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Wavelength Midlo Center for New Orleans Studies

2-1986

Wavelength (February 1986)

Connie Atkinson University of New Orleans

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ISSUE NO. 64 • FEBRUARY 1986

w/m not sure. but I'm almost positive. thai all music came from New Orleans.·· Ernie K-Doe. 1979

Features Flambeaux! ...... 18 Slidell Blues ...... 20 James Booker ...... 23

Departments February News ...... 4 Caribbean ...... 6 New Bands ...... 8 U.S. Indies ...... 10 Rock ...... 12 16-track Master Recorder: Movies ...... 15 Reviews ...... 17 Fostex B-16 February Listings ...... 25 Classifieds ...... 29 Last Page ...... 30 COVER ART BY SKIP BOLEN Two #l hits in October. Member of NetWOfk Next?

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FEBRUARY 1984SIWAVEL£NGTH 3 Glespie In Jm Series The New Orleans Jazz and Heri­ tage Foundation is now in the midst of its inaugural ''An Education in Jazz" Series. The series began Jan­ uary 15 with a performance by Di­ zzie Gillespie with the Dirty Dozen Brass Band in a concert at the Orpheum that was opened by the Preservation HaJI Jazz Band. Earlier that day, Gillespie held a workshop at Booker T. Washington High School hosted by Ellis Marsalis. The series will continue February 27 with an Orpheum concert by the Count Basic Orchestra under the di­ rection of trumpeter Thad Jones, George Wein and the Newport All­ Stars, and the local group Hot Strings. Workshops that day will be given earlier that day . Freddie

Green, guitarist for the Basic C) a: Orchestra, will be at John F. Ken­ w nedy High School for a workshop "'zw en hosted by Ellis Marsalis. George 0 Wein will be at Loyola University a: z-< for a workshop primarily on the ~ business of music, hosted by Dizzy Gillespie, happy to answer a question from Antonia Antoine, ------~ Loyola a senior at Clark High School in faculty member John New Orleans. Mahoney, and Thad Jones will be at UNO, with UNO music faculty put its surplus back into the com­ terested in music, to something member Rick Montalto. munity. they're not likely to hear on the pop Charlie Bering, organizer of the "We see this as audience de­ radio stations, and perhaps influenc­ workshops for the series, says "An velopment," he said, "with an eye ing them to want to play jazz. This Education in Jazz" is one way for toward exposing younger kids, es­ is especially exciting for us, be­ the Jazz and Heritage Foundation to pecially those who are already in- cause it's our first opportunity to do something away from the festival it­ self, and during this time of year." The workshops are informal con­ certs and symposiums, often with question and answer periods built in. They are a chance to have closer than usual contact with jazz per­ formers and learn a little about how they approach their art. All work­ shops are free, and open to all and sundry. The third and final concert in the series will feature pianist McCoy Tyner, trumpeter Freddie Hubbard, and tenor saxophonist Joe Hender­ son. Also on the program will be the New Orleans Saxophone Quartet (Tony Dagradi, Earl Turbinton, Fred Kemp and Roger Lewis), and The Gregg Allman Band played the New Orleans Jazz Couriers. to a good-sized crowd last month at This event will take place at the the 601 Club. Many in the audi­ Orpheum on March 13. ence, especially those who crowded Workshops surrounding this con­ in front of the stage, were long­ cert will include an apperance at term Allman fans who throughout McMain High School by the Preser­ the night requested the band to play vation Hall Jazz Band hosted by the old Allman Brothers tunes. All­ Ellis Mar.;alis, a session with Joe man and his very good band, Henderson at Xavier University however, mixed it up, keeping hosted by Earl Turbinton, and a everyone happy. A high point in the visit with McCoy Tyner at Southern night was Allman playing an acous­ University of New Orleans hosted tic "Melissa" with his guitarist by Kidd Jordan. Check your local who played delicate phrasings listings for times and dates for the around Allman's husky voice. For March workshops. an encore the band played the most Four Jerks and a OJ: The Circle Jerks showed up at WTUL for a little By the way, students are being requested song of the night, on-the-air fun with dj Ivan Bodley (the jerk in the middle). Later, an offered a 20% discount on some "Whipping Post," which was to no interview was taped for NO-TV, Wavelength's Cox Cable Channel6 seats at the Orpheum concerts on one's surprise but everyone's satis­ show hosted by Bodley on Thursdays, 6:30. the day of the shows. faction. -Jerry Karp - Nick Marinello

4 WAYELENGTHIFEDRUARY 1116 · : .. _; -....--- Publications ~DREAM BONES IS A XEROX COLLECTION of cartoonist Michael Dougan's hilariously macabre work. Dougan's work appears in The Weekly, The Market News and The Rocket, among others (Dream Bones contains three strips that first saw light in his ''Little Death'' comic in The Rocket), and his style is wonderfully unique and fresh (as well as downright weird). Available for $3 at Art in Form, 2237 2nd Ave., Seattle, WA 98121.

~GRIND IS A "SEATILE SKATFJHARDCORE ZINE" and is a thick xerox number stuffed to the brim with info. There's an in-depth report of the halfpipe/ freestyle competition at Des Moines Waterland Festival, a pictorial report on the Vancouver NSA competition, plus interviews with D.O.A., 7 Seconds and Russ from FaJlout Records. This freewheel in' zine is aJso dotted with record and video reviews, a reader's poll, editorial, bitsa gossip and lotsa pictures. Available for 74¢ from 1150 16th Ave. E., Seattle, WA 98112.

~WEDNESDAY WEEK AT LONG LAST, a fan club has emerged for those infectious pop rockers from L.A., Wednesday Week. Issue One (destined to be a collector's item) is a veritable photo journal, documenting every incarnation of the band (a three piece striving to become a four piece) and an in-depth report of The Red Rockers, who are now living and playing out of Bos­ the band's recent Southwestern Tour. There are reams of pies, anecdotes and ton, were in town over the holidays for a "paid vacation." Their reviews to pore through, plus song lyrics and a short questionnaire. Write c/o gig at Jimmy's looked and sounded great and they promised to P.O. Box 1547, Studio City, CA 01604 for more info. be back in town soon. No doubt the boys get a paid vacation for Mardi Gras, too. - Nick Marinello ~INK DISEASE PUNK AND HARDCORE DREAMS are alive, well and thrash­ ing about in the pages of Ink Disease. Issue Nine's pages are packed with oodles of info: lengthy interviews with the likes of Raw Power, Circle Jerks and Mad Parade, record reviews and "Ups & Downs, Ins & Outs" list, tons of photos and Clfley Moore, Ex-~wn, even a poetry page. This is a very well-stuffed zine, printed up with the kind of ink that quickly rubs off on your hands. And that's the way we like it. Available for $2 from 4563 Marmion Way, Los Angeles, CA 90065. Dies Jn New ONans ~GENER1C DRIVEL "NOT JUST A FANZINE, IT'S A FUNZINE!" This mag, June "Curley" Moore, perhaps ment for Bobby tMarchan, .Who left spit out from the confines of Delta, B.C., is a cute little xerox. Issue Four had best known for his :mint with Huey the gnmp to pursue his number one seven big pages of cartoons, a "scorecard" for a recent Black Flag gig and a "Piano" Smith and the Clowns, hit, "Something On Your 'Mind." right-to-the-point interview with Uncle Bonsai. But the highlight of the Drivel died December 14, in New Orleans. Moore sang on most of the group's has to be an interview with cartoon legend Ed "Big Daddy" Roth, creator of He was in his early fifties. Moore, later material, including the hit ''Rat Fink'' and auto art atrocities that once adorned stickers swapped by school who possessed a unique, gritty "Pop-Eye," and virtually all of kids everywhere. The Drivel loses points for the blatant chauvinism in their Jetter voice, sang with various R&B their recordings for Imperial. column, which isn't funny, even as a joke. (7522 Crawford Dr., Delta, B.C. groups during his youth. He joined Moore's first solo recordings V4C 6X6, Canada). the Clowns in 1960 as a replace- were released on the Teem label ("Tried So Hard"/"They Gonna Do What They Wanna Do") in 1962. He also waxed a duet with Huey Smith, "Huey and Curley At The Mardi Gras"/"Second Line," the following year. After leaving the Clowns around 1964, Moore went out on his own and scored in New Orleans with the original verston of "Soul Train," on the Hot Line label. He later switched to Instant, making "Soph­ isticated Sissy." a local hit in the late Sixties. Isolated singles also appeared on NOLA, Scram and Sansu, during the Sixties. During the last decade, Moore worked sporadically. occasionally joining Huey "Piano" Smith on his rare public performances. His last trip into the studio was in 1978 as a "Clown," helping Smith on his Charly album, Rockin' and Jivin'. - Almost Slim At The River At the riverboat landing near Jax Brewery, Kenyatta Beazley (left), 9 years old, ets Joose on his trumpet. Mr. Beazley, who makes a big sound with his small frame, can be heard often on Jackson Square with his dad.

FEBRUARY 19M/WAVELENGTH 5 caribl\Pt~,?..zz we SJI"dmlllZO World Beat From The Bees African, Caribbean, rock 'n' roll, let's not classify it­ let's just enjoy it.

o enjoy most American and Eng­ day,'' but the whole album is a very lish reggae bands, one must sus­ decent first attempt, and I'm eagerly Tpend certain criteria from criticism awaiting their next efforts, which or it's useless to even bother listening. should be available soon. Most often these bands refuse, and The Bees have a number of tracks rightly so, to merely imitate Jamaican that they've laid with vis iting reggae. They tend to introduce in var­ Jamaican and African musicians pro­ ying degrees their own rock 'n' roll viding bass, talking drums, vocals influences which, no matter how in­ and more. Already mixed and ready teresting, leave the band subject to for pressing is a reggae version of the accusations that they don' t sound Young Rascals' "Groovin"' which "authentic." features none other than Cyril Nevil­ So rather than handicap a band by le. It's time we stop being scared of calling it a reggae band, let's opt for Killer Bees and start listening to their the newest designation of world beat, records. a name which recognizes influences from Africa, the Caribbean and rock NOW THE Rhyth-0-Matics (be­ 'n' roll. This way we can enjoy what's sides having great taste in names) is being offered instead of worrying one of the San Francisco bands that, about why it doesn't sound like " real along with the Looters and Zulu The Nighthawks Mardi Gras reggae." And with this in mind, let's Spear, are labelled as World Beat. look at two recent releases by Amer­ Their latest record, Walking in the Dates and Appearances ican bands, the Killer Bees from Shadow, is now available in town. Shreveport, Louisiana, and the San The band evolved from a London­ Feb. 4 Michelles Francisco-based Rhyth-0-Matics. based band that drew influences from The Bees are a well-loved band that the heavy African and Caribbean 1311 Hardy St. always pack the house when they play music scene there. They have an Hattiesburg, MS New Orleans, and their blend of reg­ obvious affinity for ska, both the ori­ (601) 545-2290 gae covers and world beat-style­ ginal Jamaican style and the faster originals always results in a crowded British ska revival style, but also 5 The Chimes dance floor. They're rhythm-driven show the influences of their musical 3357 Highland Rd. by drummer Chuck Norcom and per­ friends and collaborators from South Baton Rouge cussionist Michael E. Johnson, and Africa, Nigeria and Zaire. all music comes from just two musi­ (504) 383-1754 cians, Malcolm Welboume on guitar 6 )immv's · and Stan Hoffman, one of the wond­ ers of the world, playing keyboard 8200 Willow St. leads and skanks with his right hand (504) 866-9549 while his left hand lays down a solid, steady keyboard bass. 7&8 Tipitina's For their debut album the Bees have sol Napoleon St. stuck pretty much to their live sound, Besides bass, drums; keyboards (504) 891-Mn adding only an occasional hom and and guitars, the band's sound is filled extra guitar, making the record a must out with a killer hom section that can 10 Riverboat President for those who love them live. kick when necessary or lay down mel­ (early evening) Jamaican toaster John T, who used to low, full background. Plenty of per­ appear live with the Bees, appears on cussion, too, including talking drum (504) 734-0732 two cuts, and Eric Struthers, who by Nigerian drummer Joni Haastrup. used to be seen around New Orleans There's something familiar in each playing jazz with Charles Neville and song on Wallcing in the Shadow . . . a See them live or hear junkanoo with Exuma, adds some ska beat ... or Congolese guitars outside guitar. Lots of good songs on ... or a highlife beat ... but this is them on their long the album, with a tempo change from just the foundation over which the awaited new album one to the next. I especially like Rhyth-0-Matics build an overall 11HARD LIVING" "Yard Style Home" and "World To- sound that is theirs alone. This sound is predominant through­ Rounder Varrick 022 out the record, so that even though the rhythms change from song to song, the music holds together well, from the beginning of side A to the end of For further info call: side B. Walk in the Shadow is like a (202) 667-9185 little musical journey around Africa or write: and the Caribbean and is highly re­ P.O. 25266 commended to those who like to Box travel. Washington, D.C. 20007 1985 Consumer Guide Booking Information: Somehow 1985 got past me, leav­ The Rosebud AIUIII'V'U ing me sitting with a rack of records that have never been mentioned in this Scratching the surface. column. As is my wont, I prefer to focus on the above average discs and not spend any time on the ones de­ Market Place Bunny Wailer, Sha­ stined to become frisbees. A few of nachie. The market place is where dif­ Developing Art these records came out nearly a year ferent cultures meet and blend, and ago but most are recent releases. What from which new forms arise. Bunny follows is my Caribbean consumer Wailers' musical Market Place cap­ guide, with a tip of the tarn to Robert tures the spirit of an international mar­ FZ 40094 Christgau. ket, showing influences from Africa, CHERRELLE other Caribbean islands and New illGH PRIORITY , Alligator (AL York City. Bunny has taken a chance Including: Triumph Joe Higgs 'lbu l.ool< Good To Me/ Artlfk:lal Heart Don't take lightly the comment that with this disc. Secure in his reputation Salurdoly Love/WheN Do I Run To Higgs has been around the Jamaica as a rootsman, he's experimenting on music scene for may years; he's a Market Place with all kinds of heavyweight beyond compare. A rhythms that often take him far from streetwise Rastafarian who became the reggae beat. If classified as a reg­ one of Coxsone Dodd's first stars all gae album this one would rate a low 599 the way back in the late Fifties, he C, but think of it as world beat and used his yard in his Kingston ghetto, enjoy. Featuring Sly and Robbie on .Trenchtown, as a vocal training drums and bass. 8 LP ORCS school that drew aspiring young sing­ ers like the Waiters, the Wailing Souls Country Living Gladiators, Heartbeat and countless others in the early Sixt- (HB 36). Rating a Gladiators album as FC 40027 . ies. If you like your reggae simple, merely good or bad must be preceeded with the instruments leaving plenty of by an acknowledgment that the Gla­ THE OUTFIELD space for outstanding vocal leads and diators are one of the crucial roots PLAY DEEP harmonies, check Triumph. It will groups of Jamaica. A Gladiators cut please anyone who loved reggae mus­ can always be identified by the raw, ic ten years ago, with the added attrac­ unique blending of high voices, the tion of a crisp, clear production. conscious lyrics sung in often­ Higgs has only put out a few albums indycipherable patois and the simple during his long career, and this is the but solid backup instrumentation. 599 only one easily available, so listen to This particular batch of songs is not Triumph and weep that you can't hear Albert Griffiths and the band's ul­ LP ORCS more. Actually, I would be happy timate set, however. Those who want with a whole disc of two songs, to be introduced to this great band "Sound of the City" and "Crea­ would do better to check their prev­ tion." A+ ious release, Symbol ofReality. But if you already have this one you've pro­ Rally Round Ras Michael & The Sons bably been waiting for their next one, of Negus, Shanachie SH43027. and you certainly won't be dis­ There's no denying that Ras Michael appointed by most of the songs on is one of the most important singers Country Living. B inspired by Jah Rastafari. His singles and albums, dating back to 1967, Fleeing From The City Yabby You, have all been based lyrically on Rasta Shanachie 43026. Spiritual'; personal nyahbinghi chants and reasonings. songs to Jah, skilled back-up musi­ 599 Musically, his records range from the cians and many good songs, like simplest accompaniment of the "Stranger To My Bredrin" and LP ORCS nyahbinghi drum ensemble (bass, "Praise Jahoviah." But somehow funde and repeater) to electric lineups I'm bored with this record. C including synthesizer and horns. He's never scored international success Working Wonders Judy Mowatt, Sha­ FC 40239 with his music and part of the reason nachie 43028. Believe me, I want to ~LLCOOLJ has been the varying, sometimes terr­ like Judy Mowatt's records. Her 1977 RADIO ible, sound quality of the recordings. release, Black Woman, was a land­ ~ As an introduction to this crucial mark effort that in my opinion has musician, Shanachie has cleaned up never been equalled by any female the quality on ten excellent cuts that reggae artist, including Mowatt's la­ present an overview of Ras Michael's ter records. Her appearance in the styles of music. This music is the video Rastafari: Conversations Con­ roots of reggae and at the same time a cerning Woman show her to be a 599 style that developed right alongside thoughtful and articulate speaker, and reggae. Highly recommended for her lyrics on Working Wonders reflect LP ORCS those with an interest in roots. A this. However, the music on this album is sappy, way too light and pop Travel With Love Justin Hinds and the sounding for my taste. I don't un­ Dominoes, Nighthawk 309. The derstand why she doesn't team up her Wailers band plays on this album, lyrics with music that is equally providing a crisp familiar reggae serious in nature. C- CBS sound that couldn't make anybody Last but not least, Caribbean Show feel no way. Add to this eight ex­ recommendations for this month are cellent mjd-tempo grooves written by aimed at a fine Frankie Paul 12" sing­ Justin Hinds with harmonies by the le called ''Inferiority Complex.'' The Dominoes. Need I say more? I could music is dance hall at its most aver­ go on and on about Justin Hinds and age, but the lyrics are right on the the Dominoes' string of hits back in money. "It's not the color of your the Sixties, or about their two classic skin ... not the clothes you wear­ Island albums from the mid­ . . . the contour of your nose . . . the Street. New Orleans. La. 897-5015 897-5077 Seventies, but instead I'll just say that texture of your hair . . . that make you 1017 Pleasant if you like the Wailers, you'll want a man." And you thought he just sang this record. B + grinding songs. 0

FEBRUARY 1..WAVELENGTH 7 ne~ Mamou At Carnival lime Mamou the band plays the traditional Cajun melodies of Mamou the town, but with an Eighties twist.

amou, Louisiana, located in bad, suicide, teenage alcoholism.,,. Evangeline Parish, is a small Of the three it is only Heavy who has Mtown laid out on a square mile of lost the Cajun dialect and, oddly prairie. Considered by many to be the enough, he is the on Iy one who speaks capital of Cajun music, Mamou is a French fluently . " I know what I'm town that minds its traditions. Like saying when I'm singing because I sit New Orleans, their most noted tradi­ down and learn what I'm saying." tion is Mardi Gras. The Cajun Mardi says LaFleur. Both his parents speak Gras is a sister to our own Fat Tuesday French and LaFleur will listen to the celebration, but a distant one. While old records with his mother. "She the folks in New Orleans are stomping tells me the words I don't know and I their feet on the streets to Dixieland or write them down in a way that l can getting funky with the Nevilles, the read them. " people in Mamou are doing it to a Occasionally, the band will rewrite different beat, and the day is ftlled the words to one of the songs. with the sounds of the accordion and "There's a song that is about an In­ Mamou: Wayne Aguillard, Steve La Fleur, Heavy. fiddle. dian on a stump," says Heavy, "and Music is an integral.part of the cul­ we changed it so that it was about the have drums and I play pretty much the songs they had grown up with. But ture and heritage of Mamou, but Cajuns coming down from Canada­ traditional rhythms. Except that I'm they would play them their own way, there's something brewing there that an Indian on a stump wasn't that in­ hitting them hard and sometimes play with their own instruments, their own the traditionalists may not have ex­ teresting." Heavy has recently rewrit­ them lick-for-lick - that's how we style and with the irrepressible spirit pected. ten the words to a Cajun standard, · kinda get·the rock 'n' roll feel." of rock 'n' roll. Though the three had There are three young musicians in ''The Pine Grove Blues" and the song lfit's Mamou's fidelity to their cul­ often jammed together, it wasn't until the town who have begun to raise eye­ will soon be released as "Hurricane," ture that makes their music honest, Heavy sat in on LaFleur's and Aguil­ brows, flare nostrils and win smiles the "A" side of a forthcoming 45. then it's their "rock 'n' roll feel" that lard's band during last year's Ugly by playing the traditional Cajun songs The band is now beginning to write makes their music truly original. Day that they began to put the pieces in a different way. its own material as well. "When l first "We were an oddball generation of Mamou together. Steve LaFleur is the band's bass sat down to write Cajun tunes," says come up in a weird place,'' says LaF­ Ugly Day? player, Wayne Aguillard the guitarist LaFleur, "l found out that they were leur. "It's very conservative in "Ugly Day is sort of the new gen­ and Heavy plays the drums. They call different than any other types of tunes Mamou. We were born in the center eration's Mardi Gras celebration," themselves, simply, Mamou and what because of the melodies. I thought I of Cajunville and growing up we were says Heavy. It takes place, at various they have done is taken the songs could just write simple, using three rebellious, we were too cool - we locations, on the Saturday before they've heard all their lives and rear­ chords like the Cajun tunes do, but wanted to be rock 'n' rollers. We Mardi Gras and is a day-long rock 'n' ranged them to suit their own in­ when I started singing it came out like wanted to be different from the older roll party, with everyone chipping in struments. The band remains faithful, rock 'n' roll." people in the town. " LaFleur and time and a little money. however, to both the traditional Aguillard formed a band called Fanta­ ''Anybody can play at Ugly Day,'' melodies and rhythms for they are "There are reasons for these sia about nine years ago. "We· were says Aguillard. "Occasionally one of neither a parody nor a novelty. melodies being the way they are," p!aying metal, psychedelic, confus­ the older guys will get up there with us Mamou is the real thing and they play says Aguillard, "and the reasons are ing music. It was heavy duty for with his scrubboard or fiddle.'' the old songs with reverence. the accordion and the fiddle. The Mamou. But when I went out into the They don't break traditions in ''The whole idea is to take these accordion h·as limited scales, you rest of the world I realized that being a Mamou, it seems. They may bend beautiful melodies and bring them to have to study it to find out why they rock 'n' roller wasn't different at all them a little or they may start a new where people can relate to them to­ write like they do." Aguillard has -that being a Cajun was what made one, but the people are keeping their day," says Aguillard. "We're taking now taken up the accordion and LaF­ me different. You have to leave home heritage intact. It is with this spirit that the old Cajun tunes and hopping them leur the fiddle. to really appreciate where you come the band Mamou, who have adopted up to the max," adds LaFleur. "Fifty years ago," says Heavy, from." the name of their hometown for them­ "They're classic songs," says "the Cajun bands had no drummer at So when the band formed last May selves, will play their music to a rest­ Heavy. "They're about love gone all. Now even the traditional bands they knew they were going to play the less world. 0

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For more information, contact: AKAl PROFESSIONAL PRODUCTS P.O. Box 2344, Fort Worth, 'lexas 76113 'lelephone (817) 336-5114, 'lelex 1632031MCTX UT, FAX (817) 870-1271 siJIBOUIP. • U.SJ"ftil!.~ ------. Reality Soldier Dies The Minutemen's swansong is their fiercest anti-war statement yet.

t was either late Sunday or early presstons. There is a vague theme of Monday morning, December 22, "searching" that underlies much of I1985, when Dennes Dale Boon, 27, the album. For instance. in "Numb­ was killed in an automobile accident ers,'' which is the first perfect pop in Arizona. A lifetime resident of San song of the year, Harrison sings Pedro, California, D. Boon was the "Leave the king in his despair. lead us singer, guitarist and founding mem­ to love." If you can find a copy of this ber of the Minutemen. record, pic~ it up. On the cover of the last Minutemen album, 3-Way Tie (For Last), Boon Black Flag, The Process of Weeding Out, painted the trio mounted on plaques. SST. Beneath the head of Boon are the This $6.98 instrumental EP is words "Singer/Activist." His activi­ Black Flag's way of answering the ties included anti-war songs that censorship "crunch" of the 1980s. reacted to the U.S. involvement in Guitarist Greg Ginn contends that Central America. "Do you have to "even though this record may com­ see the body bags before you make a municate certain feelings, emotions stand?" asked Boon in "The and ideas to some, [he has] faith that Cheerleaders," "Just a little bit too cop-types with their strictly linear late." minds and stick-to-the-rules mentality The last album features "Just An­ don't have the ability to decipher the other Soldier" in which Boon ·may intuitive contents of this record." On have written his epitaph: the other hand, who wants to buy a His life so short, no chance to even Black Flag record that doesn't contain start the dynamic presence of Henry Rol­ And the ones he left behind the lins? For true fans only. world he'll never see, But no one could deny that the Circle Jerks, Wonderful, Combat Core. soldier died with pride. Since their inception in 1979, when Boon wrote a lifetime's worth of ex-Black Flag member Keith Morris songs. Most of them, like the best and Red Kross guitarist Greg Hetson moments in life, were very short. The founded the group, Circle Jerks have music community will suffer without had the best sense of humor in the hi(ll. Maybe partying will help. hardcore scene. Three records and numerous bassists later, they made a The Minutemen's swansong is hilarious cameo in Repo Man in which their fiercest anti-war statement yet. they played a schmaltzy nightclub Titles include "Political Nightmare," rendition of their underground hit, " The Price of Paradise" and "Just ·'When the Shit Hits the Fan.'' Last Another Soldier," and lines that slip spring, Circle Jerks conducted a off the turntable and slap you in the nationwide search for a new bassist. face constantly remind you of the The winner of the • 'Why I Should young men who die for causes they Play Bass With the Jerks in 25 Words don't understand. The six covers in­ of Less" was none other than Repo cluded on the album are also anti-war Man co-star, Zander Schloss, who statements, the best known of which played Otto's nerdy companion. is Creedence Clearwater Revival's Wonderful contains the same won­ "Have You Ever Seen the Rain." derful sense of humor and hard punk "Courage" and "The Big Stick" are sound that I hoped it would. On the the musical highlights to the album, title cut, in which the Jerks are while Mike Watt's triple overdubbed assisted on the chorus by the Las bass in the cover of Blue Oyster Cult's Palmas/La Canada Children's choir, "The Red and the Black" is one of the vocalist Keith Morris sings "It's a great bass solos in rock. 3-Way Tie beautiful world we live in so give your (For Last) is not full of laughs but a brother a smile, turn to a stranger and journal of strongly assertive anti-war give him a pat on the back." Wonder­ sympathizers who have lost the inno­ ful is a classic. cence that made " Double Nickles on the Dime' ' such a treat. Full Time Men , Coyote. Somehow Keith Streng of the Art in the Dark, The Icons, Press. Fleshtones and REM's Peter Buck Two years ago, Art in the Dark was found the time to put together this f the first in a long line of REM im­ engaging three-song EP. The two personators. Their 1984 Mitch Easter­ guitarists, from two of the hardest produced EP, Somethin' Else epito­ working bands below the commercial mized the monochromatic Athens mainstream, sound like they had a lot 0 sound with its supercharged folk rock of fun recording this disc and Streng music. Today, the quartet has found can do a pretty good Robert Plartt ~ a!!U~LLE~~tp its own sound, a seductive blend of when he has the right material. NEW ORLEANS, LA. 70119 acoustic folk and James Gang produc­ (504) 482-7894 tion, while vocalist Jack Harrison has Luxury Condos Coming to Your Neighborhood. finished doing Michael Stipe im- Soon, Coyote. Antiwar sympathizers who have lost their innocence. This is a compilation of up-and­ hearts in her eyes. The soap opera coming bands on the up-and-coming continues. Coyote label. Southern twang, pro­ ducer Don Dixon and dB members are Saccharine Trust, Worldbroken, SST. all over this deal. The highlights are Worldbroken is a completely im­ The Wygals' "Sleep With the An­ provisational album that was recorded gels,'' an instant college radio hit with live in front of a quiet crowd at guitar embellishments by dB Gene McCabe's Guitar Shop in Santa Holder; the Try pes' • •A Plan Re­ Monica, California. The lyrics, te­ vised" which continues the ethereal cited by Jack "Joaquin" Brewer, are atmosphere of their 1985 EP ''The totally bizarre versions of bathroom Explorer's Hold"; Deep Six's catchy stall confessions and endless traffic "Stay Right Here" and Syd Straw's jams. Whether the group had trouble twelve-tissue "Listening to Elvis," getting to the gig or if Brewer had to with credible Memphis instrumenta­ take a dump was not mentioned to the tion by the Del-Lords. press guide. Nevertheless, Joe Biaza JIMMY~,___~ plays a mean discordant guitar and the rhythm section of drummer Tony ------Maximum America, Substance Over Fash­ Cicero and Minutemen bassist Mike February ion, New America Wildlife. Watt follow Biaza and Brewer in a Sat. 1 True Faith, This is a powerful three-song EP restrained manner of free form. This from a Wayne, New Jersey, quartet Lenny Zenith Band, is a unique album. I thought only Reality Patio who claim that the bands who work Frank Sinatra made instant records. for weekend gigs and gas money are Tues. 4 Big Chief Bo Dollis and The Wild Magnolias more important than the pretentious Trilogy, Celluloid. pop fashion models with the heavy In the truest sense "progressive," Wed. 5 Big Chief Johnny Deddes MTV exposure. Don't they get MTV the Celluloid label has continued to and the Wild Tchoupitoulas' in New Jersey? "March of Drums" stay outside of the fashionable styles. Thurs. 6 The Nighthawks angrily recounts the Kennedy This excellent retrospective of the opening: The Mistreaters assassination. With vocals by Max label's first three years is neatly di­ Fri. 7 The Radiators "the Teutonic Rage" Huber. vided into three discs. ''New Africa Sat. 8 Uncle Stan & Aunti Vera 2" features the afropop ofToure Kun­ Sun. 9 Fleshtones, dB's and The Rave-Ups, Town - Country, Fun Stuff da and Manu DiBango. "Hard Cell" Let's Active Records. contains an industrial remix of the Mon. 10 Dr. John with the The Rave-Ups are Molly Ring­ label's biggest hit, Time Zone's Golden Eagles watd's favorite band and it is from this "World Destruction," as well as Fri. 14 Force of Habit association that they are trying to selections from the new Golden Palo­ Sat. 15 Mason Ruffner, sneak away. But lead vocalist Jimmy minos album. "Beat Freaks" dis­ The Dino Kruse Band Podrasky is in love with Moll's older plays the progressive rap styles of B­ Wed. 19 Yesterday sister. He and his buddies work all day Side as well as a dance version of the The Tell 1 Thurs. 20 in the A&M mail room where men like Clint Eastwood theme, ' For a Few Fri. 21 The Radiators Dollars More. •• ' Herb Alpert take a patronizing interest Sat. 22 The Petties in the band's progression. Then, in Thurs. 27 Four for Nothin' 1985, Jimmer and his band release a The Woods, "Miracles Tonight" I" Love Me Fri. Java truly fine record containing airy cow­ Again This Summer," 7". 28 punk sung with nasal inflections that This New York City band reminds Jimmy's Club is available would embarrass Bob Dylan. Yet me of the "Pale Blue Eyes" period of for private parties when they cover Dylan's "You Ain't the Velvet Underground. The Woods' (504) 861-3117 Goin' Nowhere," it works like mag­ soft, ethereal acoustic songs breathe ic. Alpert slaps his forehead in dis­ life into distant, faithhealing vocals. 8200 Willow 24 Hour Hotline: 861·8200 belief and Moll's sister listens with Remember the name. 0

FEBRUARY 1-.wAVELEJIGTH 11 on \tlu want Rock? Stan's Got It Looking more like a patron than an owner, the former We invite you to come deep sea diver's not in over his head this time.

and see all the new t may not be L.A.'s Gazzarri's on products recently acquired the Strip, but, Stan's Hard Rock ICafe is the only gig in town for at the NAMM SHOW. heavy metal bands looking for the break bands like Ratt and Van Halen found at Gazzarri's. We've made Allied Music While Stan's may not be a frequent stop for record company execs search­ even stronger by acquiring ing for a fresh new sound, it is the the strongest product place for local rock bands to begin winning over a strong local audience lines available. that appreciates screeching guitars and a thunderous downbeat. Come in and take advantage In business since August 15, the Lakefront lounge missed the large of the great prices on all our summer crowd that harbors in West End Park around the clock. Instead, YELLOW TAG SPECIALS. the doors at Stan's opened for the first time just as neighboring Augie's de CHECK OUT THE TIMES PICAYUNE Lago was shutting down for winter. CLASSIFIEDS FOR OUR WEEKLY SPECIALS And although times are admittedly difficult for the owners of Stan's Hard SALES • SERVICE MON·FRI 10AM to 6PM Rock Cafe, if they can hold out until Stan Jenkins of Stan's BEN CHARGE SAT 11AM to 5PM April, Stan's may one day become Hard Rock Cafe. New Orleans' premier showcase for :E • 4417 Bienville Ave. the hard rock music crowd. Never expecting to work as a 488-2673 488-2674 Stan's is like a lot of clubs- two bartender/bar manager much less own bars and scattered pool tables. The his own watering hole, Jenkins, a difference begins with its large stage former commercial deep sea diver, and those who have performed on it. came to New Orleans from Alabama Except for Jimmy's Music Club, in 1974 and took a job behind a Fat there are few other places in New City bar for Mardi Gras "and didn' t Orleans where live music can be heard leave for seven years." If You're Part of the almost nightly. And what Jimmy's is If the long-haired club owner looks to the Uptown and college crowds, familiar, it's probably because you've Recording Industry ... Stan's is rapidly becoming. to the seen him around McAllister's in Fat rockers of Metairie and the Lakefront. City. He managed the lounge between Besides homegrown bands, like 1978 and early 1985 when he left to Lillian Axe and Razor White, the open Stan's. You Should Be Part of the Lakefront's own Hard Rock Cafe has Ironically, McAllister's closed hosted a half dozen national acts in its down temporarily just six months af­ Recording Academy. six short months of existence. ter Stan's opened on the Lakefront, Already, Zebra has thrice filled the but Jenkins claims he had nothing to club to capacity - about I ,000 do with it although the two clubs seem Membership Information screaming fans. Robm Trower's to enjoy a similar audience. November draw was just as high, Yet, Jenkins said he is still seeing The Gramm~ means a great deal to all of us who are members according to Stan Jenkins, the club's the door of of the National Academy of Recording Arts & Sciences, and we new faces come through manager. the Paddle­ extend a warm invitation to qualified individuals involved in co-owner and general the lounge that was once recorded music to join us. Active (voting) Members may Molly Hatchet, the Romantics and wheel. Black 'N Blue have also performed at To attract even more new faces, nominate and vote in the annual Gramm~ Awards and in many of their local chapters' functions. Active and Associate (non­ Stan's. And Jenkins is working on Jenkins said he is considering a slight voting) Members participate in various Recording Academy bringing Y &T to the Crescent City in format change a couple nights a activities throughout the year on the local and national levels, the weeks ahead. week dedicated to a more "contempo­ plus receive many benefits. Although no dates were set for Feb­ rary" audience and the rest, hard ruary at presstime, Jenkins said he rock. For more Information, fill In and return the coupon. hopes to include 15-20 local and re­ Realistically, rock 'n' roll is the gional bands in his club's calendar music of the working class, Jenkins r------, plus one national act per Please send me more Information about JOining I each month, said, and there isn't a lot of money The Recording Academy. 1 week. What he had hoped to draw there. I crowds during the usually quiet holi­ (The Romantics didn't draw a sold­ Name ------'------I day season, Jenkins was unhappy to out crowd, but bar sales were among I find that few nationally-recognized the highest ever plus the show brought Address ------1 bar bands tour in December and Jan­ in a large number of first-time patrons City ------: uary. So, the schedule should begin -both things Jenkins hopes to repeat State ______ZIP ___ I picking up again this month. by bringing in a limited number of 1 Sitting in his small office, looking bands with a wider appeal.) National Academy of I more like a patron than the club's Jenkins and his partner, Steve Mar­ Recording Arts and Sciences I owner, Jenkins recalls his first six tin ("He's a wild and crazy guy, I months in business, the on-going too.") arc planning continuous music P.O. Box 41072 I Memphis, TN 38174-1072 I struggle to survive and his plans for on Sunday afternoons this summer Stan's future in the New Orleans rock and hope to some da)' open a cafe ­ ·------~ scene. thus. the name, Hard Rock Cafe.

12 WAVELENGTH/FEBRUARY 1986 •

Jenkins said he would also like to free drink.) • enlarge the club and purchase a house But ~till "so many [potential pa­ PA. but he concedes: "We took on a trons] don't even get that far." People on1c real large project" and improvements see the admission sign and they turn are ongoing depending upon cash away, he said, although the cover flow. charge, basically. assures a one-drink A ·couple of immediate additions mtmmum. required to accommodate national On the West End Park locale: tudios acts were a larger stage and a narrow "Most places were either too small pier joining the dressing room with or too expensive. [And although] the the stage. location hurts a lot (during winter "National acts don't like to walk months), everyone thrives off of each 24 Track through the crowd," Jenkins said. other (in summer)." Recording "But they love the pier," he said. On offering live entertainment: (So if it looks like your favorite "It's something that goes in cycles. musician is creeping out the window We are seeing rock clubs coming and to a waiting speedboat, relax and quit going. I think they are coming back." watching Miami Vice. He's only On the regular crowd: Digital walking along the outside of the build­ "If they go out, they come here­ ing to his dressing room.) · ... but they don't go out." Mastering A guitar player with high hopes but On his goals: the realism that few musicians can "Tomakealivingandhelprock 'n' make it big, Jenkins sympathizes with roll." local musicians. "I like to help them On what it takes to be successful: out any way l c~n," he said, of area "You have to be lucky and smart Digital bands. and tightfisted and you may be one in Reverberation Reflecting upon some of his great­ l 00 to make good. " est concerns with live music and the Clearly Stan Jenkins is interested in club scene in New Orleans, Jenkins offering New Orleans hard rock fans a has the following ideas: comfortable place to sit back and en­ On cover charges: joy the music they like best. Affordable ''People are just spoiled in this city. But as a new business on the vast There are so many places to go and so New Orleans club scene, Jenkins' im­ Rates much to do. l tried with no cover then mediate concern is drawing new peo­ everyone came in and no one spent ple to his club. Jay Gallagher Scott Goudeau money.'' His invitation: "It's a nice place, Ultrasonic Studios - 7210 Washington Ave. (Stan charges $3-$4 admission for a our bartenders are courteous and nice. local act. The admission includes one Just come in and check it out." 0 New Orleans, La. 70125 - (504) 486-4873

Three Names and an Album you'll never forget . • • ll)M, ROCKER & SLICK

features ''My Mistake" and - ..... Without Shame"

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.. \ Spielberg Tells Tales From an excellent book to an overproduced melodrama, The Color Purple suffers from a heavy directorial hand.

The Color Purple has been trans- wood niceties than withtn believable 1 formed from a profound work of Georgia realities. literature by Alice Walker into a Dis­ Glover, a superb actor who has neyesque melodrama directed by been cast in nearly every decent male Stephen Spielberg. The life story of black lead in the last couple of years Celie, in the book described in her (Places in the Heart, Witness, Silver­ own semi-literate, heartfelt letters to ado), is sadly misdirected in The God, becomes a travesty of over­ Color Purple. What could have been a dramatized ploys that attempt to pull character of great depth becomes in­ on your heartstrings. Spielberg is of stead a fumbling caricature of a brut­ course a master at making record­ ish, spoiled man who is a tyrant at breaking movtcs of the extra­ home. and little-boy-in-love when his terrestrial or special effects kind, but sweetheart, Shug Avery. comes to The Color Purple marks hts debut to town. handling a realistic, down to earth Shug, played"without sentimental­ drama Reading the book. one has ity by Margaret A very. is the spirited sympathy wtth Celie's plight, a life blues singer who brings out a warmer tom1ented from its beginning by vio­ side of Mister. brings color to the lo­ lence and rape. In the movie version cal drab, and teaches Celie about love it's a~ if she- or someone. Stephen and a more positive side of life. Her - is telling tall tales. performance is the saving grace of the The many hardships and beatings film. and lends itself to several origin­ of body and sptnt that Celie (played al gospel and blues songs written by by Whoopt Goldberg) experiences are Quincy Jones. Avery's presence exaggerated by the '>Chmaltt.y musical makes the second part of the movie !>Core and obvious, overdone visuals. bearable. For example, when Celie at 14 gives Alice Walker, who was project Margaret Avery heats up the crowd at Harpo's Juke Joint, starring as birth to her daughter, it is implied by consultant on the film, approved a the lusty blues singer Shug Avery, the risque preacher's daughter, in the dark and stormy night and her Dutchman named Menno Meyjes to Warner Bros. The Color Purple. father's overacted impatience that her write the screenplay, because the two joy in bearing the child will not last of them "resonated well." Celie's Redford romance, the more real and tainly is not typecast, just cast. I'd be long . Then enter the melodramatic voice-over narrations were wntten, as potent love affair is with Africa. The grateful to see another actress in Hol­ appearance of the wicked father's in the book, addressed to God, and movie reads like a love poem to the lywood be given an equal chance at large hands snatching the tiny new­ connected the sometimes choppy country itself. the meaty roles. Kate Nelligan, an born away, underscored by more scenes. The translation was very liter­ Before their affair begins. Denys , actress of great accomplishment who ridiculous music, amplifying the pain at from the book to screen, despite the Finch Hatton (Redford) takes the played the role of Susan Traherne in of the moment three or four or ten cleaning up of Celie's frank language. Baroness Karen Blixen (Streep) on David Hare's stage productions of times more than necessary. Such But the omission of language when safari. After days of bushwalks, hunt­ Plenty, had the ability but not the star embellishments rob the story of necessary was the script's success. ing, painfully romantic evenings wit­ status to sell the movie version. So credibility, and strip Celie of the dign­ For example, when Shug performs in hout a touch between them, and closer Streep got it. Nelligan would have ity with which her brave and painful public a song she wrote for Celie, looks at animal behavior, he says in been equally as great as Karen Blixen. story was written in the simplicity of Whoopi Goldberg's smile expresses retrospect that he showed her these Enough of Streep's versatile hairdos her own language. Spielberg seems to the pride that Celie writes of in the things, "Because I thought you would and changing nationalities. Her con­ want to PROVE her story rather than book: "First time somebody made understand." Indeed the backdrop for versational Danish accent in Out of let her tell it. something and name it after me." In their slow-brewing love affair is the Africa makes you forget she ever The first hour is especially insuffer­ the movie, no words were necessary. love of the place, and what was shared spoke American, but the voice-over able in this clishect style. The innocent Goldberg's ability to wear her heart with the other Europeans in Africa ­ narrations make her sound like a 45 characters are of course all good, and on her face is her great charm and their belonging to their adopted home. played on 33 rpm. You want to wind the bad characters of course cast dar­ strength. h is not so much the inevttable separa­ up the Victrola before she fades over ker shadows. The cruel Mister (Dan­ The only reasons to see The Color tion of the lovers but Karen's eventual the edge. ny Glover), who needs a maid and Purple are the fine perforr.1ances by separation from Africa which was the Directed by Sydney Pollack, Lake­ marries Celie for her elbow grease, Whoopi Goldberg. who should be tear jerker. Although hardly living side Theatre. throws Celie's beloved sister off his given an award for her face; Margaret like a native of Africa, it would be property in a pivotal scene so over­ Avery, and Oprah Winfrey as Celie's difficult to imagine the Baroness Wetherby played I wanted to look away. The hot-tempered daughter-in-law. Better returning to her European lifestyle. Featured at the Prytania in early fact that Mister separates the sisters is to spend ticket and popcorn money on When her English friend Barkley was January was the masterwork Wether­ his worst crime; the acrobatics and the book, though. ailing and asked if he would go home by, written and directed by British histrionics that accompany the scene Warner Bros., directed by Stephen to do his dying, he stated simply, "I playright and theatre director David again take away from the story' s Spielberg. East Lake, Dowlllownloy. am home." Hare. A showcase for Vanessa Red­ credibility. Spielberg simply doesn' t Two and a half hours was not too grave, who plays a single, middle­ "know when to quit. Though the book Out of Africa long to look at this carefully molded aged schoolteacher in the small York­ does not depict the characters as starv­ Another adaptation less literal and story and beautifully photographed shore town of the title, its mystery is ing, a rather grandiose house was used more cinematic is Sydney Pollack's images, but I am getting weary of the backbone of the movie, but it is a for a Depression era black farmer who Out of Africa. Based on collected watching Meryl Streep for any mystery that can only be speculated doesn' t seem to do a day's work. It writings of Danish storyteller Isak Di­ amount of time. Not that she isn't a upon and not solved. A strange, in­ would seem the filmmakers would nesen, including Out of Africa, Sha­ capable actress. She is attractive in tense young man known to Jean (Red­ rather see them living with Holly- dows on the Grass, and Letters from her own odd, trademark simplicity. grave) for less than 24 hours, chooses Africa, the film translates the stories and she can change her accent and her her to be the audience to his suicide. Dorre Street is a freelance writer into a strong impression of this Eu­ hair color, both with professional He abruptly shoots a gun in his mouth and film editor, formerly of Sydney, ropean woman's life on a coffee farm ease. But it seems if you want to see a while she serves tea. The story of Jean Australia, where she contributed to in Kenya, rather than a detailed biog­ good movie, you are going to have to putting pieces together with what little Cinema Papers. raphy. Although hyped as a Streep- see a Meryl Streep movie. She cer- she knows of him, is intercut with

FEBRUARY 11M/WAVELENGTH 15 scenes of her first and possibly only Birdy) will direct a Union Pictures M!V~I~V!'~~U,~ love, thirty years before, with the feature in New Orleans this spring, §l,._,f3LII:§ • ~ young Jean played by Redgrave's currently in pre-production. A 1950s Mardi Gras Time/Auld Lang Syne...... Oiympia Brass Band • ~, daughter Joely Richardson. The para­ detective yam, its start date and cast New Orleans Second Line ...... Olympia Brass Band ' ' llel stories are not related factually, are still tentative. Second Line ...... Stop, Inc. 1 • ~ but rather in feeling and intensity. Local Chappy Hardy spent last That Street Parade...... Earl King ...fl~~ ~ Jean emerges an optimist in a year's Mardi Gras shooting about 22 most believable and realistic fashion hours of footage, Go To The Mardi Gras ...... Professor Longhair • now neatly edited keeps the movie from being swal­ into a one-hour package for PBS Big Chief ...... Professor Longhair t ·' ~ lowed up in its own sordid misery. called Chappy Goes to Mardi Gras. Mardi Gras Rap ...... JonesfTaylor ~~ What seems like awkward editing Aired nationally on PBS on January Mardi Gras Mambo ...... The Meters at the start becomes apparently 17, it also airs locally on pre-MG Sun­ Olympia Speclai ...... Oiympia Brass Band purposeful as the movie progresses, day, and again MG night for those as an inspired technique .. ~ .. UI§C§ in the who would rather watch than partici­ structuring of the film. As the events pate. Check local listings for air time Mardi Gras In New Orleans ...... Olympia Brass Band of the first meeting with the dead man on WYES. Mardi Gras Rap...... JonesfTaylor Experience are remembered and retold, traced Belizaire the Cajun, a feature writ­ 4LEUM§ & CA§§I::TTII:§ and retraced visually and verbally in ten and directed by Cut Off, Mardi Gras In New Orleans ...... Various Artists the characters' efforts to understand a Louisiana, native Glen Pitre, opened man they never knew, we see more Best of New Orleans Jazz ...... Olympia Brass Band in November 1985 in Lafayette, details in our recollection of the ori­ where it was produced. Although Rock n' Roll Gumbo ...... Professor Longhair , ginal, awkward introduction of the several distributors have shown inter­ Mardi Gras nrne ...... Olympia Brass Band/Bayou Renegades strange young man. est, according to producer James Crawfish Fiesta ...... Professor Longhair In his usual sharp fashion, Hare Levert no decisions have been made Soul Queen ...... Irma Thomas captures with wit, sarcasm, and car­ as to the movie's national distribu­ My Toot-Toot ...... Rockin' Sidney ing the character of his fellow Brits, tion. In the meantime, the film was in Nevllle-lzatlon ...... Neville Brothers and in this case, of a small country good company in late January when it community as well. For My Feet Can't Fall Me Now ...... Dirty Dozen Brass Band • those who was screened at the United States Film .. ~ , missed its brief New Orleans show­ Festival in Clark City, Utah. Spon­ . ing, keep eyes and ears open for future sored ...., by Robert Redford's Sundance -. opportunities to see this unusual and Institute, the prestigious fest is the masterful film. only one seriously devoted to in­ Greenpoint Films, David Hare, di­ dependent American films. rector, Prytania Theatre. With all the interest in movie mak­ 3129 Gentilly Blvd. ing in New Orleans, one would think 282-3322 ~s~nronA~482-6431 :~, • • ' Local Production Notes the mythical New Orleans Studio Both the Los Angeles production of would soon be a reality. The New Nothing But The Truth, and New Orleans City Council has approved York production of Jim Jarmusch's the city's application for a $12 million Down By Law, wrapped in New federal loan, but financial uncertaint­ Orleans in early January. The city will ies continue to postpone the project. be visited again by out-of-town fea­ Tom Keel, vice-president of op­ Werlein's has ture productions, though, including erations, projects the future - or Tri-Star Films' yet untitled cop saga, non future - of the studio will be de­ directed by Richard Pearce and head­ termined by February 6. ''been to market!'' lined by Richard Gere and Kim Basin­ Meanwhile, local interest is ger. After shooting in Chicago, the peaked. At a public forum on January crew will be in New Orleans and out­ 7, held in the neighborhood of the side Baton Rouge for two-three proposed studio - never before were The National Association of Music weeks, hoping to finish before Mardi so many Mercedes seen parked next Gras, and will complete the shoot at door to the St. Thomas projects - Merchants just had another show of the Dino DeLaurentis lot in North Rex Sparger, New Orleans Studio Carolina. Former working titles No V.P., outlined the plans for the pro­ the latest in hi-tech musical Mercy and Chicago Cop have not sat­ posed studio and technical school. At isfied the producers, and a cash award work on the project since April 1985, instruments. Get special NAMM has been offered to the crew member Sparger says he is tired of acting as a (crew members only!) who comes up realtor and anxious to get back to pro­ Show Prices NOW through Feb. 28, '86! with a better title. ducing . Good luck with the • Alan Parker (Midnight Express, bucks. .. 0 The 1986 NAMM Convention (in Anaheim in Jan.) has brought 100's of new instruments to the industry. "C'mon and hear" new stuff from KORG, ~asLitta·s BOSS, Roland, Peavey, Yamaha, TAMA, Ibanez, BOSE, A FRENCH CAFE AND PASTRY SHOP ~=«'~ Sequential, Fender Gibson, etc ..... WINES BY THE GLASS 18% APR IN-HOUSE FINANCING AVAILABLE AT All WERLEINS ESTATE WINES BY THE GLASS OR BOTILE IN GREATER NEW ORLEANS: •605 Canal Street. Downtown . . . . 524·7511 ALSO PORT • SHERRIES • APERTIFS • CHAMPAGNES •Lakeside, Metairae, LA ...... 831·2621 eOakwood, Gretna, LA ...... 362·3131 • Plaza. Lake Forest. East N 0 . . . . 246·6830 2808 Esplanade Ave. • New Orleans. LA Dark Monday· TUES FRI II am 10 pm · SAT 10 am 10 pm • SUN 9 am Faubourg-St. John • (504) 488-2800

~------16WAVELENG~BRUARY1~~------~~~------I

Red Gets AJazz Record

Alvin "Red" Tyler make it work. The rhythm section is Heritage composed of the accomplished and oft Rounder 2044 requested trio of bass player Jim Sing­ leton, pianist David Torkanowsky, and drummer Johnny Vidacovich. lvin "Red" Tyler's new album Veteran trumpeter Clyde Kerr, Jr., Heritage may help throw some provides a refreshing counterpoint to Alight into a couple of un­ the leader's sound, and there is one deservedly obscure comers of New wonderful vocal contribution each Orleans' musical history. Specifical­ from Germaine Bazzle and Johnny ly, there's Tyler, whose prowess as a Adams. jazz tenor saxophonist has finally The record opens with the loping, been showcased in vinyl. More gener­ straight-ahead ''Confusement, '' then ally, this record, with some breaks, the heat is turned up a notch in "Un­ could get enough exposure on jazz der The Rainbow.'' This second tune radio nationally to fill in some blanks includes what may be the most in­ for fans across the country still labor­ teresting of Tyler's solos on the rec­ iz ing under the misconception that pro­ ord. Next, Johnny Adams comes ~ gressive jazz in New Orleans is a re­ close to stealing the whole show with Red Tyler: A chance to ------~do a jazz album his way. latively recent deveJopment. The a beautiful, understated rendition of playing is assured, and the original the Cahn-Van Heusen standard "I' II album, whatever you want to do. No respecting Johnny Adams supporter compositions are engaging, making it Only Miss Her When I Think Of restrictions.' that's a gas, man. I've will already possess. evident that Tyler has earned his Her," with the introspective tenor done an R&B record under my own Personally - being a flip side frequent-flyer pin in the post-bop sk­ saxophone reading between the lines name called Junk Village for Ace Rec­ addict - I find the more obscure ies. There are six originals: five by of the lyric. Vidacovich's jazz march ords, way back, but nobody ever said tracks on this one much more fascinat­ Tyler and one by drummer Johnny "New Day" closes out the side with to me, 'Come on. Just do what you ing. Listen to "Real Live Hurting Vidacovich. another lively solo from Tyler and a want to do.' That hasn't happened for Man" and you'll know what it's like Red Tyler is, of course, best known chance for Torkanowsky to stretch a lot of great musicians in this city. to be a man and be hurt. Kudos on to many New Orleans music fans as a out. They haven't had that opportunity, so "Proud Woman," also - really the member of 'Dave Bartholomew's "New Orleans Cakewalk," which I'm glad it happened to me." man sings with a conviction that is great R&B band of the Fifties, from opens side 2, really has more of a Perhaps as important as the quality deep and believable. Other great SSS which came most of the components Latin feel than a Crescent City sound. of the music, as far as the album's tracks include the unreleased "You of the studio band at Cosimo Matas­ Both the title track and "No Rela­ potential impact, is that it has been Can Depend On Me" and "LetMeBe sa's that supplied the drive for most of tion" are mainstream swingers both released by Rounder, a major in­ Myself' - why weren't these re­ the great New Orleans hits of the day. of which give Kerr's trumpet a chance dependent, which has the distribution leased when they were recorded? - In the studio, Tyler played baritone. to be heard. Between these two we get channels and the track record to catch and the stunning "Something Worth But even in those days, the reed­ Germaine Bazzle's unique treatment the attention of reviewers and radio Leaving For,'' a paramount Adams man thought of himself as a jazz of Billy Strayhorn's "Lush Life." jazz programmers. As far as exposure performance. player. Amazingly, this is Ms. Bazzle's first is concerned, one LP on a label like In retrospect, I'd have to say this is "Even when I played with Dave," recording, and both horns sit out to Rounder is worth much more than the probably the most representative col­ he says, "because there were a lot of leave the stage to the vocalist and trio. finest quality locally produced prod­ lection of Adams' recordings. There's young guys [in the band] like Earl With the possible exception of the uct (though labels like Rounder are something on here for everyone, hits, Palmer, Salvodor Doucette, Earnest singers, no one really seems to be still not in the same league with the flip sides, unreleased master works, McLean and myself, we would talk straining for new heights, here. But biggies like CBS). We're not talking shucks, even country music. Typical­ him into buying stock arrangements Tyler seems to be happy with an about top 20 sales, here, but the rec­ ly scrambled liner notes on this one, I from Dizzy Gillespie's band and album that's built for comfort. One ord has a chance to be heard by the mean even Miss Verra from across the things like that. So were playing kind might think that after waiting so long listeners who might appreciate it. street knows more about Johnny than of hip things within the band. But, for a jazz album of his own, Tyler That Tyler was given the freedom Charly Records, I think. But what the other than that, I always jammed and I would feel a lot of pressure to have the to write out his own line-up card, and hell, I bought this so you should too always played jazz. A lot of times I record come out just so, but he says was able to achieve the spontaneous bro. played R&B in clubs because we that's not the case. sound he was looking for without - Almost Slim played shows and backed up singers, ''Quite the contrary. In fact, I pur­ sacrificing musical integrity makes but most of the time if ther~ were any posely had only two rehearsals, one Heritage ultimately a rewarding Mink Deville extra jobs, I always played jazz. I and a piece of a rehearsal, really, be­ effort. Italian Shoes never played R&B in clubs, as such.'' cause I didn't necessarily want it to -Jerry Karp Polygram As the studio scene faded away, sound like it was well rehearsed. Tyler...took the day job as fl liquor Learn the song, but when we went Johnny Adams think it's great that Mink Deville is salesman that has allowed him to into the studio, we all had to listen to The Tan Nightingale Iselling so many copies of this album avoid having to scuffle for gigs, and what everybody was doing because Charly 1058 to our NATO allies. I have listened to enabled him to concentrate on jazz for nobody, including myself, had played the record and was unmoved except the most part. the songs enough to say, 'We're just ell, this one's a bit of every­ for the title cut. A very sincere form of "I think I've enjoyed playing more going to play it by rote.' Everybody Wthing then, isn't it? The 15 flattery seems to exist on this track because I haven't had to do it as a had to think about it, and I did that tunes presented cover nearly 25 years and Wilson Turbinton is its object. living," Tyler reflects. "I remember purposefully because I wanted to get of Johnny's up-and-down career. But "Italian Shoes" is an unabashed lift at one time, I was working on Bour­ that kind of spontaneity in the ses­ The Tan Canary (sorry Charly you've from the Wild Magnolias' 1975 Mardi bon Street six nights a week, for two sion." got the wrong bird) has a style that Gras hit, "New Suit" which appears years straight. It got to the stage where Tyler is appreciative of the fact that amazingly varies little over the time on every New Orleanian's copy of I'd walk in, play the opening tune, the record got made at all, and of the span. Mardi Gras in New Orleans. In fact, it and get immediately tired mentally. freedom accorded him by Rounder Most of this one originates from the is so unabashed, that Deville must not Now , I'm playing maybe two or three producer Scott Billington. "big hits" waxed on SSS in the lat have done it on purpose. "New Suit" nights a week, and I'm eager. I'm "I realize," he admits, "that jazz Sixties - "Reconsider Me," "Re­ is one of those funky synchronated waiting to get to the job." records as such today don't sell a hell lease Me," and "I Can't Be All tunes that has bored its way into the This mixture of experience and re­ of a lot of copies, so for someone to Bad," etc. Also here are a couple of soul of every New Orleans music laxed enthusiasm are evident on Heri­ come along at this time in my life and his early Ric hits "I Won't Cry" and lover. tage, and the leader has the sidemen to say, 'Hey, Red, I'd like you to do an "Losing Battle," which any self- - St. George Bryan

FEBRUARY 1111/WAYELEHGTH 17 'e

mce noon, on certain days as Mardi Gras approaches, Lawrence Square is filled with ea­ ger faces crowdmg and jostling for strategic postttons near the Camp Street sidewalk. All hope that they will survive the "shakeup" and become. for that night. anyway, fiery acolytes to the carnival gods of the old Mediterranean Pantheon, who. one by one, make their annual visits to New Orleans, the western-most polis of their ancient world, and center of their cult. Every year on the verge of Lent the old gods return to remind all good Mediterraneans of the pagan antecedents of our great civic holiday and, indeed, of our whole unique culture. The flambeaux are a curious survivor of the Nineteenth Century. Little else of our traditional society or culture has survived the progress of the last I 00 years as unadulterated in form as the flam­ beaux carriers, whose appearance remains very much the same as when they first took to the streets. The survival of this Nineteenth Century anachron­ ism has excited unflattering comment from observ­ ers who view the spectacle of black men donning white robes and lighting the processions of their former masters as somehow subversive of black pride; and, a strange reminder of slavery in a region where abolition of that institution dates back little morf! than a century. The flambeaux carriers themselves, claiming that without them there wouldn't be any Carnival, or anyways, not one worth seeing. One flambeau car­ rier, a veteran of nearly 40 years with the "lights," when asked if he'd seen a certain nouveau parade, replies, "Parade? Why'd I want to go see a parade with no lights? That ain't nothin' worth going to see!" Many New Orleanians old and young agree. A flambeau is, basically, a two gallon tin recepta­ cle atop a wood pole with a feed pipe leading to two or four patented burners located along a horizontal T-bar with a shiny reflecting panel (weight: approx­ imately 20 pounds; fuel: naptha) fixed behind it. A man named Charles Richardson first designed and manufactured lights of this pattern sometime in the I 870s or 80s (the exact date of their appearance is a mystery but some Carnival historians have claimed that Momus was the first Carnival monarch to rely on the flambeau during his initial visit to New Orleans on December 31, 1872. A print of Comus in 1883 clearly shows flambeaux in the procession. Richard­ son's son, grandson, and his son-in-law supervised the operations of the flambeaux until 1976 when Anthony Montelaro, husband of a great­ granddaughter of the original Richardson, retired. Incidentally, the last batch of ten flambeaux were manufactured by the Montelaros for Comus in l%5

11 WAVELENGTH/FEBRUARY 1181 ·By Wayne Picou

at an approximate cost of $300 apiece. Originally the flambeau inventory totalled some 800: 400 four-burners owned by Comus and 400 two-burners owned by Proteus. Now only some 80 two-burners remain in service. Many others have apparently been cannibalized for parts. The flam­ beaux are said to be all stored on the Comus side of the den shared by Comus, Proteus, and Momus. Only six krewes continue to use the "lights": Sparta uses 30; Comus, Momus, Proteus, Hermes, and Babylon all use 80. Probably more organizations would incorporate a token display of the flambeaux, but the New Orleans Fire Department restricts the transit of the lights to the vicinity of Napoleon and Magazine, not wanting to see a ·third great fire bum down half the city. The main reasons for the reduction in the number of flambeaux are economic and technologic. As time passed and costs increased the resources of the krewes were stretched thinner and thinner, and the use of 400 flambeaux increasingly hard to bear. The technologic solution to the problem of inexpensive parade lighting is the electric light. Thus displaced as the primary functional source of illumination, the flambeaux became a decorative, or ritualistic, com­ ponent of the parade. The adaptation of the electric light to the parade resulted in a subtle alteration in the appearance of the painted, gold foil flecked papier­ mache floats which we now view beneath the harsh glare of electric lights instead of the soft, dancing flame of the flambeaux. At some point in the past a number of flambeaux were manufactured and sold by the RiChardsons to Mobile's Order of Myths and Knights of Revelry; these two krewes continue to preserve the tradition of the lights in their own Carnival processions. The current flambeaux supervisor is Frank Lazard, an elderly black man who started out as a mule handler-one of the great lost Carnival crafts (like perhaps papier-mache work will be if float builders don't stop importing plastic props from Spain or Morocco or wherever) - and became a flambeau serviceman in 1948 assisting the Richard­ sons and Montelaros until he took charge himself in 1976. Lazard and other old timers say that close police supervision has made the scene on Lawrence Square tame when compaed to the good old days on Calliope and Rousseau Streets, when up to 2,000 mean, long­ shortly before parade time a curious flat bed truck Comus, Momus, and Proteus, anachronisms shore types would show up at mid-morning anti­ arrives with the filled lights standing upright. The themselves with their Nineteenth Century appear­ cipating the glory and financial rewards of being one lights and flares are issued, the files organized, the ance and unswerving fidelity to tradition, constitute of the fortunate 400 men bad enough to survive the fuel lines are opened, and the flambeaux ignited, a the only environment in which the flambeaux could hand to hand combat involved in keeping their dis­ truly magnificent spectacle! have survived the passing years. As long as these tinctive sacerdotal robes (belt, cuff, and robe). The lure ofchange thrown into the street by parade three krewes maintain their commitment to tradition Nowadays the police see that unsuccessful appli­ onlookers has brought an end to the tradition of and ability to resist the banalization of Mardi Gras, cants are cleared out of Lawrence Square at the stationing the flambeaux alongside the floats. Un­ the tradition of the flambeaux - maybe our last completion of the 'shapeup," and the only real trou­ fortunately, this makes the proper appreciation of the visible link with the Canivals of the Nineteenth Cen­ ble is the jostling and shoving for a better position in lights' effect just about impossible. Veterans say that tury, so much of our social and cultural history and line. the flambeaux are best seen through the smoky red the cult of the old gods- will continue as living When the shapeup is completed a truck arrives haze produced by the flares as they precede the float, reminders of the social heritage that all New Orlea- from the den and the uniforms are issued. Then, the effect being a dramatic, hellish glow. nians share. ·

FEBRUARY1~AVELENGTH19

Things got worse when Lang came home and got a With his record and his Wurlitzer "What'd I Say" job. "First doggone two days I was on the job I was electric piano under his arms, Easterling headed for at the hospital in New Orleans." Lang had had a the city lights of New Orleans where he ended up stroke and at age 43 wouldn't play the blues again. sleeping on tables at the Ship Ahoy on Decatur Street This here's a mean sad world, while waiting for his to come in. And it's gettin' sadder every day. Luckily, Easterling met Joe Banashak, who took Despite his illness, Lang lived comfortably with him in and signed him to a contract, disregarding a his family in Slidell. Although he walked with the whim to call him "Reginald Watkins." aid of a walker, you should have seen him stomp his The success of Easterling's first two Allen foot and yell along when Terry Pattison and I played Toussaint-arranged teenbeat records on ALON him his Guitar Slim-influenced shouter "Hallelu­ showed the influence of Banashak in New Orleans, jah," a song he hadn't heard in 30 years. On March as Ken "Jack the Cat" Elliott of WNOE and Skip 10, 1985, a final stroke quieted the music within Wilkerson of WTIX, respectively, came into Joe's Eddie Langlois. One-Stop, listened to a few bars ofa song, and made "Eddie's a blues man," reflected Eddie's it a "pick hit." brother-in-law and former bass player Johnny Hart After the second release was blown off the air­ before Eddie's death. " He'd sit around and write waves by a whirlwind of Beatlemania, Easterling lonesome songs, you know, like country and west­ took shelter at Papa Joe's Music Box on Bourbon em. But he never did have the blues, 'cause he was Street for an extended hurricane party. "We would always happy. I don't know why he always sang the play the Dream Room from 9 to 2 and then just walk blues." our amps across the street and get set up for the jam session, which was 3:30 'til." SKIP EASTERLING The all-star band at Papa Joe's included Joe "I'm a Fool to Care" Barry, blues guitarist Joey Long, sax Who Put The Blues player Johnny Penino, bassist Earl Stanley and Fulson, Langlois, Eddie Lang, drummer Little Joe Lambert, the latter two of "Pass with Mary Ann Fisher of the Raelettes. In His Blue-Eyed Soul? the Hatchet" fame. Also there was "Jose Mar­ tinez,'' a musician whose parole terms from Angola Charles and Jimmy Reed. lot of white Louisiana singers have been audi­ Prison on marijuana possession charges precluded In 1956, "Come on Home," a country rocker bly mistaken for blacks over the years-Bob­ him singing for his supper. Easterling recalls, Lang auditioned for a man from RPM Records at the by Charles, Frankie Ford, Joe Barry, Jimmie "When I heard him sing 'Holy One,' [a 1958 South Dew Drop and recorded with the studio band ofFats Davis (before he was a governor) ... Joe Louisiana hit] I said, 'You know what? I'm willing Domino, became a big Southern hit. ABanashak told me that fans would literally bet on the to bet your name is Freddy Fender.' He said, 'You're Receiving "nary a cent" for the record and $15 to color of Skip Easterling's skin before his shows. right, man." $20 a night on the road, Eddie came home and But, like Eddie Lang, Easterling was interested in commandeered an existing Slidell band with Joe music, not labels. "Ladies and gentlemen, Mr. Soul!" Allen (piano), Johnny Hart (bass), Louis "Red" Born July I , 1945, in New Orleans, James In 1967 Joe Banashak began promoting Easterling Doucette (drums), Alvin Bailey (alto), and Frank "Skip" Easterling's mother soon moved to Slidell. as a soul artist for two reasons. One, the local black Hopson (tenor) to play local clubs like the Roof At age I0 Skip was set on fire for music from hearing radio stations were more responsive to New Orleans Pavillion and the Branch Inn. The group backed up Elvis Presley on The Louisiana Hayride on WWL. music. Two, the years of all-night gigging and expo­ New Orleans artists and acts like Joe Tex, Lowell "I even talked my mother into driving me all the way sure to his idols like Aaron Neville, K-Doe, and Fulson, and Otis Redding, who offered Lang a guitar to Shreveport so I could see Presley. Well, I got to Eddie Bo had given Easterling a raw-edged soulful job before his final flight. As Lang's wife Lillian see him, but I never did hear anything, because the voice to match the fever Eddie Lang had given him says, "Eddie brought music to Slidell." girls were screaming and the boys were throwing for R&B. In 1959 Joe Ruffino asked Lang over to radio Coke bottles." Eddie Bo produced the superb gospel-soul ballad station WSMB for an audition, which, much to Skip began picking out tunes on his mother's "The Grass Looks Greener," which made number Lang's surprise, became Ruffino's first Ron release. piano and singing in his grandmother's Pentecostal three locally. "We rehearsed it and rehearsed it, and "This fella came to my house and told me, 'Did you church. At 14 he began sneaking into Eddie Lang's Eddie must have had a hundred horns in that studio, I know you had a record out?' I said, 'No.' He said, Bluenote Lounge, where he and Lang traded country mean just rows of horns. Shelley Pope broke it 'Yeah, man, it's soundin' good. They're gettin' to and blues notes. regionally, and it did get me some personal appear­ play it a lot."' In 1962, Easterling recorded a teen ballad with ances, mostly in black nightclubs." Lang's two Ron Records sound roughly like a Lang's band in New Orleans for the first and only In June 1971 Huey Smith's ingenious reworking hellbound locomotive fueled by volcano, with the release on Lang's Reno label. of Muddy Waters' ''I'm Your Hoochie Coochie fierce, chugging riffs of "On My Way," the un­ abashed bashing by the drummer in "Easy Rock­ in'," Lang's blistering solos in "Troubles, Trou­ bles," and a line from "She's Mine, All Mine" that'll survive entropy. Eddie warns that if you mess around with Lillian, " The groundhog's gonna be your pal. " Amazingly, the session players, includ­ ing Mac Rebennack on guitar, were all white. After a couple of soul-blues records produced by Eddie Bo for Seven-B in 1966 (including the superb ballad "The Sad One"), Lang didn't record again until 1973 when he got a call from Senator Jones. "He liked the blues," said Eddie. "I told him that wasn't selling. He said, 'Man, if you do the blues I guarantee you it'll be a big hit.'" "Food Stamp Blues" sold " right off the bat." Lillian recalls, " It was out for like five days and it had sold 15,000 copies." Leased nationally to Jewel _Records, the song received heavy airplay on WSMB in Nashville and was called "in the best B.B. King tradition'' by British blues expert Mike Leadbitter. It and the follow-up "Mean Sad World" revealed a master bluesman, with Lang's new husky vocal style, sly lyrics about Watergate, and "great sting­ ing guitar. " Sadly, Lang was again cheated out of his royalties and locally ''people would get up and walk out'' on a gutter blues they couldn't dance to. A tour with a Mississippi blues band of U.S. colleges in 1976 and Europe in 1977 turned into another disappointment Eddie Lang, wearing the pants in his band, with dj Hugh Wall on sax, at the Roof in Slidell, when the band couldn't even play Lang's hit. circa 1957.

FEBRUARY 1986/WAVELENGTH 21 Man" (with the magnum-funk bass line from King Floyd's "Groove Me," the flute ofTex Liuzza, and Skip's soaring vocals) became a number one hit on Banashak's Instant label, beating out Jean Knight's DISCOGRAPHIES monster hit "Mr. Big Stuff'' on WBOK. "Shelley Pope got on that thing and he played it 1985 Meat Rack Tavern/So in Love Arc We until I got sick of hearing it just right quick. It made Skip Easterling Curella 14255 number one on all the soul stations in the deep South. (Thanks to Ray Topping's N.O. R&B Listings) I made a lot of money off that record as far as -Aibums- personal appearances in strictly black clubs." Play­ -45s- 1981 Southern Blues (Roots of Rock 'n' Roll, Vol. ing clubs across the South for Percy Stovall in which 1962 Angel of Mine/You Think You're Smart (ao; he was the only white in the house, Easterling had "James Easterling with the Bluenotes") Eddie Lang trouble only in Sorrento, Louisiana, where the local Reno 133 constabulary suspected him of being a "Yankee 1963 Don't Let Him (Corne Between Us)/Sugar (Compiled by Terry Pattison & Rick Coleman) instigator." Blocks ALON 9012 Despite some fine blues-funk sides written by Wishing Well/You Sit and Cry -45s- Huey Smith, Skip couldn't manage a follow-up hit Alone ALON 9014 1952 My Baby Left Me/Darling You Know I Love and went home to Slidell to' 'kill termites,'' only to 1964 Little Wonderful Girl/Shiny Gold Ring- You (as "Little Eddie") Bullet 348 answer the call when his friend Freddy Fender, now ALON 9017 1956 Corne on Hornell'm All Alone RPM 466 a major star, needed a keyboard player and warm-up 1965 Run Along Mama/All for You ALON 9030 I'm Beggin' With Tears/You Got to Crawl act in 1978. 1967 The Grass Looks Greener/Keep the Fire Before You Walk RPM 476 Easterling's association with Fender's "Bayou Burning ALON 9033 1959 Easy Rockin'/On My Way Ron 320 Country" band ended tragically on September 14, Just One More Time/He's Got the Whole Troubles. Troubles/She's Mine, All Mine 1981 , when the band's bus went out of control on World in His Hands ALON 9034 Ron 324 Interstate 10 south of Slidell, killing the driver and 1968 What Do You Suppose/Why Did You Choose 1966 The Love I Have for You/Something Within drummer Joe Lambert, a close friend of Easterling. Mine ALON 9038 Me Seven B 7006 It has only been in the last year or so that Skip has Pennsylvania Coal Yard Blues/Bandida 1967 The Sad One!Souling Seven B 7014 returned to performing locally, only to be met with Woman ALON 9039 1973 Food Stamp Blues (Pt. I )/(Pt. 2) the passing of both his musical mentor Eddie Lang 1971 I'm Your Hoochie Koochie Man/Ooh Poo SuperDome 504/Jewel 841 and Joe Banashak, whom Easterling calls ''the clos­ Pah Doo Instant 3309 1974 Mean Sad World/Bringing Back Those Old est thing I had to a father." Banashak was planning Too Weak to Break the Chains/l'm Your Days SuperDorne 505 an album of Skip's songs shortly before his death. Man Instant 3311 II) (The first release of ''Hallelujah.·· re­ Nevertheless, Easterling's first new record in I Don't Know/If I Ever Get Back Instant corded 2119/54) Savoy 2255 twelve years, "Meat Rack Tavern," is a gutty rock­ 3312 1984 Nashville Jumps: R&B from Bullet 1946- er and he's working on an album. You see, he's 1972 Coo Coo Over You/Travelin' Mood Instant 53 Krazy Kat 783 learned a lot about soul. 3315 Blues from La. to L.A. P-Vine 724 "I wanted to feel what the others were feeling Odeo Odeo Odeo/Walking on Edges In­ WWOZ-FM 90.7 will be broadcasting an Eddie when I listened and watched them sing. But I did it stant 3320 Lang special on February 26 at 7 p.m. wrong. All you got to do is just let it come out. You don't have to sound like this one or that one. If you do it from you heart, then that's soul feel in'." 0 1986 MARDI GRAS .MAMBO llllllllllllllllllllllllllllllllllllllllllllllllllllmllllllllllllllllllllllllllllllllllllllllll Featuring the Krewe 11111111111111111111111111111111111111111111111111111111111 DOCTOR JOHN THE NEVILLE BROTHERS UD THE Dirty Dozen Brass Band

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SATURDAY, FEBRUARY 8th · SHOWTIME 10 PM. I INSIDE THE BIENVILLE ST. WHARF AT CONTI & THE RIVER rn (NEXT TO THE STEAMBOAT NATCHEZ) TICKETS AVAILABLE AT ALL TICKETMASTER LOCATIONS. FOR MORE INFO CALL 586-8777 orot~UCI~d by the Jackson Brewery and The New Orleans Steamboat Co. By Tom McDermott

~~ ~~~ ~~~~ ~Uf~~ ll~~ JAM

In the analysis of James Booker's work reveals adeft synthesis of many styles transformed into a breathtaking and personal music

itting at the bar in Snug Harbor recently, I asked the barmaid if she'd ever heard James Booker there, back in the days when it was the SFaubourg. "Yeah," she sniffed, "but I don't much care for stride pianists.'' "Well I wouldn't call him a stride player," snorted. "What would you call him then?" "Booker ... is Booker!" That inarticulate riposte prompted this analysis of the work of a man I'd listened to more than any other recorded pianist, yet heard in the flesh only once (hence my badgering of anyone who may have heard him live). As regular readers of this periodical surely know, James Booker was a magnificent musician. And while it is blasphemy in some circles to do so, I would place him in the same class as jazzman Art Tatum. There are many similarities. Both were un­ fathomable virtuosi, both visually impaired. Both were content on occasion to embellish rather than improvise. Both utilized a very personalized stride style at times. Both had an affinity for paraphrasing classical music, a result of their training. Most im­ portantly, both took a number of styles- Booker, traditional jazz, gospel and boogie-woogie; Tatum, every style of pre-1930s jazz piano - and trans­ formed them into something personal and breathtak­ ing. Booker was the New Orleans pianist who best synthesized the traditional jazz and R&B schools. How did he accomplish this? Above all, with an ingenious left hand. First, let's look at his predecessors. The typical ragtime/traditional jazz piano left hand alternated a bass note and a chord, like so:

a:

Jelly R{)ll Morton, who more than anyone bridged ragtime and traditional jazz, was more rhythmically I sophisticated, throwing in trombone-like eighth­ ~ note octaves and staggering the oom-pah beat: ~ J? :1 •t; 1iBB II· :IJ;:I )j -L------~------~ I FEBRUARY 1118/WAVELENGTH 23 Jumping ahead twenty or thirty years, a typjcal all resurrected in the form of 'Little Chopin' in rhythm-and-blues pianist might do something like Living Color.") this: I' t --EUttb If1l i·Jll' . Of course, Booker had many variations within this It's a deft combination of traditiomil jazz and mode. In his recording of Longhair's "Bald Head" R&B. With his hard accents on the third and seventh on the Classified album, he uses what was for him a beats, the ragtime bass oom-pah feel is preserved, common device: while the eight beats-to-the-bar of R&B and/or boogie is fulfilled as well. Crucially, there's almost always a bass line going within this style, adding a strong, unique foundation to it. with either the left hand taking the bass line and the Essentially, Booker played with his left hand what right chomping out the chords, or with a bass playing many pianists needed both hands to execute. By Local pianist Amasa Miller says Booker would the lowest line, the left hand taking the chords"and doing so, he followed Jelly Roll's dictum that "The often use this left-hand roll to roll into a fat four-note_ the right hand playing bluesy configurations. Some­ piano should sound like a whole band." (Booker chord-a technical impossibility for almost anyone times an average R&B pianist did nothing more than was more influenced by Morton than many people else. beat out eigh~ chords to the measure, giving the realize; on the back of Junco Partner, his LP on the And on the singular'' Pixie'' (off the Island LP) he mtJsic its characteristic motoristic feel. British Island label, he describes himself- with a uses a rhythm which is unique in his recorded work Booker used many different left-hand patterns, bragadoccio Morton would've loved - as a as far as I know: but his most common is akin to this: reincarnation of "Morton, Mozart and W .C. Handy,

While in this mode, Booker would often use dif­ ferent voicings for the same chord within the same piece. When he accompanied his singing, both Bon Ton West hands would shift down the keyboard, with the right "Good time music for all occasions" hand maybe just playing octaves of the chord, so as to not interfere with vocal line. When soloing the left P.O. Box 8406 Santa Cruz, Ca. 95061 (408) 425-5885 hand would hop up and cover the ground previously covered by the right, yet still provide a bass line. JOE \..\GG\NS & According to veteran Bookerphiles, Booker never played anything approaching the up-tempo stride piano immortalized by James P. Johnson or Fats Waller. His version of this style was usually saved for relaxed renditions of pop tunes like "Until the Real Thing Comes Along" or "Sunny Side of the Street.'' His right hand never used the cliches of the stride school, and his left hand was atypical as well. Instead of playing a single note bass or a solid tenth, he'd often play a tenth broken downward. By doing this, he changed the feel from 4/4, the meter for . stride, to 12/8, a common R&B meter. From "Sun­ OTHER ACTS AVAILABLE: Ou~~l\l ny Side": Jimmy McCracklin & Lowell Fulson "The Original Tramps" I? ·ftJ f ·ij- f Johnny Adams - . ·-... . "The Tan Canary" Earl "Trickbag" King Booker's right hand was an odd mixture of blues, the ''rolls' • that have been part ofevery New Orleans James Harmart-Sand pianist's repertoire since Gottschalk, and European "Those Dangerous Gentlemen" extravagance. Like Tatum, he was at times positive­ The Paladins ly verbose. His right-hand filigree could be in­ "Hot Rockin' Trio" cessant, with masterfully textured layers of arpeg­ Johnny Heartsman & Frankie Lee gios slowly ascending or descending the keyboard. Yet, at other times he fell back on a few simple .. "West Coast Blues Legends" devices. One that he used over and over again was Beausoleil the tritone interval, played thusly: "Uvely Cajun Dance Band Rockin' Dopsie & The Cajun Twisters Clarence "Bon Ton" Garlow ''REBIRTH J'.a,.. and many others BA ~" Mac Rebennack postulated in an interview last t f No stJmmer that this was a remnant from Booker's days in the Fifties when he toyed with bebop piano. Re­ bennack was of course a student of Booker's, and though his music shows more of Longhair's in­ fluence, some of his figures, such as this bass line from "Big Mac," sound very Booker-derived: I? ,[Jill f.f}i) It is the contention of many Booker-watchers that no album has ever captured him in top form. While I find it hard to believe anything could surpass his version of Toussaint's "Life" on the Piano Prince from New Orleans LP, perhaps the release of even Cajun-Creole Catering • Carnival Throws • Mardi Gras Favors more posthumous albums will push Booker's reputa­ tion beyond that of New Orleanians and assorted II Best Wishes '86; Happy Mardi Gras Feb. 11" musicians and critics around the world, and ~rmit him to join the revered Crescent Citt_pantheon of Armstrong, Morton and Longhair. U

24 WAVELENGTH/FEBRUARY 1- - 711 Club, 711 Bourbon, 525-8379. Tues.-Sat. , from 9:30, Randy Hebert, in the Showbar. CONCERTS Wed.-Sun., 9 p.m.-2 a.m .• AI Broussard in the Main Bar. Saturday, 8 Snug Harlror, 626 Frenchmen, 949-0696. Sat1: Earl Turbinton and Willie T. Sun.2: Fran Com­ lardi Gras Mambo, aboard the Steamer Nat­ iskey & Jimmy Robinson. Mon.3: 9th Ward chez, Bienville Street wharf, 10 p.m.; between Millionaires. Tues.4: Bongo Trio. Wed.5: David fore and aft: Dr. John, the Neville Brothers. Torkanowsky Trio. Thurs.6: The Pfister Sisters TICketmaster. paying tribute to M·M·M-Momus and K-K-K­ Katie. Fri. 7: King Nino and the Slave Girls, Thursday, 20 courtesy of the Port Said Chamber of Commerce. Jilin Cougar Metlencamp, LSU Assembly Center, Sat.8: The Dirty Dozen. Sun.9: Pellera. Dagradi, Baton Rouge; if t admit I like this guy, all of my Singleton and Vidacovich-that's right, your next cool friends (all two and a half of them) will never city council. Mon.10: 9th Ward Millionaires. let me live it down, but you have to like someone Tues.11: Amasa Miller entertains folks straggling that waltzed with the late epitome of awesomely in after the truck parades and Comus, 4-9, adipose glamour, 'Edith (Aunt Ida) Massey in a followed by Blue Lunch. Closed Ash Wednesday_ video and even had the nerve to put her on an Thurs.13: Mike Pellera Quartet. Fri.14: St. album cover. Valentine's Guitar Massacre with Jimmy Robin­ son. Scott Goudeau and Steve Masakowski. Friday, 21 Sat.15 : Earl Turbinton, Tony Dagradi and Victor Anne Murray, UNO Lakefront Arena; I was gonna Goins. Sun.16: Torkanowsky, Masakowski and say call Pine's for information but then my Dagradi, yes, the next St. Bernard Police Jury_ lesbian-feminist friends (all three and a half of Mon.17: Li'l Queenie and Amasa Miller. Tues.18: them) would not only never let me live it down, ·. acoustical guitarist Benjamin Brandt and Lon Ro­ they fix it so I couldn't live it up either so I'll just jas. Wed.19: the Willie T Trio. Thurs.20: The forget the cheap wisecracks. Refugees. Fri.21: Women In Jazz with Charmaine Neville, Arlee Leonard, Fran Comiskey, Patrice Thursday, 27 Fisher. Sat.22: Edu and the Sounds of Brazil. 1lle Count Basie Orchestra , under the direction Sun.23: Angelle Trosclair and Mike Pellera the of Thad Jones will swing with the big band sound, way you've always wanted to see them ... breath­ and Festival producer/pianist George Wein steps ing. Mon.24: Jorge Maharak Quartet. Tues.25: inlostridewiththe Newport All Stars, local dimen­ The New Stick Band . Wed.26: The Tony Dagradi sion added by Hot Strings, Orpheum, 8 p.m. Trio. Thurs.27: Trinity featuring Earl Turbinton. Fri.28: Germaine Bazzle with Ellis Marsalis' Quartet. Friday, 28 Storvyille, 1100 Decatur, 525-8199. Sat.1: Ted­ SIMI Nicks, LSU Assembly Center, Baton dy Riley, 8; Luther Kent, midnight. Sun.2: Wan­ Rouge. da Rouzan and David Lastie, 2; Mimi Guste. 7; John Lee Hooker, Robert Gray Band, Coast to Coast Blues Band ($10), 9. Mon.3: Teddy Riley, 8. Tues.4: Chris Burke, 8. Wed.5: Chris Burke. LIVE MUSIC 8. Thurs.6: Teddy Riley, 8; java. midnight ($3). Fri. 7: Chris Burke, 8; Bayou Renegades, mid­ night. Sat.8: Wanda Rouzan and David Lastie, ~ FRENCH QUARTER, noon; Robert Gable Quartet with Nancy Fischer, 4 MARIGNY & CBD p.m.: Teddy Riley. 8: Luther Kent. midnight. Sun. 9: Rouzan and Lastie. noon; Gable and The seemingly immortal John Lee Hooker (who boom boom boom boom put you in his Fischer, 4 p.m.; Kenny Acosta and the House Albst Cafe, 608 lberville, 523-9358. Open stage house!) on Sunday, 2 at the Storyville Jazz Hall. Wreckers, 8; Luther Kent, midnight. Mon .10: daily from 3 p.m.' to 4 a.m .• but look for jazz, Rouzan and Lastie, noon; Gable and Fischer, 4 blues, C&W, bluegrass, Japanese koto music, p.m.; Teddy Riley, 8; Luther Kent, midnight. V1e11nese waltzes, clog dancing and what have (one ser only before they take off for the Comus Mayronne, Fridays and Saturdays 8 to 1 a.m. Tues.11 : Rouzan and Lastie, 11 a.m.; Gable and you; the French Ticklers appear here often, and ball); J.D. and the Jammers at 8 p.m. Sat.15: Landmark Hotel, 541 Bourbon, 524-7611. Fischer, 3 p.m.: Chris Burke, 7; Luther Kent, 11 . not in a vending machine in the men's room The Radiators in their usual get-bent-for-Lent ex­ Mondays-Thursdays, 5 to 9, and Saturdays and Closed Ash Wednesday. Thurs.13: Teddy Riley, either. travaganza. Sat.22: The Radiators. Fri.28: Uncle Sundays from noon to 4, Bob Sloane. Monday­ 8. Fri.14: Chris Burke. 8: Continental Drifters, lllyard's Jazz Alley, 701 Bourbon, 524-9200. Stan and Auntie Vera. Wednesdays, 9 until 2 a.m. and Fridays­ midnight. Sat.15: Riley, 8; Gable and Fischer, Jazz Unlimited every night, from 8. Opening at 2 Fairmont Court, in the Fairmont Hotel, 529-7111. Sundays, 4 until 9 p.m .• Mike Bunis. Thursdays­ midnight. Sun.16: Rouzan and Lastie, 2; Mimi p.m. daily from Wed .5 through Mardi Gras. Mon.-Sat., from 9, Ginny Chehardy. Sundays, 9 p.m. to 2 a.m., the Bobby Ellis Guste, 7. Mon.17: Riley, 8. Tues.18: Burke, 8. Blue Room, in the Fairmont Hotel, 529·7111. Famous Door, 339 Bourbon, 522-7626. Music Quartet. Wed.19: Burke, 8. Thurs.20: Burke, 8; Java, Dancing, dining, chic and eclat. Through Tues.4: every day: Oliver and the Rockets from noor.. Maison Bourbon, 641 Bourbon, 522-8818. _ midnight ($3). Fri.21 : Burke, 8; Rouzan and always-smiling-bluesman Joe Williams. Wed.5 Thomas Jefferson and His Creole Jazz Band from Tues.-Thurs., 2:20-7:15, Sat.. 4·8:45: Lloyd Lastie, midnight. Sat.22: Riley, 8; Ernie K·Doe, Utrough Tues.18: the Coasters, who have been 7 p.m. AMFM from midnight until almost light. Lambert. Wed.-Sun., 7:30-12:15 a.m., Sat., 10 ($5). Sun.23: Rouzan and Lastie, 2: Mimi scratched by Poison Ivy. clowned at by Charlie Fandango's. 601 Tchoupitoulas, 524-7907. 9-1:45 a.m.: Lou Sino. Mon., Tues .• 7:30-12:15 Guste, 7_ Mon.24: Riley, 8. Tues.25: Burke, 8. Brown and crawled on their bellies like reptiles Reopening after Carnival. Call for information. a.m .• Wed ., 2:30-7:15, Sat., 11 a.m.-3:45: Wed.26: Burke, 8. Thurs.27: Riley, 8; Java. with the scandalous little Egypt. From Wed.19: Feelings, 2600 Chartres, 945-2222. Call for Johnny Hom. midnight ($3) . FrL28: Burke, 8; Leon Russell, 10 8.8. King about whom comment is, how you say, lineup (&or to get into one). Mahogany Hall, 309 Bourbon, 525-5595. Sun.2 ($10). superfluous. Reservations. 544 Club, 544 Bourbon, 523-8611. Gary Brown through Thurs.6: Banu Gibson. FrL7 through Town Hall Theatre Pub, 642 North Rampart, lilt's Ramada Inn, 1732 Canal, 525-5525. and Feelings, Wednesday, Thursday and Sunday Mon.10: The Dukes of Dixieland. Thurs.13 581·9705. Fridays and Saturdays, the Nasty Fri.7-Mon.10: Rainstreet. Fri.14: On The Verge. from 9 until 3, and Fridays and Saturdays from through Mon.17: Banu Gibson. Tues.18: Catfish Girls, including that incomparable mix of lard and Fri.21: Rainstreet. Fri.28: Flight 19. Music 9:30 10 until 4. Southern Cooking, Mondays and Hotel Orchestra. Wed.19 through Sun.23: Banu second-hand-sable Miss Boobie, 10:30 p.m. and to 2 a.m. Tuesdays from 9 to 3, and Saturday and Sunday Gibson. Mon.24 and Tues.25: Catfish Hotel Or­ 12:30 a.m. llwl)arte's Retreat, 1007 Decatur, 561-9473. from 3:15 to 9:15. chestra. Wed.26 through Fri.28: Banu Gibson_ Tropical Isle, 738 Toulouse, 523-9492. Fridays­ Fred McDowell daily 4-7 and 10:30-12:30 p.m. Pete Fountain's, in the Hilton, 523-4374. Pete Maxwell's, 400 Burgundy, 522-0879. Call for Saturdays, 10 to 2 a.m .• Peter Williams. 1111w House, Jackson Brewery, Der.atur St. , Fountain and his band nightly at 10; one show February listings. Windsor Court Grill Room, 300 Gravier. 525-9843. Call for February listings. only, reservations _ Old Absinthe House, 400 Bourbon. Wednesdays­ Tuesdays-Saturdays, 7:30-11:30: Joel Simpson Cale Brazil, Chartres at Frenchmen, 947-9386 . Gazebo, 1018 Decatur, 522-0862. Saturdays and Mondays: Bryan Lee and the Jumpstreet Five, with Richard Payne. Sat.1, Fri.7 and Mon .19: Carnival Ball with the Sundays, 11 a.m. to 1 p.m., The Pfister Sisters 9:30 to 2:30. Tuesdays: Mason Ruffner and the Samba Devils (I do like that name!). Tues.11: whose idea of a Carnival ball. and it ain't a bad Blues Rockers, beginning at the same lime but Edu and the Sounds of Brazil with special guests, one, is that of the Darktown Strutters. With ending thirty minutes earlier...... -UPTOWN among them Don Lee Keith with an upside-down­ Amasa Miller at the none-too-virginal virginal. 1 Old Opera House, 601 Bourbon, 522-3265. Tues­ Waldorf-Salad on his head . Thurs.20 and Fri.21: to 6 p.m., John Royan's New Orleans Rhythm. day and Wednesday and Saturday: Chocolate PefS()na non grata, a play. Weekdays: Assorted ragtime piano players noon Milk. Thursdays, Fridays and Sundays: the Bayou Blue, 3625 Prytania, 897-6100. Com­ Cosimo's, 1201 Burgundy, 561-9018. Call for to 4 p.m. , Opera House Band with the BT Connection. poser/pianist Tim Davis, Wednesday through February events. HiHon Hotel, Poydras at the river. In the French Preservation Hall, 726 St. Peter. 523-8939. Saturday 7 to 10, and for the first eleven days of Creole Quean, Poydras Street Wharf, 524-0814. Garden: Sandy Hancock Cash Plus More. Son.: Harold Dejan and the Olympia Brass Band. February as well. nightly. Nl9htly, with lxlarding at 7:30. Andrew Hall's Hotel Meridian, .614 Canal, 525-6500. Jazz Mefi· Mon. and Thurs: Kid Thomas Valentine_ Tues. Benny's Bar, 938 Valence, 895-9405. Tues.11: Society Jazz Band. - . dien Room: Mtm .-Sat. 5:30-8:30: Steve Pistori­ and Fri.: Kid Sheik Colar. Wed. and Sat.: The PauWand the Pontiacs. Most Mondctys.: J. Mon­ Dream Palace, 534 Frehchmeri. 943-6860. Sat.1: ., us. NlghUy .!i>.to42: TuQS~. La. Repertory Jazz Humphrey Brothers. Sat.~2 from 1i5 Ptfll~ · 1h.e q~ Most Wednesdays: JD and the Jammers. Radiators. Ftt1: The CdtlllMntal Drifters. Sat.8:, Ensemble. We(l.p,N.O. Classft; Orchestra_Thurs .: New Orleans Ragtime Orchestra. · ' ' _, Most"Thursdays: Blue Lunch. Schedule flexible azydeco ball Y(ith..Zathary Richard who has nevef N.O. Home Grown. Fri.: Razzberrie Ragtimers. Royal Sonesta Hotel, 300 Bourbon, 586-0300. In as an old pair of my pantyhose, so you might look shown his zy~jlCO balls to me. Sun.9: Marcia Sat.: Creole R1ce Jazz Ban

FEBRUARY 1986/WAVELENGTH 25 ·- ·---;- -=- perhaps the Dirty Dozen. can lor certain. (and they've seen plenty, baaah-aaah!) . There Jimmy's, 8200 Willow, 866-9549. Sat.1 : True • MID-CITY will be celebrity JUdges. and there are four Faith, Lenny Zenith (defender of the faith, at least categories, Fantasy. Male, Female and Group. Faith Oomergue) , Reality Patio. Tues.4: Big Chief Clpp's, 111 N. carrollton, 484-6554 . Tues.4: Winners get silver cups as well as plenty of nifty Bo Oollis and the Wild Magnolias. Wed.5: Big Multiple Places. Fri. 7: Up Front. Sat.8: Bas Clas; remarks from the always-dignified crowd; and Chief Johnny Oeddes and the Wild Tchoupitoulas. Force of Habit. Sun.9: Multiple Places. Mon.10: anyone can enter-you, even you-just by Thurs.6: Nighthawks preceded by Mistreaters. Lenny Zenith. Fri.14 : Four For Nothing. Sat.15: registering in person at Cafe Lafitte In Exile sounds like a recipe lor some kind of night. Fri. 7: Exit 209. Fri.21 : The Mistreaters. Sat.22: Reality where the awards repose grail-like in their case, Radiators. Sat.8: Uncle Stan and Auntie Vera. Patio. Fri.28: Vital Functions. or by phoning (for the faint of heart) 522-8397. Sun.9: wall-to-wall and stall-to-stall and toe-to­ Chinatown, 1717 Canal St., 525-7937. Fridays: The gentlemen, and we do mean gentlemen, at toe with the Fleshtones, dB's, Let's Active and Vietnamese music from 9. Other nights: Voi Wood Enterprises, which Is presenting the the Continental Drifters. Mon.10: Or. John and nhung chuong dac sac do cac nghe si thoi danh Awards, is prov1d1ng matching monies of a the Golden Eagles (and probably a lew ex­ tu San Francisco, Los Angeles, Houston ... ve sort-$5 for each contestant to be g1ven by the Roneagles). Fri. 14: Force of Habit; Bas Clas. trinh dien, Vol cac loai thus pham kho dac sac. bar to Father Bob Pawell's Project Lazarus. Sat.15: Mason Ruffner and the Oino Kruse Band. Co ban va cho muon bang nhac, video tape , residence for indigent PWA' s, which is at the mo­ Wed .19: Yesterday (and where are their snows cassette. ment abOut the best cause there Is. So get on that I'd like to know?) Thurs. 20: The Tell (not to men­ Dorothy's Medallion, 3232 Orleans Ave , stage, wouldja! tion the Kiss Ands) . Fri.21 . The Radiators. 482-9239 . R&B . Sundays : Johnny Adams with Sat. 22: The Petries Thurs 27 : Four lor Nothing Walter Washington and the House Band. 11 p.m. Saturday, 22 & Sunday, 23 Fri.28 Java . to 3 a.m Louisiana Black Heritage Festival, w1th events Madigan's, 800 S. carrollton, 866-9455. Sun 2 Plrkview Tavern, 910 N. Carrollton, 482·2680. simply all over the map all day each day At the and 16: John Rankin but call first to make sure. Sat.1 and 8: J Monque'd. Fri.7 and Sat.22 New Orleans Museum of Art: a Classic Black Film Maple Leal, 8316 Oak, 866-9359. call 'em, we Mason Ruffner and the House Rockers. Fri.14. Fest1val , from 10'15 a.m. to 4:45p.m. on Satur· ain't tellin' you nothin'. Oh . so you won't talk, Ray Bonneville Blues Band. Sat.15: Paula and the day and from the same time in the mornmg to huh? Pontiacs. Fri.21 : The Renegades Fri.28. The 9th 2:30 p.m. on Sunday. The Oooky Chase Collec­ Nexus Uptown, 1700 Louisiana Ave., 897-1717. Ward Millionaires. tion of Alro-Amencan Art on show bOth days, a Fri. 7 and Sat.8 Jean Carne and the Norman concert of Black Choral Music from 2:45 to 4 Connors Jazz Band . p.m. on Sunday. At the LOUISiana State Museum: Penny Post, 5110 Oanneel. Sundays: Always • N.O. EAST a walking tour of Vieux carre Black History at 10 open mike. Check the board as you go in. a.m. bOth days, lectures and films and a Jazz Pontchartrain Hotel, 2031 St. Charles Ave .. Funeral procession on Saturday. an iron works 524-0581 . Piano bar in the Bayou Lounge nightly Beau Geslt, 7011 Read Blvd ., 242-9710. jenny­ exhibit bOth days plus an exhibit on Louisiana's from 5: Tom McDermott, Mondays-Fridays until Fri.-Sat., 10-3, Rocking Jenny (because of Life. Black Inventors and Inventions. At AudubOn Zoo: 8, and Mondays-Wednesdays 9 to midnight. carl women have to rock too) and the Spice Jazz a Black History Walk of Fame, jazz . a recreation Franklin, Thursdays-Saturdays, 8 to midnight. The Club, 1701 St. Bernard. 94 7-9334. -.t workshops every Suoday from 7 to 11 . of the French Market As She Was (and other Tlpltina's, 501 Napoleon . Once more unto the Poetasters, rhymesters, makers of terzets Historical Moments). a Gospel Tent and Creole breach, lor God, Harry and St. George, etc. Faces, 8833 West Judge Perez, Chalmette, 279-3223. Call for music details for February. and villanelles, etegists, sonneteers, Food Fest. Call for the Zoo's musical lineup at Sat.1 : Irma Thomas. Sun.2: Clones Ball, see versifiers, rhapsodists ... at the Maple 861-2537. elsewhere lor impertinent details. Mon.3: open. Leaf's Mardi Gras Poetry/Prose Tues.4 : Taj Mahal and R.L. Burnside. Wed.5: A ~METAIRIE Monday, 24 Roomful of Blues w1th Earl King and Mason Ruff­ Extravaganza, Sunday 9. and the Blues Rockers. Thurs.6: The 01rty The Bum's Rush at the Maple Leaf, with R.K. ner ' Dozen and The Chosen Few Brass Bands. Fri. 7: Copeland's Cite, 701 Veterans Blvd. Sunday: the Maple Leaf Poetry Readings Barclay, Ronnie Reject, Peter Gabb and a 'host Netto and Nighthawks with Gatemouth Brown. Sun.9: The Jimmy Maxwell Tno, featuring Rene of New Orleans street entertainers and comedi­ Sundays at 3 p.m. 2nd: Ken Fontenot 9th: Ump­ an/ ennes . 8:30 p.m. $2. Neville Brothers. Mon.10: The Radiators . Bob Tassin, from noon to 3. . teenth Annual Grand, City-Wide, No-Holds-Bard Tues.11 : Marci3 Ball. Fri .14: Uncle Stan and Docks, 3624 Florida Ave., Kenner, 468-9964 male strip­ Mardi Gras Poetry/Prose Ex1ravaganza (open Auntie Vera and The Petries. Sat.15: Dash Rip Country music nightly; Wednesdays: pers. for ladies only, 8 to 10. mike/costumes optional) . 16th' Larry Johnson. Rock. Johnny J and the Hitmen, Mistreaters. 23rd Troy Adams. Tues.18: The Pfister Sisters. Wed.19: Steve Godfather Lounge, 3012 N. Arnoult. Call for VIDEO February dates. Morse Band. Thurs. 20: The Survivors, plus Fair Grounds Race Track Music City, cable Channel 2, replays on Stephen Stills Sat.22: hottentot potentate Clifton Lindmark Hotel, 2601 Severn Ave .• 888-9500. 1751 Gentilly Blvd • Clubhouse reservations Wednesdays: 5th: Street Music. 12th: The Chenier. Tues.25: Continental Drifters. Wed.26: Tuesdays through Thursdays at 9, and Fridays ' Jazz 943-2200. Post time daily at 1, Wednesdays Golden Eagles. 19th: The Storyville Sessions. Omar and the Howlers. Thurs. 27: Lenny Zenith and Saturdays at 10, the Creole Gookin Band. through Sundays, save for Fridays at 3 p.m. 26th: The Improvisational Arts Quintet. Band , Reality Patio, Barbara Menendez Band . Open Shrove Tuesday with a 1 p.m. post time. Fri.28: Buddy Guy and Junior Wells. NO-TV, Cox Cable Channel 06, Thursdays al 6:30; sponsored by Wavelength and following, • WEST BANK Sunday, 2 desp1te the nebulosity required to preserve on­ ~ LAKEFRONT Clones Ball, Tipitina's, 8 to midnight. Jim the-air spontaneity. the basic format of this very Bronco's, 1409 Romain, Gretna, 368-1000. Mon­ McMahon told me when I ran into him at my magazme To be featured, among other things, days, Wednesdays, Fridays, Saturdays: Missis­ accupuncturist (where I reminded him that I interviews w1th Aaron Neville. Mason Ruffner Nexus, 6200 Elysian Fields, 288-3440. Fridays: sippi South. could make his booty feel better than that) that Johnny J and the Hitmen , and the Circle Jerks ' Severn. Manuel Garcia and George Torkanowsky. Copeland's, 1700 Lapalco. 364-1575. Jazz NOVAC . Sat.22: NOVAC and the CAC are French, 6:30 p.m. to 2:30a.m. Saturdays: same the Clones would parade on Super Bowl weekend from noon to 3. and I said, "Oh no, Jim, raising/ grant-writing Black Tie brunch Sundays over his dead bOdy, cosponsoring a fund- band from 11 to 3 a.m. Sun.9: Annual Club, 1801 Stumpf Blvd., 367-9670. Wed­ Gras party begins at 8 p.m. call lor infor­ 1801 anything but that!" so they came to their senses workshop for film and video production. Also Mardi Lynn and Ya they're mation. nesdays through Saturdays: Janet and decided they wouldn't parade, but coming up: scriptwnting and advanced editing Ya. still having the1r ball, caribbean dress and masks workshops, as well as continuing programs and 6207 Franklin Ave., 288-5550. call PrlvltMn, Fit 505 Gretna Blvd., 362-0598. call for and classes in video production and ed1t1ng; for infor­ lor February dates. cats, required, with music by the Samba Devils February listings. contact Rhonda Fabian, 524-8626. Rock 1928 West End Park, Java. mation Stan's H~rd Cite, , 288-0044 . Sat.1: Lillian Axe. Wed.5 through Frogglls, 403 West Bank Expressway St. Bernard Report, w1th Mary Serpas and Bill 367 ·0227. The Oino Kruse Band every Thursday. Estives, Channel T-33, Group W; interv1ews w1th Fri. 7: Winterkat. Sat.8: Razor White. Sun.9 and Tuesday, 11 local and national acts, 6 p.m. Monday-Friday. Sat.10: Man Man from New York. Fri.14: St. 23rd Annual Bourbon Street Awards, held this Channel 12, PBS. Sun.2: Great Perfor­ Day Metal Massacre with Lillian Axe year not on BourbOn Street but at Burgundy and WYES, Valentine's mances: Einstein On The Beach: The Changing to make AI capone curse the St.Ann which probably won't make BourbOn and more, enough RANDOM Image of Opera, documenting the Robert Wilson/ day he invented the damn thing. Sat.22: Y and T Street any belter, to be emceed by Beck Allen (no T&A?). DIVERSIONS and Ricky Graham who bOth know snazzy Philip Glass opera, recommended to those who threads and a good drag when they see them _....~~.--~

Night Proceuion of "The My5tic Krewe of Comu5." (From the llluatroted London New$ of Moy 8, 1858.)

28 WAVELENGTHIFEBRUAAY, 1- can abide Mr. Glass' " style" of stuck-needle on earth, The World, The Flesh and The Devil. Orleans Jazz. two large and self-explanatory ex­ stnng crescendos; 1 p.m. Brown Sugar, based Fri. 7 through Thurs.13 ColOnel Red/, a film by hibits. we guess on Donald Bogle's pictorial volume on THEATRE Istvan Szabo about the same Austro-Hungarian Mario Vila Gallery, 3908 Magazine, 895-8731. black entertainers/ d1vas and includmg footage of homosexual who inspired John Osborne's phan­ Through Wed 26: works by Donna Lief, Chns­ Blyou Dinner Theatre, Bayou Ethel Waters, Dorothy Dandridge, Bessie Smith, Plaza. 4040 Tulane tasmagoric A Patriot For Me. with the feline­ topher Guarisco and punster George Febres. Joseph1ne Baker (pronounce Zho-sa'phine Bah­ Avenue., 244-1444. Through April6: Chapter 11. faced, dome-headed Klaud Mana Brandauer in New Orleans Museum of Art, City Park. kair', pJeasel), etc.; 2 p.m. Sun.9 Brown a Neil Simon play about Startma Over the title role Fri.21 through Thurs.27 : Subway, 488-2631. Through March 9: The 1986 New Sugar, part two including such gnm-th1rties Borsodl's Coffeehouse, 5104 Frere!, 895-9292. a perfectly ghastly bit of trivia I recently suffered Orleans Triennial, The Centenmal Exhibition, a IcOns as Fredi Washington, Louise Beavers, the Acting Theatre presents The One Dol/a Opera!, a through in New York, directed by Luc Besson selection of work by a not particularly adven­ adorable lvle Anderson, Butterfly McQueen, Hat­ play by Bob Borsodi d'apres John Gay's scan· with Isabelle Adjani and Christopher Lac!lei1 turous set of name artists; through March 29: A tie McDaniel, Marian Anderson, Ethel Waters, dalous 1728 burlesque ("first given at Lincoln's flashing their bad teeth as. respect•\'t n Tflbute to Ansel Adams; from Fri.14: The Dia­ etc.: 2 p.m. Chappy Goes to Mardi Gras, in Inn Fields under John Rich, thus, as it was said, unhappy society bride and an exc~ssivc-J ~ooky mond Jubilee History Exhibition: Part I, The which our dear friend Henri Schindler is every bit ·making Gay rich and Rich gay,' " says my an­ gentleman thief hiding in the Metr.J who has rob­ Volunteer Directors, 1910-1948. Free admission as swell as he IS in real life' 3 p.m., repeated cient Oxford Companion to the Theatre, and to the Museum bed her; Michel Galabru g1ves a 1Jud ;ol!d per­ on Thursdays through the year; Tues.11 at 9 p.m . Mon.10: America's Mustc: ahem, says 1), with the author as Captain Mac­ formance as a police inSpector y. 10 has Heard It Group tours for the deal the fourth Sunday of Rhythm and Blues, hosted by Billy Eckstine and heath (did you think he'd opt for one of the lesser All, but the film is ma1nly recom1~ended to those every month indudmg footage of Ruth Brown, Gloria Brown , roles?), John Stell and Randy Cox as the who swooned over the equally vap1d and gim­ Posselt-Baker Gallery, 822 St. Peter, 524-7572. Billy Preston, etc.; 7 p.m. Sun.16 : Brown Sugar, Peachums, Judith Wester as Polly, their micky Diva. From Fri.28 through March 6, From Fri. 1· paintings, drawmgs and collages by part three dealing with the 40s and 50s and in­ daughter. Randy Perry and Sarah Beth Flinn as Always, a film by Henry J.. glom in which the Marty Blade and Randell Henry. cluding the likes of D1nah Washington, Eartha Lock it and his daughter Lucy. A mere buck to director and his ex-w1fe Patrice Townsend play Tilden-Foley, 4119 Magazine, 897-5300 Kin, bronze bombshell Joyce Bryant, Katherine see: performances at 8:30 Fridays and Satur­ two people very much like Henry Jaglom and his Through Wed .19 monotypes by Adnenne Ander­ ~nham. Hazel Scott. Mahalia Jackson. and of days, .Feb .1, 14 and 15, 21 and 22 ex-wife. son. From Sat. 22 work by Keith Sonmer. course Ethel Waters, among others; 2 p.m. Le PitH Theatre, 616 St. Peter. Fri.28 through Newcomb College Art Galley, Tulane campus. Sun.23: Brown Sugar, part four from the sixties March 9: Plegons (a bird once described umm­ Through Sun 16 an exhibition of faculty work in to the present. w1th N1na Simone, Moms Mabley, provably by Woody Allen as "rats w1th wings"), memory of Associate Professor Harold E. carney, Diana Sands, The Marvalettes. Donna Summer, a play by Thonnas Alkms that was a finalist in the ART including works by Mr. carney, Norman Booth­ Pam Gner. Cicely Tyson, Grace Jones, Leontyne 1984 CAC Festival of New Works. by, Pat Trivigno, John Clemmer. Adrian Oeckbar, Price, 010nne Warwick, and many more you Rose Dinner Theatre, 201 Robert Street. Gretna, A Gallery for Ane Photography, 5432 Magazine , James Steg, Jeame OsbOrne, Gene Koss. wouldn't want to be locked in a beauty parlor 367-5400. Through February, A Chorus Line, 891-1002. Through March 9. Eye of the Land­ Suzanne Jenser and others. with overnight; 2 p .m. Mon.24: America's which is to our niggling, captious and arthritic­ scape, including examples by W. Eugene Smith, Muste: Blues, w1th B.B King, Linda Hopkins, anchorilic turn of mind. one of the most fatuous­ Ansel Adams, Margaret Bourke-Whlte. Aaron Eddie "Cieanhead" Vinson, Charles Brown , ly overrated of all Broadway successes. Siskind, etc. etc.: 7 p.m. Collecting Images, profiles of four Theat,. Marlgny, 616 Frenchmen, 944-2653. Academy Gallery, 5256 Magazine, 899-8111 SYMPHONY wmnmg art1sts in WYES' juried art show: Joshua Thurs.20 through March 20: the New Orleans Through February· fantasy ceramics by Tom Pailet, Kathy Gergo, Don L. Clements, Judy premiere of Tina Howe's Playing Churches, a Ladousa. Saturday, 1 DarensbOurg, 9 p.m. play unknown to us. performances at 8:30 Arthur Roger Gallery, 3005 Magazine, 895-5287. Thursdays through Saturdays. Through February: paintings by Ed Blackburn . Basically Beethoven, conducted by Kaz1mierz Toulouse Theatre, 615 Toulouse. 888·8181 or Bienville Gallery, 1800 Hastings Place. Kord, with Joseph Kim, violinist 1n works by 866-7974 . From Weds.26, Verne! Bagneris' 525-5889. call for February shows. Bruch and Mussorgsky. and no Beethoven what­ MARDI Stagger Lee. now being billed as a Mardi Gras Ouplantief Gallery, 818 Baronne, 524·1071. soever. my sweet. Musical Fable, w1th music by Allen Toussa1nt; Through Feb.25: Landscape and Cityscape Group GRAS performances Wednesday to Sunday. w1th two on Show, containing, among other things, pamtings Monday,3-Friday,7 Fridays and Saturdays. Reservations possible; by Doug MacCash whose witty paintings of peo­ A Festival of Contemporary Music, sponsored PARADES Ticketmaster or at the door ple and dogs walking each other w1thin Fem­ jointly by Tulane and the Symphony; held at inger-like spaces we've long admired Tulane. New compositions. performances, lec­ .••, .,, 1 Delgado Community College Art Gallery, 615 City turers, among them conductor Maxim Shostako­ Olaclaw (Algiers/Gretna), Pandora, Palmares Park Ave., 483-4116 From Thurs.20: a student vich and composer Jacob Druckman; exact par· (lid c.y), day: caesar (Metairie). Octavia (Gret- CINEMA show of commercial art. titulars from the Symphony at 524·0404 1!1!), Shangri-la (Chalmette), Sparta (downtown), Galerle Simonne Stern, 518 Julia, 529-1118. Loyola Film Buff's lnstHute, 895-3196. Mon.3: Through Wed.26: recent color photographs by Friday, 14 & Saturday, 15 Rio Bravo, Howard Hawks' 1959 western and Lee Crum. Lovt That New Orleans Jazz, w1th Pete Fountain •• last, arguably great film (please don't ~.2 mention Gasper! Folk Art Gallery, 831 St. Peter, and Andrew Massey conducting; a Superpops Hatari, El Dorado, Man's Favorito Sport, etc.), 524-9373. Through the month, works by gallery concert. scripted by Jules Furthman. with John Wayne, artists. Dean Martin and the late and luscious Ricky Historic: New Orleans Collection, 533 Royal, Saturday, 22 Nelson typecast to perfection as the trois mous­ 523·4662. Through the first day of Spring, The quetaires; there Is a famous and disturbing shot Mistick Krewe: 130 Years of Comus, a show of Discovery Concert, for young people at 10:30 of blood spattering Into a glass of beer. and Angie first-class-relics of the one great legacy of the a.m., condl{cled by Andrew Massey, Including Dickinson Is wonderful as 'Feathers.· Mon.17: A Anglo-Saxon races to the city: cups, gowns, Britten's Young Person's Guide to the Orchestra; all tickets $5. Hen:ulls (Gentllly), Thor Bout d8 Souffle. In a recent phone conversation. sceptres. tiaras, parade sheets lithographs, float Discovery Series, Wynton Marsalis with the Sym­ night. a friend of mine and I were wondering whether watercolors, etc. Jean·Luc Godard seen in the cold light of the LAI Mleux Galleries, 508 Pelican Ave.. Algiers phony in selections from his latest release. Hot ....,, 4 eighties, twenty years later, wasn't just a flashy Perot, 361-1735. Through Sat.8: a portfolio show House Flower. minor talent; he said yes, except for this film, of watercolors by Charles Pfitzer. From Sat. 22: (Melairte). Apllrodlel (Chlknlltl)' while I had to hedge since this is an exciting watercolors, pencils and oils by Tony Green of Tuesday, 25 & Wednesday, 26 (Algiers/Gretna), Pegasus (downiDwn), debut work but not a great film (I do think GOdard Venice. Classical Concert, conducted by Andrew Massey, made some but not having reseen any of them for Louisiana Still Museum, on Jackson Square and wl1h violinist Young Uck Kim, in works by fifteen years one does wonder; he Is not an often­ elsewhere. Facing the Elements wllh Elegance: Rachmaninoff and Prokofiev. revived director). The story-of an existential car outerwear and wraps from the Presbytere's thief and h1s amoral American girlfriend. and the costume collection; paintings and photos. decor­ All concerts are at 8 p .m. at the Orpheum performances of Belmondo and Seberg and the ative arts and furnl1ure and a generous amount of Theatre, 129 University Place, unless otherwise pholograhy of Raoul Coutard reverberate across Newcomb pottery and Woodward work . At the noted; information and tickets at 524-0404 or the years, but the film seems to me agreeable but Mint: Mardi Gras in New Orleans and New 525-0340. not epochal. Tues.24: Citizen Kane, and what is there to say? Tues.25: Le Samourai, one of the great discoveries of recent filmgoing was Jean Pierre Melville's stunningly funny 1955 Bob Le Flambeur. this later ( 1967) film with Alain Oelon is less amusing and a sort of apocalyplic-deco gangster piece, exquisitely sombre. Wed.26. Lucia. Humberto Solas' immense triptych of the IIIIIRIIJ, a Cuban-Woman·ln·Times-Of-Strife, this 1969 (downtown), Tuct

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28 WAVELENGTH/FEBRUARY 1986 GUITARIST seeks musicians for mostly original SING OUT! MAGAZINE band. Chr1s 524-5270. America's Folk Song Magazine brings you arti­ cles, interviews. regular columns by Pete S~e­ ~~\)COAST Sop~ MUSICIANS REFERRAL SERVICE ger, Michael Cooney, Stefan Grossman, dis­ Are you looking for the right band or the righl cussing contemporary and traditional folk mus- musician? Call STAR POWER, New York (607) ic, instrument teach-ins, 20 songs per issue and ._ HAS IT ALL '1J 724-4304. more. Quarterly, $11 annually, $4 sample copy <\~ to: Sing Out! Box 1071, Easton, PA 18044. WE WANT RADIO PLAY AND PRESS!! for the Pfister Sisters, Justin Wilson, Cousin Joe, and Allen Fontenot. New Orleans Music, Cajun I BUY COLLECTIONS - any amount, any cate­ Music and Humor, that's our style and our pro­ gory. Disc jockeys, sell me the records you're - duct. Programmers and Reviewers can help our not playing . Pay cash-fair prices. Record Ron SEE SOME OF THE MOST INTERESTING, company avoid a jazz funeral at an early age. makes house calls. 1129 Decatur Street, 524- SUCCESSFUL Send requests on your company stationary. Fans 9444. IMPORTANT, GLAMOROUS, of our music, LP's and cassettes are $10 apiece, PEOPLE IN NEW ORLEANS that includes shipping, US and Foreign . Please The Word ... don't request catalogues, our four artists are Two words, to be more precise. are all you need to listed above. Radio stations, magazines, know about music in the Northeast. Sweet Potato. distributors and our artists' fans the address for published twtce a month out of Portland, and you to help us grow and make more great New monthly out of Boston. wtll reveal the customs and Orleans Music is: Great Southern Records, P.O. secrets of two hot metropolitan centers of the East WED. at 8:00 p.m. Box 13977, Dept.W. New Orleans, LA 70185. To Coast and the activities that make them that way. all our European and Asian friends: We don't sell Sample issues $1.50. Subscribe to either edition SAT. at 9:00 p.m. all the great old obscure New Orleans records that for a whole year at $18/lst class. $9/3rd class. If nobody bought in the past, just these great new you've always believed civilization ceased north of ones we hope to sell so we have a future. New York. avail yourself now of a pnceless lesson 504-482-4211. No Collect Calls. in geographical musicology. Write to Sweet Potato, P.O. Box 385. DTS, Portland. ME 04112. NEW ORLEANS NO. 1 TALK SHOW DRUMMER-PERCUSSIONIST AVAILABLE Pro. exp. all styles. esp. reggae, funk, calypso, with hosts Allen Stewart and high life and blues-rock. Michael 949-0860. Duke & B.B. 's Corner $1,250 WEEKLY HOME-MAILING PROGRAM! Guaranteed earnings. Start immediately. FREE DETAILS . Rush stamped, self-addressed envelope to: S&B·P, 804 Old Thorsby Road, Clan­ ton, Alabama 35045. COX CABLE CHANNEL 06 PAULA AND THE PONTIACS ..... everything you want lo know - R&B, Mardi Gras party band for hire. Paula Great musical legacy lo ORLEANS PARISH also delivers musical telegrams for special occa­ aboul America's sions. 822-6567. lhe world-lhe blues. I have STEREO AND VIDEO REPAIR subscribed and I hope you do. Get your eqwpment ready for the Holidays. STAR loo. Tell 'e m Lucille senl you." ELECTRONICS. In home servtce. Call 833-2063. B. B. King VOCALIST Complete group into such sounds as Duran, Power ai18.00 per ycar-6 magazinch Station, Police. U2; seek young vocalist with the includtng Bluchlcllcrh* right image and attitude. Call 443-3244. ,>,end to: SELL ADS FOR WAVELENGTH. Only serious. hard Center lor the ,l,ludy ol <"><>uthern Culture Jim Russell Records workers need apply. Must have experience. This Th e Universtl y ~>I MouoNuppo position requires an organized . personable, Unovcrsoty. M .~ ~86TI mature individual with good phone manners and Tclcph~>ne: 601/231·599~ RETIREMENT SALE good appearance. Must be a self-starter. This could be a management position for the right per­ •u.,l>.i\. orders.• >.end k>r oniNmato~>n ~>n son. Serious Only: 895·2342 days after 11 a.m. overseas rate6. and before 4 p.m.

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FEBRUARY 1986/WAVELENGTH 29 t's Mardi Gras time, that time of "If Ever I Cease to Love" to Europe. Anyone with information, year when New Orlcanians settle in drop us a line to the WL office ... Ifor some mysticism, lots of revel­ CHORUS WQUE AM has changed its format ry. and ... politics. Two short im­ to Satellite Music Network's Heart portant music business notices, a bit and Soul format ... Spencer Bohren of frantic gossip, then we must excuse departed January 28 for a Scandina­ ourselves to hit the streets. vian tour. Wonder how he got the Air Local music business folks were I cease to love - If ev-er I cease to love - Stream on the Concorde? ... The very concerned to hear Congressman If ev-er I cease to love - If ev-er I cease to love­ Epic/CMJ album Unsigned is out with Bob Livingston had co-sponsored If ev-er I cease to love - If ev-er I cease to love - the Radiators' track "This Wagon's HR3521, a bill that would endanger Gonna Roll" included. If you want a. BMI and ASCAP. New Orleans musi­ copy, call 488-0493 and have the cians, and those everywhere, rely A s1e r ~ 1m r 1 crawzollas in hand ... Some addi­ r To r tions to last month's band guide: performing r heavily on these two s rights organizations to protect their May the Grand Duke Alexis ride-a buffalo through Texas book Miss Irma Thomas, call 504/ rights. Congressman Livingston's May - fish grow legs and cows lay eggs 245-1719; to bood the tan canary. Mr. office states that they are just now ~May bow legged

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