ave. (at Louisiana)891-4213 Open Mon.-Sat. 11-6

WAVELENGTH I FEBRUARY 1981 3 February

Local Wax chestra of 20 players, consisting of Wavelength some of the finest musicians in New Headed For Gold Orleans, is presented in a setting that Recommends Carnival time means Mardi Gras calls upon their skills in both improvis­ Elvin Bishop, the great boogie­ records on the jukeboxes. This year ing and reading. Feature ar­ blues picker, will be featured at Jim­ there'll be some new candidates for rangers/ composers/ conductors will be my's on Thursday, February 5. Sun­ continuous playing. Li'l Queenie and John Fernandez, Clyde Kerr Sr., and day the 8th former Runaways lead the Percolators have recorded "My John Berthelot, who is music director of singer Joan Jett brings her new band, Darlin' New Orleans," the crowdpleaser the orchestra. Featured guest soloists Joan Jett and the Blackhawks, to Ole from Ron Cuccia's first album, for will include flutist Kent Jordan and Man River's. Original Eagles member February release. Professor Longhair's vocalist Nancy Fisher. Randy Meisner makes a solo debut in classic "Goin' to the Mardi Gras" gets a the area on Tuesday, February 10. new, parade-style treatment from Meisner is promoting a new album, George Porter and Joyride, who Cold Meets Tip's "One More Song," on Epic Records. recorded it for their own label, as yet With a Thud Appearing February 13 and 14 at unnamed. Traci B~rge s of Knight the Old Absinthe Bar is Captain Scat Studios has produced "Mardi Gras," In a bizarre turn of events the Cold's and the Moon Rock Boppers, a six which he wrote with Lionel Robinson, long-awaited debut appearance at piece band featuring latin jazz, rock a s well as "Carnival Song," which he Tipitina's was postponed last month jazz, country jazz, gospel jazz, and says will appear on an album of his when singer Barbara Menendez took a any other jazz you may dream of. material on the Australian Omega label. fall at an afternoon sound check, tear­ The Captain has played with AI Hirt, Leading the list of new local singles ing ligaments and dislocating an ankle. Miles Davis, Mose Allison and Vassar that have nothing to do with Mardi The injury immobilized both Babs and Clements. Also on the 13th, Mighty Gras is The Cold's new 45, "Mesmeriz­ the band for at least ten days, manager Joe Young will storm into Tipitina's. ed," backed by "Wake Up." Others are Bruce Spizer said. In addition to the The Krewe of Clones will parade its "A Mother's Love" by Earl King and a Tip's appearance at least five gigs had way out of the CAC on Valentine's couple of 45s by Ernie K-Doe and to be cancelled. The injury comes at an Day, February 14th at about 6:30. Willie Tee. inopportune time for the band, which, After arriving at the riverboat Presi­ Two contemporary jazz ensembles for the past few months has been draw­ dent, the parade will magically turn have self-produced LPs in the works, ing monstrous crowds into the uptown into a Mardi Gras ball, with music by which should be out by the time clubs. the Cold and the Neville Brothers. everyone is sick of Carnival. The New Among the cancellations was a For information call 523-1216. Jazz Quintet is mixing an album and weekend stand at Jimmy's, January 16 Sixties soul men Sam & Dave will looking for the money to release it and 17, and a trip to Baton Rouge's make their first Tip's appearance on before the Jazz Festival. And Ramsey Mother's Mantel on the 22nd. Tuesday, February 17. Satisfaction McLean and the Lifers have cut a live February should find the Cold back will open. 38 Special, led by guitarist album at the Faubourg, to which they on the club scene. Tipitina's manager Donnie VanZandt (yes, another Van may add some studio tracks. John Kelley has rescheduled the Cold Zandt brother), plays Ole Man Another jazz outfit, The James Rivers for Monday February 23, after the River's on February 18. The Sheiks Movement, has a new LP, Thrill Me, parade of the Krewe of Freret. will open up this show. already out, and it is reportedly receiv­ Reunion time: The Normals, New ing considerable airplay on one local Orleans' most popular punk band station ("the Pope is wearing it out" says ever, will get together again on Friday Wavelength's source). Radio February 20th at Jimmy's. It has been And to put a bright polish on this Notes over a year since this fine four-piece brief summary of recent local recor­ outfit "straight from the suburbs" dings, the word is out that Martha Raye WRNO owner and general manager last played a local club. Saturday has recorded an Ipana Toothpaste com­ Joseph M. Costello III has been granted February 21 offers Taj Mahal back mercial at Knight Studios. It's the one a license by the FCC to construct and again at Tipitina's; septuagenarian New Orleans recording you'll be sure operate the most powerful privately blues-picker Elizabeth Cotton will to hear. owned commercial radio station in the open the show. The club will offer U.S. Transmitting at 100,000 watts cabaret-style seating for this show short wave, programming will feature only. Big Band Jazz, contemporary adult music, programs in The Oo Poo Pa Doo Revue will be French and Italian, and programs on at the Blues Saloon February 28 for More Music on Air Louisiana activities and culture. The Chris Kenner's birthday with a fitting The Urban Spaces Jazz Orchestra will coverage will be worldwide; with tribute from AI "Carnival Time" present its debut concert of Big Band special emphasis on reaching Canada, Johnson, Reggie Hall, Jessie Hill and Jazz on Sunday, February 8, at 3 pm at Central and Eastern Europe, Scan­ the band. The show is to be taped for the Contemporary Arts Center. The or- dinavia and the Mediterranean. international radio.

4 WAVELENGTH I FEBRUARY 1981 Music Business Courses at UNO Rupert Surcouf Jr. was just another teenaged musician when he was struck by a great musical truth: "I found out I could make more money booking than playing. You could only play one job, but you could book four or five and take a cut from each." That started him off on a 16-year career in the business end of music-as a manager and consultant. : One way or another, he's worked \==- Tues. 213 • La Mar• Ja:'::c':~~~~!b, Hammond, La. with artists such as The Meters, Thurs 215 • Hammon Neville Brothers, Leon Redbone, 2 i==- 216- " • Rolling Stones, and Bette Midler. Tues.Fri.IS~t. 2/10 • 3•0 ' ~~:~~Rouge1 Surcouf will be passing on his ex­ i Fri. 2113 • Mystery ~~!~as -Steamer President perience in Music Business IV, a : Sat 2/14 • Krawe o La course in artist management starting i=====- Tu~s. 2/17 ·3-D. KH:::rThibodaaux, La. February 3 in the University of New Wad. 2118. Iron , • s Orleans' continuing education pro­ Thurs. 2/19 • Jimm~ Mon. 2123 • Tipiti:'a s gram. i Fri. 2/27 • Jimd~Y s --~-----____.---~-~---~-­ It'll include information on con­ £ Sat. 2128 • Je s tracts, touring and other management topics. ~~-=fl#IIM·l•l!•i'·WJ1-···-·AU411·tti:iS«+Iilll •·· That's just one of several non­ :gnF'U1Ct1- -·-· • - credit courses on music offered at UNO this spring. Budding record - ~ Coming Soon-"Mesmerized" the new 45! moguls can take John Berthelot's Music Business III, record produc­ tion. Local producer Berthelot says the course will have four classroom lec­ ture sessions, folowed by six classes to meet at Ultrasonic Studios. There, students will take turns recor­ ding and critiquing several groups-from new wave to country. "It's mainly to give them ex­ perience in coordinating the human and technical aspects," he says. "Producers have to be able to keep everybody happy." Ultrasonic Studio's Jay Gallagher and George Hollowell will also be of­ fering an introduction to recording techniques, Music Business II. Classes will meet in the 16-track com­ mercial studio with "hands-on" ex­ perience in sound recording and mix­ ing, as well as principles of acoustics. In addition to the business-oriented courses, UNO is also offering classes in music theory, piano (for kids), and guitar (for anyone). Most classes start Chihuahua: King Of New Orleans Dogs around the beginning of February, New Works By Bunny Matthews and UNO says you can register up un­ Opening Sunday February 15. 7 p.m. til classes begin at Room 122 of the Scheurich Gallery 1022 Lowerline Education Building, or by mail. For Six-Color Exhibition Poster Available more information, call 283-0351.

WAVELENGTH I FEBRUARY 1981 5 BY ANDY KASLOW AND BUNNY MATTHEWS

t some point around the turn of the century, after rhythmic drumming and dancing that would suggest a A overcoming an enforced ban on street gatherings by connection. The music has all the characteristics of much non-whites, groups of black people were observed on West African music, including polyrhythms (two or more Mardi Gras Day, parading in their own neighborhoods rhythmic ideas played on top of each other), call and garbed in American-Indian-like costumes, elaborately response singing (a leader improvises verses and is decorated with egg shells, turkey feathers, and broken answered by the group), and improvisation (unwritten, glass. These were the beginnings of the black carnival spontaneously composed music). The songs often tell a associations known as the Mardi Gras Indians. story about Mardi Gras Day, the Indians' suits, prison, No one knows exactly when these Indians appeared, life in the ghetto, or another theme of common interest or why blacks adopted the to the community. In any symbol of the Indian as a case, whether or not there Carnival motif. though n Mardi Gras Eve, the is a direct transformation speculation on that topic from African to "Indian" abounds. Some contend night before Carnival, all tribe, today's Mardi Gras that the Indian associations the Indians get together in Indians are the inheritors were started by light­ O and perpetuators of that skinned creoles, i.e. those of this little barroom and they get great musical tradition. African and French or their little stuff, ya understand, One final theory on origins Spanish ancestry, who had is diffusion from the Carib­ actually intermarried with and some of 'em go "Urn!" in the bean, particularly Haiti Native American Indians. arm and that makes 'em feel good and Trinidad, each of Support for this theory which still has a Mardi comes from the fact that and they get there and they pitch Gras with Indians similar some Mardi Gras Indians a bitch! I don't mean a ball-1 to those found in New can remember grand­ Orleans. Both have or had parents who were "pure" say a bitch! All night long, don't strong French traditions, Indian, and that the earliest care. See, when Mardi Gras day and a strong link with New Mardi Gras tribes O rleans. In Trinidad, one originated in C reole come, you fall out there even finds the existence of neighborhoods where ac­ a tribe known as the Red, tual Indians from the sur­ -Ooooohhhhh Wah! The Indians White and Blues, the name rounding countryside came have been around ever since there of a tribe that once existed to reside. Others believe in New Orleans; and after that the Indian was merely a was a carnival. The Indians really the black Jacobin revolu­ symbol of oppressed blacks begin before the beginning of tion in Haiti, there was a of a people who resisted large creole migration to enslavement by white time when Columbus come over Louisiana. However, with civilization. In addition, here and discover America. no solid documentation, all there are numerous ex­ this remains speculative; amples of Indians harboring -Jerome Payne of the Second Ward but we do know for cer­ runaway slaves who even­ Hunters, interviewed by Samuel tain that the Indian associa­ tually intermarried with Charters at 638 Royal Street, October 25, 1956. tions are thriving in New them ... Another conjecture Orleans today and is that the urban tribes grew out of earlier African tribal significantly represent how Afro-New Orleanians express associations which existed during the great Sunday after­ themselves on Mardi Gras. noon dancing and drumming competitions in New Up until about twenty years ago, the Indians came out Orleans' Congo Square, when slaves were given a day on Mardi Gras day to do battle, resolve grudges, and off to congregate. When these slave gatherings were prove who was the most powerful gang in the city. banned around the C ivil War, the groups could possibly Often, there were gunbattles and rival tribes met on have gone underground and later emerged as disguised what came to be called the "battlefield." Two traditional Africans, i.e. Mardi Gras Indians. Credence for this idea Indian songs, "Meet Me Boys on De Battlefield" and comes from the fact that today's Mardi Gras Indians "Corinne Died on the Battlefield" depict the events of have preserved a rich storehouse of powerful African those Mardi Gras Days gone by. Interestingly, the first

6 WAVELENGTH I FEBRUARY 1981 song is a type of Calypso and r.;;;;;;;;;;;;;;;;:--.;;;;;;;:;;;;:::::;;;;;;;;;;;::;;;;:==::-1 the chorus known as is sung in West Indian dialect! "second liners," a group Nowadays, though, seen in nearly all New physical violence has been Orleans street parades. The replaced with aesthetic com- tribes venture out into their petitiveness, and the "pret- own neighborhoods, rarely tiest" Indian is now the most seen or heard from by the powerful. Seeing a crowd of downtown revellers in the Indians on the streets of the French Quarter. When two city is a rare treat to behold, tribes meet, the chiefs in- and it is really impossible to itiate a complex encounter judge who has constructed ritual, dancing around each the finest suit. The Indians • other, and shouting spend weeks and months threatening remarks. In the hand sewing velvet, ostrich old days, one chief would plumes, rhinestones, sequins, order the other to "Humba" and ribbons into fine or bow down in deference garments with elaborate to his superiority, and if he headdresses and ornamented refused, they would fight, objects such as peace pipes, often to the death. But now, hatchets and staffs. During after this outward display of the months proceeding Mar- hostile riv airy, everyone di Gras, sewing sessions are becomes friendly and held, and the suits, which are curious about how the suits taken apart every year, are have been constructed. This ~ created anew, each one often process goes on all day until ~ representing an investment the Indians, by now ex- ~ of $1000. While the suits are hausted from walking with ;:; disassembled annually, the heavy suits all day, return ~ beaded patches depicting home. They won't be seen 0 anything from geometric pat- again until St. Joseph's day ;;; terns to Indians massacring in March, when they come 5 Buffalo Bill, are saved for out for a final display of ~ future use. These patches are their suits. St. Joseph's day masterful art works and re-main one of the finest ex- happens to fall midway between Mardi Gras and Easter amples of authentic African-American craftsmanship in and is celebrated by other Orleanians, particularly the the hemisphere. Italian community, as a break from the abstinence of On Sundays prior to Carnival, the tribes assemble in Lent. neighborhood bars and rehearse the repertoire of songs Some Indians have recently expanded their activities which they will sing on Mardi Gras Day. These are the and now perform publicly on other occasions. The New sessions at which the rhythmic intensity and emotional Orleans Jazz and Heritage festival, uptown and energy level reach incredible peaks, and the bars are downtown nightclubs, commercial Mardi Gras spec- generally overflowing with neighborhood tacles, educational forums, and music festivals from people who join in singing California to Europe, are a choruses and beat on tam- few of the new arenas bourines, bottles or drums in where Indians perform. And a throbbing sea of musical three tribes have released excitement. commercial LP's, including Finally Mardi Gras Day the Wild Magnolias on dawns and the Indians gather Polydor and Barclay at their chief's house and wait records, and the Wild for instructions. The tribe is Tchoupitoulas on Island broken down into spyboys, Records.Purists lament these who march ahead to look for commercial ventures as a oncoming tribes; flagboys, sellout, but the results are E who convey signals to the unquestionably interesting ~ chief and carry the standard experiments. And despite ~ or emblem of the tribe; these new developments, on ~ wildmen, who keep the spec- • 11 4 Mardi Gras Day you can be Q tators from rumpling Indian sure to witness one of the ~ feathers; 2nd, 3rd, honorary, finest examples of people's "' and trail chiefs; queens; street art, music and theatre 5 princesses; and a crowd of that America has to offer. ~ loyal followers who form - Andy Kaslow

WAVELENGTH I FE BRUARY 1981 7 hear the Indians before Mardi A List of WHERE To Gras. Several live perform­ Tribes mances by Indian groups are scheduled the week before Carnival. The legendary Bo Dollis and the Wild Magnolias Uptown will be performing with the New Orleans great Willie Tee, Golden Eagles (not masking) the combination that recorded the first Indian 45 "Handa Black Eagles Wanda" and the LP on Barclay and Polydor records. They Golden Sioux will be at Tipitina's on Wednesday, February 25. Wild Magnohas The next two nights, Feb. 26 and 27 at Tip's, the Golden Wild Tchoupitoulas Eagles, led by Big Chief Monk Boudreaux, will be perform­ Golden Arrows (not masking) ing. The Eagles recently returned from a triumphant Euro­ Creole Osceola (new tribe) pean tour with performances at the Berlin Jazz Festival. They are some of the most exciting Indian performers on the Downtown scene, and have developed Chief Boudreaux's original reper­ Golden Blades (not masking) toire which includes "Shotgun Joe," "Search till You Find It," Apache Hunters (not masking) "Holy Man Come to the Ghetto," and "Me Donkey Want Yellow Pocahantas Ninth Ward Hunters Water." Diamond Stars The group called the Original Wild Tchoupitoulas will be Seventh Ward Hunters featured in concert on Sunday night at the Saenger Theater, White Eagles with the dynamic Neville Brothers. The late Chief George Yellow Jackets (single member) "Jolley" Landry was the Nevilles' uncle, and the brothers are carrying on the tradition which was started several years ago West Bank when they all recorded the acclaimed Wild Tchoupitoulas Golden Stars (Marrero) album on Island records. Defunct Tribes Of course the finest place to really hear the Indians is on the streets on Mardi Gras Day. Uptown, they have to be Red White & Blue The Hundred and One scouted down, but you can start at Washington and Creole Wild West Claiborne and make your way through central city. Cheyenne Hunters Downtown, Claiborne and St. Bernard is a good bet, but In­ Second Ward Hunters dian territory is fairly vast and you1l have to cover a lot of Third Ward Terrors ground. Good luck!

8 WAVELENGTH I FEBRUARY 1981 An Indian Glossary

Chief-Supreme leader of tribe. This position is attained when a man has the financial and/or organizational abili­ ty to hold the "gang" together. Second Chief. Third Chief-In the event of a Chief being unable to perform his duties, the Second Chief and Third Chief are available to fulfill these tasks. An Indian Honorary Chief-Usually an elderly Indian who is still able to mask and has the desire to hit the streets. Discography Trail Chief-Brings up the rear of the tribe. Wildman-His primary function these days is to keep spectators away from the Indians' feathers and if possi­ 45's------ble, off the street. Sugar Boy & the Cane Cutters-"Jock-A-Mo" Spyboy-A reconnaissance person. His job is to pro­ (Chess)-1953 ceed the tribe and issue reports (to the flagboy) of other Professor Longhair/Earl King-"Big Chief, Part 1&2" tribes within the immediate area. (Watch 45-1900)-1964 Flagboy-Relays the Spyboy's messages and dispatches The Dixie Cups-"Iko Iko" (Red Bird RB 10-024)-1965 to the tribe. Wild Magnolias-"Handa Wanda, Part 1&2"(Crescent Queen-An honorary position usually bestowed upon a City 25)-1970 girl much younger than the Chief. She is almost never Wild Magnolias-"Smoke My Peace Pipe"/"lko Iko" the Chief's wife or girlfriend but rather the daughter of (Polydor PD 14242)-1974 family friends or neighbors. Like all Indians, her greatest Roger & The Gypsies-"Pass the Hatchet" (Seven B) talent should be an ability to sew. -Circa 1965 Scout, Squaw-Indian children. Gang- The tribe. 78's------Pow-wow-An assembly of different tribes. Danny Barker's Creole Cats-"Chocko Mo Feeno Humbug-A disturbance or disorder. Hey"/"My Indian Red" Humbah-Bow down or surrender. (King Zulu 00 1) -1955 Jock-A-Mo Feenah Hey-Spelled in a variety of ways, Danny Barker's Creole Cats-"Corinne Died on the the message is the same as "Kiss My Ass"! Battlefield" (King Zulu Firewater- Alcohol. 002)-1955 Handa Wanda-An Indian chant of no particular meaning. LP's------Crown- Indian headdress. Second Ward Hunters, Third Ward Terrors, White Mummy Crown- Worn by the downtown tribes, this is Eagles-The Music of New Orleans: The Music of a one-piece costume similar to ones worn throughout the Mardi Gras West Indies at Carnival. There is a well-known self­ (Folkways FA 2461)-1956-57 portrait by the Haitian painter Wilson Bigaud in such a Jelly Roll Morton-To-Wa-Bac-A- Way costume. The Uptown tribes wear crowns and costumes (Original Library of Congress Recording LC based on those once worn by the Plains Indians. 2487-2489)-1939 Apron- The elaborately beaded and decorated apron­ Wild Magnolias-Wild Magnolias usually featuring scenes of Indians locked in combat with (Polydor PD 6026)- 197 4 panthers or buffalo or each other- is an integral part of Wild Magnolias- They Call Us Wild the suit. (Barclay 90033)-1975 Battlefield- The area near the old New Basin Canal Wild Tchoupitoulas-Wild Tchoupitoulas (now the Pontchartrain Expressway) where tribes would (Island LPS 9360)- 1976 meet to battle on Mardi Gras Day. The Meters-Rejuvenation Shallow Water Li1 Mama- A chant for "No Rain On (Warner Bros. MS 2200)-1974 Mardi Gras." Rain, for obvious reasons, is the Indians' Dr. John the Night Tripper-Gris Gris worst enemy. (Atlantic SD 33-234)-1968

WAVELENGTH I FEBRUARY 1981 9 - . · _, -r-- --

7713 Maple New Orleans

Whole bean coffees for the finest, freshest cup of flavor ... Cafe, too

Open 8am-6pm six days

Costumes and Masks and Vintage Oothing Old Mint Mark Papa Doe 1222 Decatur

Victor "Papa Doc" Augustine, shown here in a photograph from the late Forties, ran a voodoo shop at Dryades and St. Andrew. In this shop, under the aegis of Augustine's Wonder Records, both Earl King and Huey "Piano" Smith got their start in the music business. Years later, Earl remembered Augustine in the last lines of "Teasin' You," a tune written for 524-7027 Willie Tee: 'They call you Doc 'cause you're the island 12-5 pm man ... " Another self-styled physician, Dr. Gizmo[top], reportedly sold his tune entitled "Big Chief" to Earl King for the grand sum of $10. Both Papa Doc and Dr. Gizmo are still around and circulating about the Dryades Street area.

10 WAVELENGTH I FEBRUARY 1981 BY KEITH TWITCHELL There are people for whom Mardi look hard enough you can find them find out anything more. Gras is not confined to the society and help them celebrate Carnival. "We were started on a whim five pages of the Times-Picayune and the You may also notice a certain lack of years ago," a member of the Krewe sedentary opulence of the Comus specific detail about what the krewes of Motba Roux tells me, "and our Ball. The outfits these people wear are doing this particular Mardi Gras. anonymity is one of the keys to our are the products of second-hand Well, if you want to go to their par­ style." This year is a transition year stores and their own crazed imagina­ ties, parades and balls, you'll just for this krewe: they will be marching tion rather than custom costume have to find out about them from bar to bar on foot instead of shops; they drink more Dixie than yourself; as one of the krewe of renting buses, and they will offer live Dom Perignon and eat more Dreux told me, ''The whole world is music, with the Lastie Brothers and Popeye's than pate, and the small invited but we don't want the whole Bobby Mitchell and maybe Ernie carnival krewes they belong to have world there." These krewes are small K-Doe, at their ball. Before you go to more fun than three balls' worth of and only have room for people whose the Saturn bar to find out about this bluebloods. Mardi Gras spirit leads the way for krewe, maybe you should know that This is not to say that tradition is them. they traditionally parade without a not a part of these small krewes, but The Krewe of Dreux is in its ninth permit and film the entire affair. their rites and rituals are looser, less year. Beginning as a keg party at a One often finds close ties between defined, not yet having evolved to the house on Dreux, it has grown to two of these krewes; such is the case state of rigidity often found in the about ten-keg size. They proclaimed with the krewe that calls itself the established organizations. They have themselves to have been the only "Society for the Preservation of a different interpretation of how the krewe to march inside the city limits Lagniappe in Louisiana'' and the Mardi Gras season should be in 1979, the year of the police strike Krewe of Krawe. Originally, many of celebrated, one that is most (they told the representatives of the the functions of these two were com­ refreshing in its originality, vitality, law that it was a party, not a parade) bined; currently though, the Society energy, and lusty pursuit of hap­ though they admit they don't know an uptown Tipitina's-type crowd, piness. for sure (the Clones may have an has its own outdoor festivities, the In looking at a few of these krewes, argument there). The king and queen Gator Ball. This year Odetta will play we are overlooking quite a few more, are anointed the night before the at the Gator Ball and reggae music but such are the dictates of space and parade, at the Bacchus bar, which is will be featured (music is the central time. Be advised that many more than their headquarters, and which is point for this krewe). Several other are mentioned here exist, and if you where you should go if you want to activities are also planned. The Krewe

WAVELENGTH I FEBRUARY 1981 11 of Krawe, at 14 years almost ancient by small-krewe standards, began with "a bunch of hippies from Tulane" Randy Meisner getting together to drink beer and eat crawfish on Fat Tuesday. The krewe throws era wfish instead of doubloons during its parade, and the takes king is the owner of the winning entry in their annual crawfish race. An an­ nual highlight is pelting the Hare Krishna house, which they pass on their parade route, with the small center crustaceans which give the krewe its name. The biggest ball offered by any of these krewes is the MOM's (Mystick stage. Orphans and Misfits) Ball, which is held in Chalmette and provides live music and beer. Begun nine years ago by "a bunch of people looking for any excuse to have a party," it is free for anyone who hears about it and shows up in costume. It is dedicated to preserving the spirit of Mardi Gras as a freak show, one in which you have to participate in order to be able to watch. If you're at Luigi's one night, you might learn something more about it. Anyone familiar with the Faubourg area knows the Dream Palace, and any familiar with the DP knows about the Krewe of Cosmic Debris and its marching band, the Paradise Tumblers. Loose-knit at best, these groups' parades are of the "pick-up­ Randy Meisner's and-join" variety. The Tumblers play past association with year 'round, appearing at parties and weddings and so forth. Some the Eagles is history members don't really play music but to be proud of. Now contribute various honkings and hangings which add greatly to the he has the spotlight final effect. There is also a Poodles all to himself with his majorette section. The Krewe of Cosmic Debris is one of the most new album , "One splendidly rag-tag of the small More Song." krewes; if you hang out at the DP JE 36748 long enough, you may not find out "One More Song." anything about their parades but you Randy Meisner's premiere performance, may end up in one. Well, there, in a coconut shell, you on Epic Records and Tapes. have it. These krewes don't compete " Epic" Is a trademark of CBS Inc. with the big krewes or with each other; they impose no restrictions on their haphazard paths of decadence. They see Mardi Gras as a celebration and a spirit that should be accessible to everyone, and mostly they see it as a glorious reason to go out and have a METAIRIE 4029 VETERANS BLVD. 888·6130 gloriously outrageous party. If the KENNER 3617 WILLIAMS BLVD. 443·2431 spirit moves you, wander out and join GRETNA 522 LAPALCO BLVD. 392·5860 in with them. Or for that matter, start See Randy Meisner at your own krewe-all it takes is a keg $499 Old Man River's, February 1 0 LP and the desire to drink it. •

12 WAVELENGTH I FEBRUARY 1981 Everyone familiar with headphones represents an advance in high fidelity stereos knows the advantages of headphone reproduction of considerable magnitude. It's listening. They can be listened to at loud volumes introduction has created a sensation in the audio and you won't disturb other people in the room, world. Reviewers around the world are reporting let alone your neighbors. You can get great astonishment at the size, performance, comfort headphones with quality sound for alot less than and price of these new Sony headphones. quality speaker systems. You can get great stereo The key to these headphones is the new MDR separation, and, when listening to recordings in driver diaphragm. It is only 12 microns thick, only "binaural" sound, headphones will let you think half the thickness of Koss and Sennheiser "you are there ... ". lightweight headphone diaphragms. This means But, headphones should be heard, and not felt. better transient response. Special samarium cobalt To set good bass, most headphones use as large a magnets over three times more powerful than diaphragm as possible. This needs to be sealed conventional types, are employed. This results in against the ear, so low frequency sounds don't high sound pressure level and excellent damping cancel out. Large, heavy, and with lots of pressure for accurate response to input signals across the on your ear, headphones like these become entire audible frequency spectrum. uncomfortable quickly. They hurt you and you The new MDR-3 weighs only 1.8 ounces. It has can't enjoy the music. less than 70 grams of pressure against your ear. Sony is a leader in the world of miniaturized It's weight and ear pressure is less than a third of electronics. Sony engineers are always looking for that of other so called lightweight headphones. It a new and better way, using new technology. Sony sounds fantastic! engineers set out to design super lightweight If you never liked headphones before, or if you headphones, with good bass, that could be worn are looking for the finest phones you can b•Jy, be with extreme comfort for a long time. sure and sound out these new Sony MDR The result of this research is the n~w MICRO headphones, simply one of the most astonishing DYNAMIC RECEIVER.The MDR line of Sony new high fidelity products in years. 73 2 3'F'le'let 3213 17& Stllefl U~toum 'BeiWcd .coJwik 866-3579 834-7772 II-7 ltlP.-flli. 10-9:30. ltlP.-Sat. 0,. Sat. lilt 6 f> .Itt. rown THE DRIFTER AT THE BRINK OF HELL byYorlft (orbin

atemouth Brown goes his New Orleans about four years ago, calls out from the crowd. own way, prides himself on during a slack period in his career. "I "Just coffee, baby," Brown facing up to whatever he migrated-except in my case I wasn't chuckles. (It's true, too; he doesn't finds. Among the art ob­ migrating; I was drifting. Both drink.) lt sounds like an exchange off jects on display at his house engines had petered out on my boat, a classic live blues album, say, with offG Esplanade Avenue is a painting, let's say, in the middle of the ocean. the performer showing his casual rap­ obviously the work of an admirer, What you gon' do? Drift. I drift here, port with a congenial crowd. Closing that catches one of the images that been here ever since." But there is an one's eyes, it's easy to imagine being this singular musician-master of edge of steely determination to the part of the audience of a hip black several instruments and many man that belies any casual notion of club, the kind of place blues fanatics styles-takes some pains to project: drifting. dream about. Opening one's eyes, The Drifter. Alone astride a stallion His stage act plays off a similar ten­ however, it's hard to miss the fact starting to rear back at the sight, sion, a tension between his flashy that this is Tip's, and that the woman Gatemouth Brown has reached the showmanship, giving his audience who called out is one of the handful very brink of hell, whence comes a what it wants, hour upon hour, and of blacks in the house. demon, clambering out of the pit, his his sometimes sardonic delight in con­ It's a white audience, collegiate and hand raised to bid the rider to go no founding what he knows the crowd post-collegiate, less funky than a farther. The artist has painted Brown expects. Consider his most recent Neville Brothers or a Radiators in the cowboy outfit- embroidered New Orleans performance, at crowd. These are people who are like­ black shirt, black Stetson- that he T ipitina's on a Saturday night in ly to know Brown from his Jazz wears on stage. Brown evinces not a January. Festival appearances. On the road qualm at proceeding, looks ready, in Arriving late, Brown lets his band about ten months out of the year, he fact, for a tussle. The demon, in an warm up for a couple of numbers; hasn't built up the kind of regular odd reversal of expectations, ap­ then, to the accompaniment of an barroom crowd that most successful parently feels that this loner's soul ominous Peter Gunn-style riff, the New Orleans musicians play to week would not be worth the struggle he'd "high priest of Texas swing" takes in and week out; rather, he packs have to wage for it, and seeks instead the stage. Not a large man, Brown Tip's with aficionados. They've come to guard the brink of hell like St. has no trouble looking imposing. A to hear this legendary guitarist and Peter at the gates of heaven. compact cowboy in black, he sips fiddler, this black man who's been on Confounding expectations looks to from a mug, flashes the grin that the road for 40 of his 56 years, an in­ be a way of life for Clarence earned him the nickname credibly vital mus1c1an whose "Gatemouth" Brown. The persona "Gatemouth" as a small boy singing widespread acclaim has yet to of the Drifter seems real enough, as in a school choir in Orange, Texas. blossom into mass recognition. far as a recent acquaintance can tell ; He's surely no choirboy now. As a performer, Gatemouth Brown Brown drifted, in his description, to "What's in the cup?" a black woman is a cult item. Like a number of

14 WAVELENGTH I FEBRUARY 1981 American black musicians, he com­ as happy, exhausted dancers. audience. He has since made frequent mands a greater following in Europe "So you liked my little two-bit European tours (he's going over than in his own country. For those show last night"? Brown inquires of again in April, coming back just in who know, his lack of recognition a novice music writer (this one) time for the Jazz Fest), and he has adds to the mystique; being unknown visiting his home to wrap up an inter­ recorded eight albums abroad (the is one of the things that Brown is view and join in a farewell party, best ones available in New Orleans famous for. That paradox may supp­ since Brown and his band are due are Clarence "Gatemouth" Brown ly some of the cutting edge of his back out on the road, with dates over Sings Louis Jordan and Cold style. Brown is after more than play­ a ten-day period in Texas, Oklahoma, Strange). ing legend to the cognoscenti. He and California. Brown's question seeks, quite clearly, to be a classic shows a little of his sardonic edge. ince 1976, when an appearance American popular entertainer. Impressive as his Tipitina's show was, at the Washington, D.C., Folk At Tip's, he plays the audience it may seem a bit down-scale by the SFestival caught the attention of with the same virtuousity that hebr­ standards he set at other stages of his the cultural mm1ons in the State ings to his musicianship. Check out career. Brown first gained pro­ Department, Brown has also made a the grin, for instance, the famous minence as a musician in 1947, begin­ number of tours as a U.S. goodwill gatemouth, gleaming against that ning, as the legend has it, when he ambassador, playing in Africa, Japan dark brown, flat-featured face. It's picked up T-Bone Walker's guitar and, in l979,the Soviet Union. "I was like the grin of a Louis Armstrong, a while that master bluesman was tem­ like Moses leading my flock through signal of instantaneous communica­ porarily indisposed, and sat in, im­ the wilderness," Brown says of his tion with his audience. His ploy, it promptu, with Walker's band at the six-week Soviet tour. ("You had a lot seems, is to ingratiate himself with Bronze Peacock club in Houston. of help with that flock," his the audience as a personality, thenbr­ Brown's nerviness provoked wife,Yvonne, responds.) We set foot ing his musical gifts to bear on a per­ Walker's ire, but his musicianship on soil that, I guarantee you, no other formance of monstrous skill . There is gained him the older man's admira­ American has ever set foot on. We at least an occasional hint that the tion. Building from his association went so far out that the Russians wizardly musicianship mocks the with Walker, Brown developed a didn't monitor us whatsoever. naive expectations that his stage per­ reputation of his own on the Texas "One time we stopped at a road­ sona sets up. blues circuit, as a musical innovator side cafe, looked like a little old as well as a fearsome guitarist. (One wooden shed. Real country and mateur psychologizing aside, of the half-dozen Gatemouth Brown funky. Flies by the millions. As I got though, the first thing to say is albums available on local racks, San off the bus I looked across the road, Athat the performance works Antonio Ballbuster, contains sides and I saw marijuana growing thirty, splendidly. Brown opens on guitar, cut during that period.) At the height forty foot high. Since we didn't take snaky fingers plying the strings of his popularity, Brown was fronting no grass to Russia, we got several without a pick. It's a cold, clear a 23-piece band (he was the first pillowcases full, took it on to this sound, the playing precise and guitarist to lead a large ensemble) and town we was going to. Put it outside economical. One moment he's lean­ playing music that went well beyond the back window to dry. Some of it ing back in his chair on stage, heavy­ Texas blues. dried pretty good. You'd smoke some lidded eyes drifting dreamily over the With the ascendancy of rock music of this stuff and be high as a coon for crowd as he camps on his instrument in the 1960s, Brown's career went in­ about two minutes, then you'd feel while his young band shows their to eclipse. "The very worst times," like you was dying. Man, that stuff well-rehearsed stuff. Then suddenly he says, "were 1966 to 1970. Wasn't did me more harm than good." he's on his feet, afire, as he executes a making no money, wasn't supporting dazzling solo.Brown's guitar parts my family. Let me tell you ut overall, it seems safe to work to transform the several styles something, man, that's the worst report, Brown has found his he plays in-this set he does blues, pressure on earth. Bg lobe-trotting of recent years jazz, country, Cajun and calypso "Rock and roll killed everything to be beneficial. "What I found make music; they all become Gatemouth else. Country music was buried. Jazz people wise, have a hell of a lot more Brown tunes. and blues was buried. But thanks to understanding than people that sit in When he switches to fiddle, the the Europeans for bringing them one spot, is travel. If it's to the next playing may bear less of his distinc­ back to our country. They appreciate town, the next state, there's always .tive stamp, but it swings just as hard. good music." something different that you didn't Bringing together his Texas and Loui­ Some dedicated European blues en­ see where you left from." That's the siana roots, he fiddles a ''Texas thusiasts rescued Brown from obli­ Drifter talking. In conversation, Coonass Breakdown." Toward the vion, brought him over to play the Brown continually presents himself as end of the set he whips out a har­ Montreaux Jazz Festival in 1971. the common man making sense of ex­ monica to accompany his vocal on a "They had been looking for me for traordinary experiences. Much as his blues number. His set lasts well over seven years. I was in Aztec, New music establishes a simple appeal, and hour, and he doesn't quit for the Mexico, trying to make a living." then works some sophisticated night until dawn. The audience that Brown's appearance at the festival changes, his talk springs directly from arrived as blues aficionados departs created a sensation, won him a new his country background, yet he takes

WAVELENGTH I FEBRUARY 1981 15 Brown moves away from everyday One image from a visit to Brown's speech in certain key words. Blacks home that springs readily to mind is that are almost invariably "negroes" in of his 19-month-old daughter, Rene, his parlance, for example, and dancing to tapes of her father's new Tipitina's is a "caucasian" club. He music. "She's our heart," Brown says, talks about writing a book on ''the marvelling at her precocity. The music negro man," and has reflected at Rene dances to is off demo tapes for a length on his experiences as a black new album that Brown is due to record musician before integration, when he presently at the Studio in the Country in played all-black clubs like the Bogalusa. (One of the tunes, "In Dewdrop Inn in New Orleans. Father's Memory," is a collaboration Orleans. Gatemouth Brown is not at all between Gatemouth and Yvonne taken with the nostalgic recreations of Brown, who is a classically trained such clubs that have surfaced locally in pianist and a mournful country fiddler recent years. "This town tried to do it, herself.) According to Brown, the new but I just don't think they should try to album will contain "big-band, jazz, reproduce that. I think there should be good blues ballads, semi-classical, semi­ Fine Clothing clubs for people, and not certain reggae, and some type of music you from 1850-1950 people. You see, if they do that, I'm might have heard back in the twenties

3110 Magazine ''You'll never hear of me playing'' in an all-black club. Open Mon-Sat till 5:30pm gon' tell you man, you're going to go or thirties, but modified so it will sound right back to where everybody fought like today, but you will still get that so damn long to get out of. yesteryear idea. You know, one should "That's why you never hear of me never record the same kind of record playing an all-black club, because I he did before." would feel just like this: like I used to feel Gatemouth Brown refuses to repeat when I played the white club, and that's himself musically. What remains cons­ all you could see. And I knew why tant is the persona; he plays Gatemouth there wasn't nobody else there." Brown, The Drifter, in his living room as His resistance to racial categories has well as onstage. It's an act that plays Casablanca caused some discomfort among very well, and he knows it. A lot of Gatemouth Brown fans who view him writers, one surmises from reading his primarily as a bluesman. For the past press clippings, have seen it. There several years, Brown has placed in­ were two writers at Brown's farewell creased emphasis on his country music party the night after his performance at background, which has resulted in the Tip's: the representative from only adverse commentary about him Wavelength, and the one from The that appears in the voluminous file of ar­ New Yorker. Or at any rate, a hotshot in the French Quarter ticles that his wife is collecting as music journalist, Nik Cohn (he wrote 729 Conti reference material for a projected book. Rock From The Beginning and made a 523-7122 Though his move into the country music killing with the article from which Satur­ market (as on the Blackjack album, a day Night Fever was adapted) was on Live Music Brown favorite) has turned out to be a the scene, with a pocket tape recorder on weekends shrewd commercial move, his blues and an eye toward doing a New Yorker following should be aware that profile. The Wavelength writer, his own Gatemouth Brown has played country interview completed, hung around feel­ Restaurant/Cocktails music all his life. ing a bit abashed. He did manage to 11 am til, everyday "I'm so grateful to my father," he note, however, that Gatemouth Brown, Happy Hour 2 for 1 says, "for teaching me American relaxing in front of the fire and as spon­ Mon-Fri 5-7 music, rather that just one music. taneously earthy as you please, was There're some types of places where putting on a souped-up version of the the average entertainer can't even play. conversational show he'd staged for the I'm not being egotistical, but it's the local rag. "You can print this"! Brown truth. You never hear of no B. B. King or exclaimed, and launched into a tale of Muddy Waters or Buddy Guy playing the marijuana growing tall in the boon­ in no Gilley's, man. You have to be docks of the Soviet Union. country-oriented to play there. The Drifter rides again. •

16 WAVELENGTH I FEBRUARY 1981 The EXUMA-- Obeah man BY J. DAVIS

The crescent city is a musical brew. Twelfth Night Celebration. Exuma Drum'." Palmer characterizes his So are a lot of other melting-pot cities has also played at the Contemporary work as "reminiscent of reggae in that stir and blend to the influence of Arts Center and such music rooms as that he shouts his message in a gospel a menagerie of musicians in any one Jed's and Tipitina's. Since that first or soul style, recalling Toots Hibbert place at any one time. Nassau, Jazz Festival performance, Exuma's of the Maytals. But reggae moves to a Toronto, Kingston, Amsterdam, love affair with the city has grown. So relative slow and sensuous rhythm, London, Paris, each of these is a has his following. Tribute to New while the Bahamian junkanoo beat is music city in its own right. Being in Orleans can be found on his newest much faster, more like the street sam­ any one of them at the right time can album (of seven), Penny Sausage, in ba of Rio de Janeiro. At the same give you a taste of not only the native the song entitled ''Southern time, it is simpler than most African­ sounds but also a gallumaufry of Comfort." derived drumming in terms of overt beats and rhythms of other cultures. Having stopped here between gigs and implied polyrhythms." Ah, but how often we can be in the in New York, Toronto, San Diego, Singer, songwriter, guitarist, foot wrong place at· the wrong time, and and other points east and west, Ex­ stomper extraordinaire, Exuma com­ time, she passes us by whispering, uma now plans to take in a bit more pliments his presentation with percus­ "Boy, you missed it," leaving us of our "sweet southern comfort." sional instrumentation including set­ thirsty for a taste of this music or The alignment of his Bahamian drums, chimes, cowbells, ankle bells, that. (1, for one, should have been in second-line beat with our traditional timbales, wood blocks, junk bells, Nassau for the year-end Junkanoo second-line rhythms of Mardi Gras congas, gourds, clackers, junkanoo Mardi Gras celebration.) explains his marriage to the New drums (goat skin stretched over kegs This time of year, no sweat. New Orleanian beat. Says Exuma, "New and heated over a fire to tone), and Orleans is what's happening. If you Orleans is the most receptive place in always the Sacred Foot Drum. These are already dancing to the Mardi Gras the world to the artist, this music along with the mouth harp, whistles, beat and your feet itch when you spirit that flies around in the air all and larger number featuring cross the street, perhaps we would all the time waiting to be reborn and keyboard, sax trumpet, and ariola do well to stick around, especially if reborn." (Gunga Din) bugles, place the people we want a taste of what we have miss­ Together with Josiah (Teddy-The with happy feet in an atmosphere ed. Yeah, I missed the Junkanoo, Junkanoo King-Kinlock, timbales, of total movement. Recently, at alright, but the Junkanoo is coming syndrums, and pans), in charge of the Tipitina's, Exuma stepped in to play to the Mardi Gras ... Exuma. rhythm section and his righthand with Joyride. The effect was summed Exuma and his music are not new man of percussionary ambidexterity, up for me when a woman dancer said to this city . First introduced by Quint Exuma and his group provide au­ to her partner, "Gus, just be quiet Davis, Program co-ordinator of the diences with a special treat. An Afro­ and dance." New Orleans Jazz and Heritage Carribbean folk funk (rock influenc­ Exuma gigs have often had a festival, Exuma's music debuted at ed) calypso used as a storytelling vehi­ Joyride backing, particularly at The the 1978 festival and continued cle, Exuma's music is highly (I say Old Absinthe Bar. In the short time through the two following festivals. highly) percussional in orientation. In his junkanoo beat has been here, in In addition, the Old Absinthe Bar has a review of Exuma's Bahamian addition to bass man George Porter, done much to put the junkanoo beat musical "J unkanoo Drums," Robert Jr., Ricky Sebastien (drums), and out across the Bourbon Street night. Palmer, music critic of the New York Bruce (Weazel) McDonald (lead­ Jeannne Nathan placed Exuma in Times, notes that "the production's work), Exuma's stage has been concert with Jorge Santana and the message is summed up in the song shared with many other superlative Neville Brothers at the First Annual 'Soul People, Get Back to the performers of the city. Keyboardist

WAVELENGTH I FEBRUARY 1981 17 Mardi Gras To

BY SEVERINE The Second Power The scene is the Old Absinthe Bar playmate's body on the ground with on Bourbon Street last November. It pieces of broken glass to create an ef­ is three in the morning and Exuma is figy. They sing: "Moonshine baby, ending his second set of the night with Lovely Lady" ... always clapping, his song "Africa." He roars like a always singing. Sometimes during the lion, cries like a hyena, finally as he day, they amuse themselves shaking exhorts the audience to "listen to the tin cans full of rocks of " shack­ drums," he puts his guitar down, shacks." (Those same big dried beans jumps off stage and rushes through we see at the Jazz Fest) David Torkanowsky, bass guitarist the crowd, blowing a whistle and hit­ They are also the church people in Bill (Hutch) Hutchinson and Dave ting cowbells together, his red satin Nassau, who come to preach by the Watson, lead guitarist Victor Sirker, cape flowing behind him, shaking the fountain, singing and jumping up and along with such percusssionists as feathers on his wide straw hat. down, beating on tambourines. And Earl Gordon, Alfred Uganda The crowd goes wild, jumping and the house Exuma grows up in with his Roberts, Jacob Watson, and dancing with him. Josiah, "The mother is shared by Ma' Gurdie, the Subabah, have all joined in the Junkanoo King" leaves his timbales old woman who dances so well. junkanoo beat. Brassed up, his gigs to join him with more cowbells. The "When I sing, I can still see Ma' Our­ have included New Orleanians Earl rest of the band continues driving the dies beautiful moves" says Exuma. Turbinton and Dennis Taylor on sax hard beat up on the stage. Exuma will And Nezzie, who is near sixty years and AI (Mr. Z) Zansler on trumpet. keep the frenzy going, pausing for a old, but to this day still dances and Exuma has seven albums out. few beats only to start with renewed can be seen coming down the road, His first two releases, Exuma, and force till he finally walks off, promis­ one pantleg rolled up, with his goat­ Exuma II, on the Mercury label are ing to return shortly for another set. skin drummers, jumping, spinning, both rare discs now and this writer Exuma was born on Tea Bay, Cat rolling on the ground, an Island So­ for one would pay the price for either Island in the Bahamas but grew up in jangles. And then all year round there of those. A signing with Buddah Nassau, the capital, a place made are people practicing for Junkanoo, records was followed by four addi­ famous by pirates who came for fresh being chased off by the Police tional albums, Do Wah Nanny, water and to hide their gold. He took because they are too loud. Snake, Reincarnation, and then Life. his name from Exuma Island, one of Junkanoo is the great celebration Afterwards, being pressured too the outer islands of the Bahamas. Im­ on Boxing Day (December 26), and much into doing other people's agine growing up on Canaan Lane, in again on New Year's Day, when songs, Exuma broke with Buddah the heart of Nassau, on a street bands like the Valley Boys or the Sax­ and, in 1977, released his seventh maybe eight feet wide, lined with ons come down on the city, rushing album, Penny Sausage, on his own small wooden houses, most without through the streets, each band made label, lnagua Records, out of New electricity, all without television. up of forty to a hundred musicians York. This latest release features such Right around the corner is Dog Flea with goat-skin drums, whistles, songs as "Africa," "Rasta," "Pretty Alley, a street so small, it seems only bugles, cowbells, trying to drown Woman," "Armageddon," "Soul dog fleas can live there. Women fetch each other out, and competing for a Conga Line," the New Orleans water from the fountain in the middle grand prize. Junkanoo starts around number "Southern Comfort," and of the road and cook on open fires one in the morning and goes on all others. outside or over kerosene stoves. night till the musicians, exhausted, If you want to catch some of these To amuse themselves after school remove their papier-mache masks and numbers, The Old Absinthe Bar in the children walk up to Black Hill wild costumes, satisfied that they February (17-21) and in March where under the huge cotton trees have welcomed the New Year in pro­ (11-14, 18-2 1) would be the right they play games like kick the can and per fashion. It is during those Mardi place at the right time to do so. Other ring play. Games always accom­ Gras-Junkanoo festivals that Exuma gigs are in the works for the Mardi panied by singing and clapping and saw Josh Kaling Ting blowing his Gras season. Undistributed, Exuma's quite a bit of sensuous play-dancing: bugle up and down Bay Street. "He albums can be had at performances, "Show me your motion, show me blew his bugle for years and years in and you never know, in those post­ your lover," Some games also have a the Junkanoo line; he was the Mardi Gras days, this high energy mystical quality. There is a dark, meanest bugler ever. A true Obeahman mixture might be just dark sky over Black Hill, full of stars Junkanoo King." what the doctor ordered to counteract like diamonds and a big orange On Saturdays, Exuma and his those excitement withdrawels. moon. The children surround a friends sell the fish they have caught

18 WAVELENGTH I FEBRUARY 1981 'I grew up as a roots person, someone knowing about the bush and the herbs... '

to buy tickets to the movies. There of music. The music is the ceremony, some good energy to the people. My they are exposed to the American the medicinal compound prepared whole first album came to me in a Blues Singers: the music of Sam and performed before the dream.'' Cooke and Fats Domino, which they gathering. "I try to be a story-teller, a In the same spiritual vein, in 1977 imitate. Exuma wrote and directed a musical Music is everywhere in Nassau, but named "Junkanoo Drums," in­ Exuma wants to be an architect, and cluding a dozen of his tunes which he he arrives in New York, seventeen wove around a story as told by a years old, where he promptly runs out Grand Deacon. It was performed in of money. Some friends give him an New York, in Damrosch Park in Lin­ old guitar, he knows three or four coln Center, and got him rave chords, and he starts practicing some reviews. Quint Davis tracked him old Bahamian calypsos. He loves the down by calling the Bahamian Em­ guitar and he is so homesick for bassy. So in the spring of '78 Exuma Nassau. It is cold in New York and he came down to New Orleans to per­ longs for the games, the dancing. So form at the Jazz and Heritage Exuma starts writing poetry, poetry Festival. Three Jazz Fests and many about Ma' Gurdie and the ring play gigs later, Exuma says of New and Junkanoo. Then the poems Orleans: "I found New Orleans to be become songs like "Brown Girl in the a very cultural place where if you br­ Ring" and "Rushing Through the ing love to the people they will give Crowd" and other now famous Ex­ you the necessary energy to bring uma tunes. Exuma also has friends even more." For the future, Exuma from Nassau in Brooklyn and they promises more of his unique music take him to Greenwich Village to play which he qualifies as universal. He in hootenannies and cafes. They have says: "On my albums you can find maracas, a goat-skin drum and they rock, reggae, junkanoo." He agrees take turns singing: blues, ballads and that it can be a challenge to musicians calypsos. who play with him, but that in fact, By 1966, Exuma decides to concen­ his music is very simple. "Some try to trate on writing and also starts pain­ make it very complex but they only ting. He now channels his energy into need to plug in and play it as it is. I the " Obeahman," because he wants am a writer, a poet, a romanticist, a to share another side of his culture, thinker, a philosopher, and an artist. something that "nobody else is talk­ I write what I am and what I see and ing about back home." Of the according to what spirit touches me at Obeahman he says: "I grew up as a the moment." roots person, someone knowing Exuma is in fact an extraordinarily about the bush and the herbs and the versatile music and lyrics writer. He spiritual realm. It was inbred into all offers us true dance music that of us. Just like for people growing up guarantees to bring you to your feet in the lowlands of the Delta Country in "Juju Love" or "Bam-Bam," a or places in Africa." glimpse of his spiritual world in The traditional Obeahman is the "Joshua" and "Andros is Atlanti~ Bahamian equivalent to the Jamaican Rising" as well as his own style of up­ bus h-doctor or the Haitian tempo reggae with tongue-in-cheek Hougaman. A gatherer of herbs from comments as in ''Exuma goes to the bushes for ointments and teas, he Hollywood," "Superstar," "Fame," brings the love vine, the gale wind and "Punk Rocking." So whether bush, the bread fruit leaf. Dillseed, you just want to dream of islands in chamomile, and bush or strong bark. musical doctor, one who brings the sun or madly dance the night The Obeah robes are worn for the musical vibrations from the universal away, Exuma remains the various ceremonies performed. Now spiritual plane through my guitar str­ Obeahman, and his spirit will surely Exuma sees himself as the Obeahman ings and my voice. I want to bring touch us all. •

WAVELENGTH I FEBRUARY 1981 19

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PlJzzle Toussaint Teaser BY BUNNY MATTHEWS

22 WAVELENGTH I FEBRUARY 1981 Rhythm & Blues Lonnie Brooks By Any Other Name

BY HAMMOND SCOTT

One of Louisiana's great musical prodigal sons will soon be returning to the New Orleans area to make another of hi s infrequent "homecom­ ings." Yet most of Lonnie Brooks' old Louisiana fans would not recognize his new identity since he departed the state, in 1959, for greener pastures. It seems Brooks has had several careers to go along with his several names. However, two things have re­ mained constant in this man's musical life; his clean, powerful, lusty and vibrant singing plus the strong Loui s iana influence in Mr. Brooks' guitar work. Yet, Brooks' varied careers have shaped him into a unique artist with a commercial blend of modern rhythm and blues under­ pinned with funky swamp blues styl­ ings. It is this combination of styles which recently lead Downbeat Magazine to proclaim that "Lonnie Brooks has the greatest commercial crossover potential of any blues artist to emerge in recent years." The Washington Post heralded Lonnie "the most exciting new talent in blues today.'' Yet, the word "new" puts a smile After being knocked out by already two Guitar Juniors (who both on Brooks' face, knowing his career Gatemouth's showmanship, Lonnie happened to be named Luther began in the mid-1950s, playing (Lee Baker) went out on his own Johnson Jr.). So, "Lonnie Brooks" guitar for Clifton Chenier's zydeco making his first record in 1955 for the became our man's new stage identity. blues band based in Lafayette. tiny Goldband label out of Lake During the 1960's, Lonnie recorded Brooks' days with Chenier go back to Charles. His first record, "Family 45's for Mercury, which never really the time when Lonnie was still known Rules" was an immediate regional hit, but Lonnie's newly formed band as the hot, young Lee Baker, Jr. It hit, starting him on his new career as was an instant success, spicing his was only natural that he would come "Guitar Junior," young Louisiana Louisiana rock 'n' roll with a taste of under the wing of Clifton since he rock 'n' roll star. As Guitar Junior he soul and hard Chicago blues. Under was born, in 1933, in Duhuissont, soon had another hit on Goldband his new identity Lonnie pumped out Louisiana mere stone's throw from Records titled "the Crawl" (since re­ blues and soul 45's for Chess, USA, Lafayette. It was in Louisiana that recorded by the Fabulous Thunder­ Palos, Chirrup and Midas and the young Lee Baker first came under birds). In time, Goldband Records established another career as an in­ the spell of swamp blues legend proved too small to advance Guitar demand session guitarist for dozens Lightning Slim, whose influence is Junior's career any further. So, in of local and national records during still heard in Brooks' guiltar work. A 1959, he took off with the late Sam the 1960's and early 1970's. short time later Lonnie was exposed Cooke as the guitarist with Cooke's Lonnie Brooks got what seemed to "his granddaddy in blues guitar," touring band, crisscrossing the South. like a big break in 1969 and recorded the man who made him "know he By the early 1960's, Guitar Junior his first record album for Capitol had to play," Gatemouth Brown. settled in Chicago where there were Records, but once again Uu st to add

WAVELENGTH I FEBRUARY 1981 23 Rare Records The Real Stuff Captured in Wax

BY ALMOST SLIM

Jock-A-Mo Sugar Boy ~ Checker 787 -C JOCK-A-MO

For some reason this was left off H the Mardi Gras in New Orleans E album, and I'll be damned if I know why. This is an old Indian song still .C: chanted in forms during Carnival. Sugar Boy was the first to wax it, and he captures a flavor of Mardi Gras that only Fess, and the Hawkettes, could attempt to capture. This raucous jam was cut at Cosimos studio in 1954: the person­ nel was Snooks Eaglan on the guitar, to Sugar Boy's storm in' second-line Big Boy Miles on trombone, Alfred banter. Bernard and David Lastie on sax, You don't hear this much anymore Frank Fields on bass, and Eric at Carnival Time but the Wagusi Warner on drums. Of course, the Warriors feature it in their parade Dixi-Kups did it in 1963 and called it Mardi Gras day! You can find this on "Iko-lko," but that version is Sugar Boy's album from the Chess somewhat mild when one compares it Blues Masters Series. •

Continued from page /9 to the confusion) in this record, he album has lead to more European was using the name "Guitar Junior." tours, and appearance on the Hee Unfortunately, a management Haw TV show with Roy Clark, and dispute killed the record almost as most recently his appearance as soon as it was released. guitarist on Lou Rawls' latest album. Finally in 1978, Lonnie Brooks Oddly, Lonnie is listed a·s Lee Baker, became part of Chicago's Alligator 1 r., on the album credits of the Rawls Records' roster of blues artists. Four record--confusion still reigns!! One cuts of Brooks' were included in thing is for sure, though, there will Alligator's three-volume Chicago not likely be any more confusion Blues Anthology released that same about who Lonnie Brooks is, once the year. This brought Lonnie instant, public hears him. wide critical acclaim and a whole new A new album called Turn on the album. The record album cemented Night is due for release by Alligator his superlative songwriting and ar­ this month. According to Brooks its ranging skills as well as his obvious flavor will be more noticeably New commercial crossover potential. Orleans. Forthcoming area appear­ The Alligator album titled Bayou ances include Chief's in Baton Rouge Lightning features a strong mixture February 12 and Tipitina 's on of modern soul, funk, Louisiana February 14. swamp blues and Chicago blues into Lonnie Brooks is at the bottom of well-synthesized, clever composi­ the top and moving up. His special tions. It truly represents Brooks' best brand of "bayou lightning" will be recorded work to date. crackling with energy for a long time The success of the Bayou Lightning to come. •

24 WAVELENGTH I FEBRUARY 1981 Rock The Sheiks at the Second Decade BY KEITH TWITCHELL

In the world of music, ten years is the better part of eternity. Ten years ago Jim Morrison was alive. The Beatles were freshly separated. Plans for the second jazz festival were being struggled with. Disco was still a gleam in some mad producer's eye. In St. Louis ten years ago, a drum­ mer named Rob Sanders was resear­ ching a college paper on St. Louis regional music. He went to hear one of two gospel choirs being directed by a sixteen-year-old pianist named Michael O'Hara. A week later, Sanders talked O'Hara into forming a rock band; they picked up guitarist Leslie Martin through a friend and lured bassist Nick Ferber away from another act. After some experimen­ ting, they settled on calling themselves the Sheiks, derived from two old St. Louis bands, the Beat Street Sheiks and the Mississippi Sheiks. ("Sheik" was a 1920's term comparable to "stud" today.) Ten years later, the same four Sheiks are still together, living in New -Orleans now but playing their same brand of music. Few bands last that long, fewer retain their creative inten­ sity; but judging by the response they get around here, the Sheiks are draw a lot of energy from the au­ themselves elsewhere-St. Louis and stronger and fresher than ever. They dience," responds Michael, "It Chicago are especially strong for have watched intently while the world makes me exceed my physical limits them-but New Orleans is special. has agonized through its changes and every night. " It becomes like train­ O'Hara believes the New Orleans au­ have been equally intent upon re­ ing, comments Sanders: "You build dience is less inhibited--"They let you maining steadfastly honest about the up a certain amount of endurance, know when you're not hitting it music they play. They have refused to like an athlete, and if you didn't put off"--but they are more receptive to tag along with the various trends that out that much energy on stage, it good music and to attempts at in­ happened by, and have watched other would seem weird.'' novation. The music tradition here is bands die with the deaths of the In sum, you do or die with your au­ a stimulation for the band, and they trends they followed. The Sheiks play dience, and if that means cultivating in turn add a powerful dimension to solid, joyous rock, and they are alive new li steners, so be it. Audience the local music scene. The Sheiks play and kicking hard. response was one of the factors exclusively original numbers in the High energy output is an important behind the band's recent move to shows, frequently adding new tunes reason why the Sheiks continue to at­ New Orleans. "We've been playing to the repertoire as well , which keeps tract followers. Looking at O'Hara, here for about six years," bassist the band fresh and its audiences com­ who as the vocalist, up-front man, Nick points out, "and our audience ing back. performs at the highest pitch, one here has stuck with us through the The bulk of the songwriting is done wonders how anyone could reach various fads." Not that the Sheiks by O'Hara. Sexual attraction, the such heights time and time again. "I haven't established and re-established gropings between two people are a

WAVELENGTH I FEBRUARY 1981 25 frequent theme. "I'm not really good at fantasizing," he says, "I like to write about situations I've been in ... I LUIC.I'\ like to talk about human beings." Lyrics aren't the stars of the show, 6319 ELYSIAN FIELDS NEAR U.N.O. though; like the rowers in a two-man PRESENTS shell, they are equal partners with the music in the final success. As before, O'Hara disclaims anything exotic, sees no particular influences, but his gospeJ background can't be overlook­ ed. The band members grew up around the St. Louis blues tradition, but the rock music they play today is diversified beyond the impact of any particular style . Combining driving rock rhythms with silky, weaving in­ strumentation, and enhanced by a talent for showmanship, the Sheiks put on a highly satisfying musical show. O 'Hara is the most visible Sheik in performance, the scarf around his head flying like a pennant in a gale, his body always in graceful and often sexual motion. The audience reaches the Radiators out for him ; his vocal artistry and his energy clearly lead the band. But the act is well-varied, eminently listenable without being pop, and impossible to sit still to. Martin's colorful reaching to exciting guitar work splays across the front of the sound, while the rhythm section puts out a polished but powerful rock beat and O'Hara's keyboards add punctuation. The in­ terplay, the controlled, refined looseness that is part of the Sheik's distinctive sound has to come from the long experience of working together. Experience came with playing countless nightclubs. Dances. Open­ USIC ing up for other acts. The band toured as Chuck Berry's back-up band for a while, and Sanders remembers that learning experience: there were no rehearsals, and Berry played no set shows; the band often found out what was coming next when Chuck told the crowd. Coping with this involved a lot of "faking it," as Rob puts it, forcing the band to expand its improvisational skills. This allows them a broader framework on stage without detrac­ ting from the flowing precision that is the mark of professionalism. If you haven 't heard them by now, at the end of their first decade, don't wait 'til the end of their second to make up for it. Catch them at Ole Man River's or Jimmy's. •

26 WAVELENGTH I FEBRUARY 1981 Country A Girl Named Tim And Her Band of Gold

BY NANCY WELDON

When Timothy Louise Williams Orleans about five years ago, and was a little girl in Natchez, Mississip­ started playing French Quarter bars, pi, she was so shy about performing most of which were then offering folk she used to mouth the words while the music. other kids sang in school choir pro­ "I really didn't care for country ductions. before then, because I had just grown "When I was a little kid, I didn't up with it. My father was real big into even think I could sing. I never even it. All I had heard was Hank s·now liked to si ng in the choir 'cause and Red Foley, and that's what I everybody'd stare at me ... I thought thought country was." the reason they looked at me was But later, "I started listening to the 'cause it sounded so bad, so I just lyrics of a lot of stuff, and really liked mouthed it." it, so I just kind of, you know, left That one-time reluctant performer the twang out and changed it," and it has been fronting her own country­ worked. western group, "Tim Williams and It worked so well that she gave up her Band of Gold" for about four the day job at Howard, Weil, years here in New Orleans. At press Labouisse, Freidrichs, Inc. accoun­ time, she was working on material for ting department that she had moved an album, and regrouping the band. to town to take. Right around Christmas, she lost her "We started playing the bars, and bass player, Ronnie Pilgrim, to a day it just seemed like we started getting job promotion that required him to more and more offers, to where it was be on call. ("You can't play music Growing up in picturesque (and just killing me to get up in the morn­ with a beeper.") About that same social-conscious) Natchez was ing after being out 'til three and four time, her drummer, Terry Kirn, "wonderful," although, "There's a o'clock at night playing. I decided I decided to go back to rock 'n' roll. real class thing in Natchez, oh yeah. had to make a decision and I felt like As for herself, Tim has played There's the antebellum, old, I'd go ahead and give it a try." everything from gay bars to VFW established families, then there's the Since then, it's been mostly parties. Her music is a mixture of plant workers, and you're one of the music- except for a few part-time frie nds' originals, classic country, two." day jobs as bookkeeper for friends' and top-40 tunes. On stage, playing She was one of the former, with a businesses. Her accounting rhythm guitar and singing, she is a four-story house facing the bluff, and background also helped in running strong presence. Off stage, she seems established family ties. the band. not quite so at ease, but perfectly will­ So how did a girl from the right "Just being the leader of anything ing to talk about whatever comes up. side of the Mississippi tracks end up draws you into so many people's per­ Sitting in her very own royal blue singing and playing guitar in Bourbon sonal problems," she says. "But director's chair (embroidered with Street honky-tonks? everything to me has got to be very "Tim" in white on the back- a gift) It was a teen-aged Tim who started organized. Everybody's up to date. in the suburban apartment she shares learning guitar, playing Judy Collins At the end of every month, they get a with a roommate, two spaniels, and and Joan Baez songs, to keep up with calendar for the next month, with all about nine birds, she agreeably her big brother Clifford-now a doc­ the dates on it, how they should reminisces on request. tor. "He had taught himself to play dress, the exact amount of money First, the name, Timothy. guitar, so I couldn't let him get ahead they're going to make." That came from a strong-minded of me." She even once hired a girl roadie to mother. She also invested in a Mel Ray set up equipment, so the rest of the "That was just it.. .she wasn't ex­ guitar book, and that's about as for­ guys could just "walk up there, tune pecting a boy or anything like that, mal as her musical training got. up, and start playing." she just liked the name, and said that The switch from fo lk to country Being a woman in charge of an all­ was it." came later, after she settled in New male group hasn't caused any special

WAVELENGTH I FEBRUARY 1981 27 problems, although she says from respect, the guys prefer playing over hearing the group talk about other there, because they hate playing to bands, she could understand how it these rednecks. You get these people might. with no teeth; they're the ones that She and her male Band of Gold are drunk, and want to come up there played at Tipitina's country music and slobber all over ya ... " women's night last year. It was one of She has tried to play as many dif­ a series of "women's" music events, ferent kinds of places as possible, designed to focus on female artists, hoping for maximum exposure. That which she says is a good idea. exposure is important to her. "I think it's healthy, because you Looking at a long-term career, Tim see mostly women singers are would like to go on the road fo r a featured and told: 'Well, just look while. So far, she has three singles pretty and smile and sing a few framed and hanging on the wall songs ... and then get off stage.' above her living room couch. That's "That's just the way it's about as far as the 45 's have gone, been-I've seen women musicians put although WSHO radio did give one up with that, because I guess they feel some airplay. like that's the way it has to be. But Tim says she's not satisfied with lately you can see that there's a surge the sound of those records. This time of female vocalists coming out, around, there'll be a different studio especially country, and they're and some different musicians. holding their own." She's working with sound engineer So how come more women haven't Terry Koehn to put together material been out there all along? for an album planned for a local "All I can think of is just, it's the studio, hopefully financed by a local way it's always been. In a way, play­ doctor. ing guitar is kind of a professional Although she's written a few songs, type thing, and maybe a lot of women the album will probably combine had more as far as family, getting some older country tunes plus married, that type of thing, and just original material from Baton Rouge didn't see where they would have time friend and songwriter Lynn Anselmo, to sit around and play guitar. who wrote some of her 45's. "Most guys, when they've taken The album will probably include guitar lessons, don't think of it as a Tim, regular members Greg Brown hobby. They've got all these big vi­ on lead guitar, and Ques Gibbs on sions of doing it for a living, and I steel guitar, plus some new members. don't think women do." She may even add horns and strings Her gigs at Tipitina's and other for the album mix. bars do draw lots of women listeners, Regrouping and managing her own including female couples who slow­ band is "a lot of headaches ," but dance along with the rest. Tim intends to stick with it. She "We have a heavy gay fo llowing wants more than the bar band ex­ for sure," she says. istence, but right now, she'll take Tim is gay herself, and says she that, too. doesn't think that it's hurt her band's " When you play bars .. you're gon­ bookings, even in the macho world of na have your assholes, that's for sure, country music clubs. Most of the 'cause you're in a place with a lot of time, it just doesn't come up. booze. When you're just a house "I'm sure if I just walked in there band, or a band coming up, you decked out like Henry Fonda or don't have very much respect. You're something like that, they would be a just like a loud jukebox. You can little upset," she laughs," ... but it's have nights where you get 'em all, just something that shouldn't and you think, 'Well, this is the pits, matter." why am I doing this?' ... But then And she says the band members , there' ll be another night when who've been mostly family men, everyone is really responsive, and don't seem to care one way or then, that's why you do it. I would another about the sexual preferences think most of the time you have your of their customers. bad nights more that your good, but At times, they would rather play the whole deal is, the good when it is gay bars (men's or women's), because good, it's that good, and that makes they usually pay better. " In that up for all the bad." •

28 WAVELENGTH I FEBRUARY 1981 Jazz Pud Brown Playing It By Ear

BY RHODES SPEDALE

Besides Pete Fountain, New Orleans currently has another resident reed­ man, who was the forerunner of the saxophone styles of Boots Randolph and Illinois Jacquet, but has also ap­ peared with Lawrence Welk. These musical divergencies come from Albert "Pud" Brown, currently ap­ pearing with his own group weekly at You Boutique and with the "One Mo' Time" show. Like jazz itself, Pud began in the church, went up the river to Chicago, back to New Orleans, to the West Coast, and then all over. "I started playing at the age of four in Wilmington, Delaware, with my father's family band, Reverend Brown's Family Band. We played in churches, and he advertised 'Their presence guarantees the success of any affair--classical programs, snap­ to know Peck Kelly and I'd say he 'You Are My Sunshine' and they sold PY dance music.' I was the jazzman of was comparable to Bob Zurke; Zurke it to Jimmie Davis for $100. Jimmie the group at age four, and I could was doing what Kelly did even better Davis bought tunes. He was the clerk read music before I could read than him. He played two hands full of court, and he never wrote a song in writing. I was playing soprano sax­ of piano just all going in every direc­ his life; he didn't know how to write. ophone and learned to play all the tion at once. Charlie Mitchell would go through reed instruments. We toured the "In New Orleans in 1939 I was them and Jimmie would buy them United States for twelve years, work­ working for two dollars a day and I and publish them, put his name on ing in circuses fourteen hours a day. had to disappear when the union fired them. When I recorded for Decca Then we went to Florida where there me. I went to Chicago and worked they wanted the Rice Brothers to was a big land boom going on, and there with a hotel band for five years. record 'You Are My Sunshine,' and our family band played there in the I worked with Lawrence Welk and he they wouldn't do it, saying it belong­ lots where they could see them got mad at me because I wouldn't ed to Jimmie, because they sold it to (because many of the lots were under join his band. He gave me a bass sax­ him. I was there, Charlie! I even tried water). ophone, and I took it back and that to play tenor saxophone on those "When we got to Shreveport my was the end of me and Welk. So I recordings and I guaranteed them sister got married there and that came back to Louisiana and opened that tenor would go over. But they broke up the family band. I played up a motorcycle shop for five years said I had to play clarinet; thus I with the local jazz bands and then and went to the West Coast in 1949 could have been the first Boots Ran­ went on the road with road shows. I where I worked with Pete Daily for dolph." got to jam with all the great musicians five years. Then I worked for Nappy Pud Brown was actually the source in those days, such as Sidney Arondin Lamare and Ray Bauduc, and then of the honking tenor saxophone and Chu Berry; I found there was a Jack Teagarden hooked up with me, style of Illinois Jacquet. Pud had a hit lot of jazz in Oklahoma City. Kansas along with his brother Charlie, and recording on "Johnson Rag" where City had more jazz going on than Jess Stacy. After a while I gave Jack his gutteral tenor saxophone would anyplace I ever saw; at one time, the job and left and went elsewhere." be punctuated by sustained notes and every building in the whole street for Pud says his first recordings were piercing squeals at the upper range of miles and miles was just jazz. Count made on aluminum records in the instrument. (The record was a hit Basie's band was working at the Reno Shreveport--"all originals with the for Nappy Lamare, with whom Pud Club and I used to play with the Rice Brothers, a country and western was appearing, and then he recorded band. They made $1.50 a night. I got band. They were the ones who wrote it again with Pete Daily. Jerry Gray WAVELENGTH I FEBRUARY 1981 29 saw that the record was successful and copied the Daily recording note for note.) This was a style later capitalized upon by Jacquet. In 1939 Pud Brown was warming up and, as he tells it, "I started hitting the high notes and the harmonic notes on the saxophone, and this fellow came in and asked me how to do it. I showed him. The fellow that I taught was Il­ linois Jacquet and he made a million dollars doing it on 'Flying Home'." While on the West Coast, Pud led a band both on clarinet and cornet for several years. "But," he says, "I got tired of listening to myself play,'' and went back to the antique business in Shreveport. From there he got the call to come down and play for Jimmy lie, and was for many months a star of "Daytime Di xieland," a local art form whose following emulates that of soap operas. He recorded an album with them and then a heart at­ tack kept Pud out of circulation for a few months. 214181-0ie Man River 's 2125181-0ie Man River 's During his "recuperation," Pud 215181 Jimmy's with Elvin Bishop 212618 1-0 ie Man River's 2112/81-Jimmy•s 212818 1-J /mmy's worked the Sacramento Jazz Festival 211318 1-0ie Man River's 31118 1-Jimmy's in May 1977 with five different ag­ 2114181-0ie Man River's 312181-Jimmy's with The Meters 2118181 - 0ie Man River's gregations including such stellar jazz­ men as Peanuts Hucko, Eddie Miller, Pete Daily, Yank Lawson, J ohn Guaneri, Johnny Mince, Nick Fatool, STUDIO Bob Haggart, and Billy Butterfield. B.B. RECORDING The local press described Pud as a -PROFESSIONAL RECORDERS- "show stealer" in that company. 115 Yorke St. Belle Chasse, La. 70037 SPECIAL EFFECTS Although Pud is playing a lot of JINGLES "QUALITY SOUND AT AN clarinet now, he also brings out the DEMOS tenor saxophone occasionally. When AFFORDABLE PRICE" MASTERING he does, you're in for a treat on RECORD PRESSING numbers like "Memories of You" ARRANGING and "Take the A Train." - (504)-392-5093 - COPIES This well-travelled jazzman has a lot TAPE of music to purvey. H e's well worth INSTR. RENTALS hearing, for his solos are not at all like those normally heard on Bour­ bon street. He has substance and a 8 track/4 track/2 track certain amount of lyri cism to his con­ ceptions. His style is readily iden­ tifiable. Formerly k nown for a "gut­ Buzzy's Guitar Studio ter" sound on clarinet, he has im­ proved his tone considerably. "I have 115 Yorke St. Belle Chasse, La. 70037 been listening to Pete Fountain," he ~ GHS Shure Whirlwind says. As for the future, he says, "I've 50/o- Furman Sound Washburn Guitars Stars Guitar got some inventions of my own, but 2 Vlf'IGS Electro-Voice Ross Kable King as far as music goes, I'm just going to sA pA'i Multivox Mighty Mite Grouer go on like I've been doing for years eVff''i.&lffl( Univox/Korg Seymour Duncan JTG Toners and years and play it by ear.'' Pud 's most recent recording is with ttt4t4~fww Bill Lawrence Pickups Badass "r::f Les Muscatt's group. His lower ~O Electro-Harmonix Yamaha Guitar Etc. register clarinet work steals the -----•392-5093 ------album; but, then, Pud is a scene stealer from way back • We Deliver To The East Bank On Orders Over $20

30 WAVELENGTH I FEBRUARY 1981 Reviews

clear on what he's doing there. While the new album, Arc of a Beat Crazy Diver, is certainly a pleasant enough .. Joe Jackson Band piece of vinyl to listen to, it rarely A&M SP-4837 climbs far enough in through the ears to touch anything deep inside. Win­ wood's jazzy rock always has been on When A&M Records decided they the softer side of the tracks, and were going into the New Wave biz, though the music here usually stays they did it armed with a roster of in­ above the level of pop, no new teresting artists and a well-prepared ground is broken, no extremes are promotion department. Most of the pushed farther back. Winwood is bands featured on the label's in­ hanging out in this particular ter­ troductory sampler were later given a ritory, but he's not exploring it much. cute, instantly collectable format for Credit for production and perfor­ their individual album releases. mance is assigned solely to Winwood, (Jackson's first two were made and the smooth competence of both available respectively as two ten-inch ~ speaks for his talents and experience. records and five seven-inch records; :;; But not much of the music is overly both a real pain to enjoy with all the ~ distinctive-there's only one guitar record flipping necessary.) For his ~ section with any real grit; rhythms, third release, A&M either figured out a terse Patti Smith-type piece while not dull, rarely excite. Large that gimmicks don't sell new wave dedicated to rasta poet Linton Kwesi quantities of synthesizer play, in both anymore or that Jackson's music Johnson. orchestral and lead roles, don't add a does very well on its own merit. Both Musically, Beat Crazy is concise proportionate flair to the final effect. premises are true. and well performed. Effects are used Generally, the vocals seem to be more Jackson has always been interested sparingly and are placed nicely at important. This is a problem, for in reggae, and, as in the case of the strategic points throughout. "Mad At Winwood's voice is limited in both Clash and other English bands, its in­ You" might be the album's best cut, range and expression. Considerable fluence is now showing up in his a hypnotic little ditty not unlike some production work is evident on most music. As a clue of things to come, a of the B-52's better dance music. of the vocals, but the results tend not couple of months ago he put out a Things close out with "Fit," a to justify the effort. Too often he cover version of Jimmy Cliff's classic moralizing ballad that eventually col­ ends up sounding like Peter Gabriel "The Harder They Come." On that lapses under the weight of its own in an eight-ounce tin can. record as well as on Beat Crazy, seriousness. The words behind the singing seem Jackson proves himself perfectly All in all, Beat Crazy is well worth to characterize Winwood's confu­ comfortable working within the the modest financial investment sion. Most verses of most songs are idiom. The opening title cut features necessary to take it home for your repeated at least twice, without mak­ the snaky bass lines, chunky guitars personal enjoyment. It might not ing their meanings any clearer. While and rock-steady drums that surface solve your problems but it'll give you fairly inventive, the lyrics are not throughout the lp as counterpoints to something to dance to while you're especially poetic and often appear to the slower songs' instrumentation. trying to figure them out. question themselves. Ponder this There is a soundtrack-like quality to -Steve Graves verse from the title track: Beat Crazy, probably due in part to its shifting moods and the way songs Lean streaky music spawned in the segue into one another. streets The album addresses a wide variety Arc of a Diver I hear it but with you I had to go of subject matter ranging from Steve Winwood 'Cause my rock 'n' roll is putting on racism to female equality. He gets weight away making sometimes coy and Island 9576 And the beat it goes on oversimplified statements about com­ plex problems only because he does Steve Winwood's current wander­ Where is he and/ or his music going so with such wide-eyed innocence. ings in the land of rock find him here? Does he know, can he control Who else could state in liner notes camped out near the border with fu­ it? I'm not convinced. that "This album represents a sion jazz. This is a perfectly fine and I have a lot of records that I only desperate attempt to make some sense logical place for someone who's been listen to one side of, and this could of rock and roll" without evoking a among the leaders of progressive rock become one. On the first side only cynical chuckle f rom most readers? to be-I've always heard similarities "Arc of a Dancer" and "Slowdown Lyrically, "One to One" and "Bat­ to jazz in progressive-but Winwood Sundown," a slower ballad, are of tleground" stand out, the latter being doesn't give the impression that he's much interest. Side two might be

WAVELENGTH I FEBRUARY 1981 31 worth the price of the album, though. Scarier than even Divine Horsemen­ "Spanish Dance" is about the the Voo Doo Gods of Haiti, physical side of music, and the vocals (Lyrichord LLST 7 341 )-recom­ here become part of the instrumenta­ mended. Of course, the best bit is tion to good effect. This is followed "Napalm for Breakfast," the sound by "Night Train," a hot fusion of the Cambodian ruin being number with a simple but driving smithereened (Mickey: you shoulda beat, probably the best tune of the used the entire ten minutes of bunch. Closing out the side, "Dust" "Napalm" music from the closing 6464 Jefferson Highway is a bit of a letdown; its lyrics conjure credits sequence). This segues into Harahan, La. up real pain but the music does its "Hell's Bells," whose closing dull 504/737-2233 level best to salve the wound. bass throbs, lower than low, when Most of what comes to mind in played at a decent full volume, is Old and rare records & tapes terms of final impression falls into enough to fry the staunchest of the category of faint praise, and I'm Over 200,000 original label 45's speakers. not sure I want to damn the album. I Then and LP's in stock-52 and up again, the Saenger's still stan- enjoyed Arc of a Dancer, and I think ding. - Zeke Fishhead Oldies reissues-S I .50 few people would be dissapointed with it. But like the diver on the cover Plus top- I 00 45s & LPs poised above the water, I still feel a in current. pop rock & country bit up in the air, still waiting to be Paradise Theatre pulled in and happily drowned by the Specializing in '50s, '60s & '70s music. -Keith Twitchell Styx music A&M SP 3719 Will accept mail order River Music As far as I can tell this is a concept 10 am - 6 pm Mon-Sat The Rhythm Devils album. The focus is Chicago's old Rodger Castillo Mary Roques Passport PB 9844 Paradise Theater, a glittering tribute owner Manager to the late 1920's golden age in America. Built as a monument as At last! The perfect party much as a building, with visions of album-disintegrates conversation immortality, the theater became out­ left and right! All you get to go by is moded and fell into decay, finally be­ the dim red lights of their eyes swim­ ing torn down in 1958. ming in the darkness. And the Now this would seem like a concept sounds-the living, breathing sounds. with grand potential. The cover pain­ They say the last thing to go when tings juxtapose the theater's opening­ you die is your hearing. The Vibra­ night glow with its physical senility tionists say all is vibration, prior to its destruction, and the song manifested in sound. Universe as titles lead one to look for further Neville Bros. hum job. development of this theme. The pro­ This is called River Music, the river mise, alas, is unfulfilled. in this case being a snake that winds The border between concept through the jungle (on "Steps" it albums and gimmick albums is one CoJd sounds like Flora Purim's intoning that is often overlooked, and Styx "river, river ... river ,river"). Coppola seems to have come up on the wrong heard the Grateful Dead's drummers side. Calling the album sides "Act 1" in concert and asked Dead drummer and "Act 2" and inserting clever ~oc¥-a.b'le.S Mickey Hart to supply the jungle references to paradise/The Paradise sound for "Apocalypse Now." into the songs does not give this disc Luckily, almost none of this music is the continuity of a true concept piece. Call us for the on the movie's soundtrack, which is The only evidence of the implied mostly dialogue (relive the thrill of theme is in the sense of things chang­ complete schedule! Martin Sheen's Lucky Strike voice: ing, passing by, conveyed in a few of "Saigon, shit, I'm still in Saigon"). the numbers (particularly "The Best So Hart hooked up with Passport to Open 2 p .m. Tues.-Sat. of Times"), but mostly the links with put out an album of just the missing the theatre and what its history sug­ Showtime: apocalypse music. gests are tangential at best. 9 :30 weeknights And what music! "Cave" creeps Taken on their own, most of the 10:30 weekends and slithers with moans, gnashing, songs are pretty fair power pop; 24-Hour Concert Line blowing, dragging sounds-! can't Styx's sound is distinctive, though the 830 1 Oak 861-2 585 stand it, this is Pure Z. Zombie Stuff! band continues to move away from

32 WAVELENGTH I FEBRUARY 1981 the lavish keyboard work which BRONCO'S distinguished its earlier efforts. It is listenable without being particularly HOME OF memorable; opportunities to really COONASS THE get down on a couple of songs are COWBOY passed by, and few of the tunes stand out from the pack. Enough skill is ex­ hibited on all fronts to have made this SALOON. a fine album, but major achievements CAFE. require the taking of risks, and Styx GIFT SHOPPE takes little risk with this offering. As one who is extremely grateful features for the re-opening of the Saenger and SALT CREEK who is awa(e of how perilously close we in New Orleans came to losing our Tues.-Sat. 9:00 till fine old theater, I guess I looked for a lot from an album that begins by Mechanical bull rides recognizing the poignancy of these extravagant old dinosaurs dying in our efficiency-oriented society. To the Bands 7 nights a week ni&w o r lc a n a see so little done with the concept is a Radiator s open II a.m. till disappointment; what exists is paled on weekdays by the spectre of what could have ------. a open 7 p.m. till been. -Keith Twitchell on weekends.

across from Oakwood WORK DONE Trombipulation ON PREMISES 1325 WHITNEY A VE. PHONE 368- 1000 Parliament Casablanca NBLP

Will wonders ever cease? Will ter­ Coming in rors ever abate? Clinton and com­ February pany release funky fungi into the musical bloodstream , s preading rhythm-acid-humor, all with a Exuma fri/Sat 216-217 Radiators religious bent. Each new riff, motif, Fri 2/13 and symbol finds liberal application Lady BJ li'l Queenie & the Percolators Sat 2/14 Radiators in every record that comes kicking Fri 2120 out of the Clinton stable, new myth Capt. Scat li' l Queenie & the Percolators redefining old myth. Sat 2121 Radiators Trombipulation is Clinton as Aubry Twins Fri 2127 li' l Queenie & the Percolators Elephant Man. Sir Nose D'Void-o­ Sat 2128 Meters Funk was the villain months ago in Lucille Sun 311 Nevilles "Entelechy." Now the joys of the Mon 312 Radiators nose are celebrated. In "The Agony Mardi Gras 313 Cosmic Debris Parade 10:00 am of Defeet" the singer can't contain M usic Bar himself: breaking up, down, out, Fri 2/6 U Restaura n t laughing, he sings, "lm 'ah take my James Black 534 shoes off and kick up my heels/Do Fri 2113 Fren~hmen some ground work." Sir Nose Jr. Alvin Battiste 944-6220 emerges as the new hero. Fri 2/20 & Fri 2/27 9 4S·I880 The words ore the usual-unusual Earl Turbinton stream of consciousness. Choruses of every Sat singers are overlaid on top of each Ramsey McLean & the Lifers other, bits of TV jingles jangling in all shows 1-5 am and out, along with freaky yammer­ ings that are not so easily defined. FAUBOURG Clinton shows the deft mind of a 240 Bourbon !fi>..njbr,rf :!/IRJI((fl'l£1'111 media saboteur, reworking the gar­ 561-9231 626 Frenchmt::n Street bage of electronic culture to God- WAVELENGTH I FEBRUARY 1981 33 knows-what end. for over a year the Well, Unka Jam wants us to jam Best Kept Secret In Town and have fun. It's clear that the giant REX HARRISON treated his body of musicians and singers on cast to a dozen bottles of cham­ \Ia\\011 DKPs ROf1Le~ Trombipulation are having a pagne there on MY FAIR ball-it's in the groove. Since One Nation, the grooves have been more LADY'S closing night. GARY anchored, more punch to the aquatic BUSEY and ROBBIE ROBERTS soundscape. The occasional fuzzy came in while in town promoting :.l~t guitar protrusions and elephantine "Carney". ELVIN BISHOP has sax phonetics make me wish George jammed with Luther Kent & Trick C. would trim the verbiage and let the Bag. MICK FLEETWOOD boys and girls stretch, blow, and played drums there until he had otherwise wail (I love the outer-space Happy Hour-Mon-Fri 4-6 blisters. JIMMY BUFFET drop­ cocktail piano in the album's opener, ped in twice after shows at the Tuesdays "Crush It"). Saenger. JOE COCKER jammed Flatland String Band, 10 'til Clinton has quite an empire. It's with Luther and in the en­ Wednesdays Beer Night 2 for 1 virtually impossible for a single Thursdays listener to keep up with the sheer thusiasm of the dawn called him Ladies Night 3 Free! 8-12 volume of product that Clinton's "The greatest white singer alive." and people keep putting out; the supply is Foreigner's RICK DERINGER Hot Damn Jug Band, 10 'til constant and seems endless. As em­ played guitar with the band. pires go, Clinton's is ultra-fluid. JOSE FELICIANO comes in Revolution as fashion, fashion as just to listen. So does ALLEN For over a year the revolution. George and Bootsy both TOUSSAINT. ETTA JAMES best kept secret in town sport processes on their respective plays there - sometimes when album covers. Revolution as reversal, she's booked to play - often pool, patio, pinball recycle. The cover of Trombipulation just to jam. DAVID CLAYTON & one helluva jukebox is particularly striking with its THOMAS came in to jam after pyramids, sunglasses, fur, a trunk­ his nosed Clinton. I can't get over that horn section jammed there lightning flashing across the purple for three nights. The entire skies. Throw-away thunder fun. RAY CHARLES horn section -Zeke Fishhead comes in to jam whenever they're in town. One night BUDDY RICH'S band came in after a show at AI Hirt's Club Stand In The Fire and so did Ray Charles' band­ Warren Zevon from Baton Rouge. Luther Asylum SE-519 Kent's band sat out - leaving 16 hornplayers on stage. The word has gotten around the Technology has finally caught up country. The hottest music club •JAZZ• with the live album. The sound quali­ in New Orleans is ty of today's concert recordings is so good that audience response between THE •BLUES• songs is the only tipoff you have that you're not listening to a studio la bor BLUES SALOON •CAJUN• of love. In light of these ad­ Music 'till Dawn vancements, Stand In the Fire is a Luther Kent & Trickbag RECORDS BOOKS TAPES very interesting album . It's a little like Wed-Sat, 2 AM Til using satellite television to broadcast James Rivers Movement the antics of the wild man of Borneo. Tues & Sun, 1 Am Til Warren Zevon is that wild man. Thurs 10:30 PM Zevon has always gone against the Astral Project ~~·~ 132 CARONDELET laid-back grain of Los Angeles, his Fri & Sat, 10:30 PM • ~ N.O., LA. 70130 hometown. While the Eagles make (504) 522-2363 Plus concert appearances millions peddling peaceful easy pap, by touring acts 1 L.A.'s bad boy sings the praises of 1 Catalogue Available junkies, mercenaries and the most 940 Conti Street 523-9475 dangerous breed of all, the urban de ILL~ desperado. On his live album record-

34 WAVELENGTH I FEBRUARY 1981 ed at the Roxy, he finally injects the Variations madness and chaos into his songs that they've deserved all along. Zevon On A Theme literally eats his young here, gulping By Hank Williams down his songs and spitting 'em back up as raw, stripped-down versions of The trees across the themselves. Each side of the record street darken. A light also features a previously unreleased comes on. The coffee song. pot whistles. Someone The title cut, a new song, opens LIVE MUSIC things up and sets the mood for enters the hall, and Thurs 2/5 Elvin Bishop/Sheiks things to come. It is characteristic of the screen door makes a Fri/Sat 2/6-2/7 a Zevon's swaggering, anthem-like Neville Bros/Wild Tchoupitoulas mournful sound like as a nice lead­ saw. It's true, it's true! songwriting and serves Thurs 2/1 2 Sheiks in to the next track, the Springsteen Fri 2/13 I'm so lonesome I co-written ''Jeannie Needs A Neville Bros/Wild Tchoupitoulas could cry. or else leave Shooter." "Excitable Boy" which Sat 2/ 14 this college town: Burn follows gives the first indication of Models, Del Lords, RZA my faculty card, where this album derives much of its Tues 2/1 7 Joe "King" Carrasco go hang around truck- energy. Guitarist David Landau, who Thurs 2/ 19 The Cold stops and beer-joints; hunt did little to impress me when backing Fri 2/20 Normals Zevon at Rosy's a couple of years Thurs 2/26 possum; wear a wool Neville Bros/Wild Tchoupitoulas ago, has evolved into a top-notch shirt; drive a pick-up Fri 2/27 The Cold musician. His playing throughout is all night back and forth Sat-Sun 2/28-3/ 1 Sheiks wholesomely ragged but never failing between towns whose names Mon 3/2 to add the power these songs need to Sheiks-late set by the Meters I don 't know. Contrive put them over the top. I wouldn't somehow to forget have thought this highly charged most of the things I band capable of doing justice to an 8200WILLOWST. ever learned. intros pective song like 866-9549 -Everette Maddox " Mohammed's Radio," arguably Zevon 's finest. It fares well, however, mostly due to the conviction of the author's vocals. "Werewolves of London," Zevon's fluke AM hit, closes the side with a reworking of the original. It starts out lurching and staggering, propelled by Landau's howling guitar as Warren fills you in on subjects as varied as snuff filrrfs How in the world south of the border and the nature of compadre Jackson Browne's heart didWWNO ("it's perfect.") Werewolves of L.A. 2125 Highway 90 West get into this jam? indeed. Avondale, La. 436·3000 If side one flirts with danger, side two courts it in earnest. The material By choice. We bring you lhe world's greatest Jams becomes harsher and Zevon 's on Jazz Alive with Billy Taylor. Come with us to Nice Sheiks Wed Feb 4 to hear Lionel Hampton, or to the Swiss Alps to hear delivery more driven, almost as if this Oscar Peterson at Montreux, or to the Smithsonian Ll'l Brooklyn Thurs Feb 5 to hear'Mxxly Herman's Herd. We take you from the were his last chance to exorcise the Hyjlnx Frl Feb 6 of Urbie Gre«1. blues of Lena Horne to the hom demons within. He punctuates the 24-K & Jade Sat Feb 7 Whether ~·s Preservation Hall in New Orteans. or Carnegie Hall in New York, we're no sooner out of choruses of " Lawyers Guns and Joan Jett & the Blackhearts Sun Feb 8 one jam than we·re into another. Money" with an animali stic howl Randy Meisner Tues Feb 10 that is equal parts anger and terror. Aura Wed Feb 11 The real highlight of the show Sheiks Fri/Sat Feb 13/14 Tues Feb 17 launches into Topcats comes next as the band Sheiks Wed Feb 18 "Poor Poor Pitiful Me." How can Aura Frl Feb 20 you dislike a song with such lyrics as T.Q. & the Titans Sat Feb 21 me over Topcats Tues Feb 24 Jazz programs Wed. thru Sat. night1. " ... she really worked good/she was a credit to her Sheiks Wed/Thurs Feb 25126 gender. .. "? As the band pumps into A CULTURAL SERVICE OF lHE UNIVERStl\" Or NE"II ORLEANS the home stretch, Zevon abandons the song's closing lyrics, calls his road All shows start 10 pm (504) 283-()315 manager out on stage and threatens

WAVELENGTH I FEBRUARY 1981 35 " ... get up and dance ... or I '11 kill Guess what's coming? you ... and I've got the means!" Whether he has the means to kill or to get you up dancing is not the point; he's serious about it either way. Zevon 's willingness to chuck it all for a good time is precisely what makes Stand In The Fire an outstan­ ding rock 'n' roll album. He takes his chances, some which fail (closing out the set with an uninspired Bo Diddley rave up), most of which succeed (the rest of the record). The fact that he takes them at all is his biggest success. For me, it's all worth the gamble. -Steve Graves

aassifieds Unicord/Crumar 5-octave string syn­ thesizer plus bass, $495. Call Covington 1-892-8097 nights.

Specializing in New Orleans R&B 'hat "S right, the New Orleans Jazz Fest, records. Leo Zuperku, 948-7990

the event all New Orleans music lovers Drum instruction. Former Chapin stu­ dent. Twenty years experience. wait for all year. 283-1770. And, for just $8, Wavelength will let you in on what's going t o R&B, 45 disposal sale. Jeff 899-7369 happen, with all the news from behind the scenes and on the Wanted: 2-6 year old used Ludwig drum stages, closeups of your old favorites and stories on the new set. Cam 861-4214 faces. Don ,t miss it. Sign up for your subscription now, and Best prices on guitars new or used. Also get Jazz Fest all year. (The other two are for you to send to I buy quality guitars. New Orleans y our best friend in Hackensack and you cousin in Pocatello. 482-0627 They love New Orleans music, too!) Guitar lessons. Metairie Guitar Studio. Learn to read music, record copying, ·········································································- improvisation, fingerboard harmony, song writing, arranging. 833-2372

Sax player/ vocalist needed for New Wave band. Call David, 833-8731.

For sale. Conn alto sax. All Silver plate: looks great, sounds better. $285/ best offer. Doug at 283-8432

Family t ickets to t he Alligator baU (aU parts, 2 adults, unlimited kids). $14.00 and .44 postage. In advance only. Suitable for framing. Send check or money order made out to: Your Agency For the Alligator Ball. P.O. Box 19708 New Orleans, La. 70179

Wavelength classified get results. Only 10' a word. Send to Wavelength, P .O. Box 15667, New Orleans, La. 70175.

Notice to Wavelength readers: Do you know of someone across the country who would like a subscription to Wavelength? It's j ust $8 a year, a great ~ ~ ~ gift, and a great way to stay close to p a Write Wavelength, Box 15667, aGil Gil home. z New Orleans, LA 70175. •...... •..•••...... •...... •z o. 36 WAVELENGTH I FEBRUARY 1981 Real Cheap. Real Components. Real High Fidelity. You can go to your favorite specifications. And as we said, even No matter how different two people department store, or appliance store has preset FM stations for ultimate hear, if the same physical stimulus, the and get an all-in-one stereo system. It ease of station selection. Yet it is just same vibrations of the air are created might cost you $400 or $500. It might about the lowest priced receiver on by the speaker as by the music, the also cost you $700. And department the market. live sound will sound the same as the stores even sell things called stereos It's low price, despite its power, low music. This is not a matter of taste. It is for $69.95, but they are really designed distortion, and advanced tuning are a matter of having the original sound for small children. the result of integrated circuitry, to compare with the speaker's Thenofcourseyouhaveyourlocal (IC's). This technology uses reproducedsound. hi-fi salesman who takes the attitude photochemical means to manufacture And that's exactly what we do at that you are wasting his time, and your entire curcuits, sometimes with the Alterman Audio. We make live vs. money , trying to buy a stereo system equivalent of hundreds of transistors recorded comparisions of musical for under $500. on one semiconductor chip. Once instrumets and playback via speaker. Well, the people at Alterman Audio designed, actual manufacturing cost is The SONY SSU-45 is a three way are not like that. They know most nil. This also increases reliability. Sony system. It has a special Sony designed people are not experts in hi-fi and they was a pioneer in IC technology making and manufactured balanced drive try to explain all those technical terms the first all IC AM radio back in 1966. Titanium dome tweeter. The driving and concepts in easy to understand The STR-V1 5 is rated to produce, force is equal distant from all parts of plain English. They know everyone with both channels driven into 8 ohm thE> cone and so it is called balanced doesn't have, or necessarily want to, loads, over the FULL audio range, 20 drive. The Titanium is very lightweight spend a fortune on hi-fi components. to 20,000 Hertz (cycles per second), metal. This means the tweeter is They also know how good Alterman 22 watts RMS, with no more than lightweight, so it has low inertia and Audio's recommended $450 stereo o.osot> Total Harmonic Distortion can respond to the input signal quickly system sounds--they decided on the (THO). Many receivers in this low and accurately. components after listening to many price range won't produce full power The system is a rather large bass possibilities. at the very low frequencies. This Sony reflex system. It is fairly efficient, does. usable with 10 watt amps. But unlike Sony's unique "program sensor" most lower priced speaker systems l tuning system makes selecting FM this system does NOT have a big stations a breeze. You simply hold a hump in the mid bass to make up for a button in, and move the station presets. lack of low bass. Sure this speaker When set, this receiver has six buttons doesn't reproduce the extreme low to push, each representing your bass you get with more expensive favorite, pretuned station. speakers. But its low bass response is very good. Its 6 inch woofer means it is This receiver is direct coupled. This light, so it has very good transient means there are no capacitors response, for quick tight bass. Not between the output transistors and boomy, sloopy bass. Voices are The Turntable: JVC LA-11 quite .... the speakers. This means solid, tighter good also. bass. The JVC LA -11 is a simple, belt Thanks to this new speaker system dnven, semi-automatic turntable. It is we can offer a hi -fi system that will play not very expensive. In fact , it is just as loud as you probably would like, about the lowest priced quclity with good bass, very good clear turntable we can get our hands on. detailed highs and natural voice Yet it is plenty good. It can be hooked reproduction and only charge $450 up with a good cartridge to the finest complete. And if you thought you component systems at any price and would have to suffer though mediocre sound good. sound due to lack of funds, make sure you sound out this fantastic, very realistic sounding, $450 system The Speaker: Sony SSU-45 .... This speaker is not expensive. In fact, it is really cheap. It is not impressively made, even the wire terminals are as cheap as possible. But it sure sounds good. The Receiver: Sony STR-V15 When we judge a speaker at The SONY STR-V15 Stereo Alterman Audio we judge it by the receiver has enough power to play this accuracy of sound it reproduces. A 7323 F~-Up1euut MWt "8'13l1lluuuj-S66-357!1 system very loud. Yet it has very low speaker should reproduce music so it distortion. It has excellent FM tuner sounds real. 3213 17& Stwt-1f(~ Lt.-834-7772 The Last Page

In the "They Said It Wouldn't Be Done" department, Bunny Mat­ thews, Wavelength contributor and former music critic for the Figaro, is now working for the Times­ Picayune/States Item, but Bunny will still contribute art and articles to Wavelength. Muddy Waters will return to New Orleans May 1, performing his many classics and some tunes from his new release, King Bee ... Fats Domino will play on the President March 7. Congratulations to Shepard Samuels and Aaron Neville for a thoroughly enjoyable live radio broadcast, January 19 on WTUL. The wonderfully free format was perfect for Neville's piano and sing- :l! ing. Love to see more of this kind of ~ program ... The New Orleans Symphony has o officially taken ownership of the Or­ ~ pheum Theatre, beginning rehearsals ~ there in late January. An official ~ opening date has not yet been set... ~ February is Black History Month...... i; . -- o WWNO-FM is celebrating with some special programs, including The musical Shangri-la, script by Keyboardist David Torkanowsky "Frederick Douglass Speaks," Feb. 1 Dalt Wonk and music by Charles joins forces with original Meters Leo at 6 pm; "International Concert Neville, will be presented at the Blues Nocentelli and Zigaboo Modeliste in Hall" featuring Duke Ellington, Feb. Saloon the first three Saturdays in what should make an intriguing com­ 2 at 1 pm; Maya Angelou, Feb. 8 at 6 February, and maybe additional bo. They'll be gigging soon. pm; and "A Celebration of the Black days. Check with the club for details. The Casablanca, in the Quarter at Experience in Music and Song," Feb. Additions to the show include two the site of the former My Good 22 at 1 pm. new songs by Neville and a revision of Friend Rodney's, is now featuring The Wall Street Journal recently the script (Bumpy, played by Percy live new wave and reggae music. The reported an upswing in record com­ Ewell, will have a couple of songs this new wave band The Look was playing pany profits this past fall and a time). Lady BJ, back from her suc­ some dates there recently .. .Uptown, general rise in the music industry. cessful stint with One Mo' Time in there's a new place for late night peo­ Walter Lastie, one of the city's best Washington, D.C. is back, as is ple. Soon to open is the Dunn Inn, drummers, died of a heart attack, Frozine Jo Thomas as Aunt Cecille. 3308 Magazine St. The new owners during the middle of a set in the The show will again be backed by the promise funk and Latin music till Quarter December 28th. Known to Charles Neville House Band. dawn on Wednesdays and the family and friends as "Popee," his Ex-Keystone members John Price, weekends. rock solid drumming propelled bands Richard Lee Mathis, and Glen "Kul" King Biscuit Boy, legendary Cana­ the like of Sugarboy, Jessie Hill, Sears are at work rehearsing original dian harp player plans to swing this Walter Washington, The Wild material for a new band, as yet un­ way in the near future. Biscuit of Magnolias and of course the Lastie named. Watch for a fresh new course cuts and excellent album with Brothers unit. A benefit was arranged rhythm section once they start gigg­ the old Meters here at SeaSaint in at Tipitina's January· 25th. The per­ ing. 1974 before he returned to the formers read as a New Orleans R&B The Dream Palace will be expan­ obscurity of playing bars in Canada. hall of fame. Details next month ... ding and making improvements to The Neville Brothers are putting on More bad news. The death of Loui­ begin perhaps as early as mid­ quite a show through February. In siana country bluesman Robert Pete February. Look for more people­ celebration of Carnival, the Neville's Williams was recently reported. A space after the refurbishing. Mardi Gras Review will feature the regular at every Jazz Festival, Robert James Rivers is still packing them Nevilles, The Wild Tchoupitoulas, literally sang his way out of a life sen­ in every Friday and Saturday night at Ivan Neville, Charmaine Neville, and tance in Angola. He will be sadly Tyler's after a year and a half... the Uptown Allstars. missed. A full report upcoming. •

38 WAVELENGTH I FEBRUARY 1981 .i T HE

:CARROLL ;BAND

Music) rap McGrath a narco biker. (CarroiVEarl on on some Carroll got busted ratting : Jim Brian rap by and Music beat the Words He ... "Hey, ... Died old He said, Who 12 years dangerous " he was it's Rikers. People glue, I know beats sniffing two nine. ... it sure offed Teddy on East the plug but , he got the roof pulled day from she The next biker. fell 11 when very same died was of wine. ... the who Cathy a bottle old by who died, and 14 years died 26 reds are people died, got leukemia, he died Those who Bobby 65 when are people like ... Those my friends, looked of mine. rotten all he friend go were was a gimmicks They room he let their just died. a hotel Manhattan. They from the Tombs and Georgie in Upper dry dive cell in T-Bird a a of hepatitis Mary took from train died wed. hung himself a subway They he was front of vein in Vietnam: that Bobby in jugular Sly head. night jumped in the in the on the Judy got slit bullet on Drano of mine, Eddie OD'd friends And Bobby two more . were that died They room. more friends hotel . Two her Tombs from in the a dry dive a cell took from train, Mary himself hung of a subway Bobby in front vein- jumped jugular Judy in the got slit Eddie others, all the And Eddie, than you more . I miss you, brother Club roof. salute Boys' And I the goof. Tony from just some pushed rage was Herbie that his thought Tony Tony sure gave Herbie But ' proof. you fly?" bitchin ... can some "Tony died. said, fly ... Tony Herbie couldn't But Tony

AND TAPES IN RECORDS SELECTION BEST 895-8713 FOR THE MAGAZINE/(504) 5500

I Sll I I I PRESENTS

Wednesday, February 25 And Thursday, February 26 Dr• .John with The Original Meters .Joyride and The Radiators Friday, February 27 Woman's Night Etta .James and Marcia Ball Saturday, February 28 Speeial Guest To Be Announced Sunday, March 1 WUd Tehoupitoulas Nevilles Mardi Gras Revue New Meters and .Joyride

ALL SHOWS: Doors Open at 9:00pm Saenger Theater for the Performing Arts Show Starts at 10:00 · 524-0876 Seats: $6 - $8 - $10 P.O. Drawer 51540 TICKETS: Available at The Saenger Theater and New Orleans, LA 70151 All TICKETMASTER Outle.ts