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Wavelength Midlo Center for New Orleans Studies

10-1982

Wavelength (October 1982)

Connie Atkinson University of New Orleans

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FALL 1982 to the public and open are FREE concerts All these

PLAZA 1st Week-DUNCANQuintet Turbinton Oct. 4 -Eorl Coliente Oct. 5- Sisters The Pfister Oct. 6- lta ~amblers The De and Oct. 7- Oorker Oct. 8-DonnyJazz Hounds the Lu with 131ue

PLAZA DUNCAN 2nd Week- Jam Session 11-Percussion Country Oct. Williams 12-Tim Oct. Oond Orleans The New Company Oct. 13- ing Perform) and Nature (Donee (Oond) 15 New :J0-12: Oollet Oct.14-11Orleans Aero­ -1 :00 Dono 1 2: 15 School Gymnastics Jazz Oond Oct. 15-UNO

Location...,.. -Indoor 3rd Week HALL Oond GALLIER Oyster Locations and Various Jones Oct.18-0od Opera 3rd Week- : Connie David Thomas AM PLAZA Jazz Oond Oct.19-0onquette-12:15 PAN City Allegro :J0 ) Trio Oct. 18- Crescent PLAZA: Oct. 20-11 (piano Drew the TAADE ~oberts :00 James OF Jazz :15-1 of Arts New 12 School Oct.19-130A~D D'ITAUA: Ecoutez Orleans 20-PIAUA 21 - :15 New Oct. Quintet Dirty Dozen Oct. :J0-12 Donee PLAZA: 22-11 's Program s Academy Oct. Children . Mory· . 21-SPANISH Oond stra -1:00 St Oct Marching is Orche 12:15 : Ed Lew ~IVE~GATE Ensemble Oct. 22-

the Downtown by and the Sponsored District in Orleans Developmentof New of New Council the City Arts with Industries cooperation . the ~ecordingUnion . Orleans Musicians and the ISSUE NO. 24 • OCTOBER 1982

"I'm not sure, but I'm almost positive, that all music came from New Orleans. " Ernie K-D0e, 1979

Features Ellis Marsalis ...... 14 George Schmidt ...... 17 Slim•s Y-Ki-Ki ...... 23

Columns Listings ...... 5 October ...... 10 Caribbean ...... 25 Radio ...... 27 Zekespeak ...... 29 Reviews ...... 30 Classified ...... 3 7 Last Page ...... 38

Cover illustration byTair-RayYates

...... Patrick Berry. Editor, Connie Atkinson. ~te Editor, Jon Newlin. Ullort.l Atololul, Marpret Williams. AJC DUecter, Skip Bolen. Alnrllohltl Sa1oo, Steve Gifford, Ellen Johnson.Coto· ...... Artlola, Kathleen Perry, Rick Splin, Lauren Zarambo. DlobiM-, Gene Scaramuzzo, Patti Hibbitts, Jne Torczon, Hamp­ toa Weiss, Eduardo Youna. Coto-lon, Stove Alleman, Tanya Coyle, David Deleptor, John Desplas, Zeke Fiahheacl, Jon Foose, Sine G111Ya, Tad Jona, Bunny Matthews, Brad Palmer, Christina s your cheese food neither cheese nor food? Patookl, Jack Pickett, Kalarnu ya Salaam, Shepard Samuels, Gene your egg yolks thin and pale? Try the robust selection of yard eggs, imported and domestic Scaramuzzo, Hammond Scott, Almost SUm, Rhodes Speciale, Keith Are '!Witchdl, Dalt Wonk, Nancy Weldon, Sluan Wood, Donn Youna. cheeses, organically grown fruits and vegetables, and other whole foods at the Whole Food WIIWimltll iJ pubHshed monthly In New Orleans. Telephone (~) Company. When you get your food whole, it ldstes better. m-2342. Mall subscriptlons, address cbanaes to WIIWI~nJih, Box U667, New Orleans, La. 7017$. Subscription rate, SIO per year. Foreian, $20 per year. Fint class subscriptions, Sl6 per year (domestic a Canada). AO airmail l'llleat S40 per year (oveneu). The entire COD· tents of Wowkn~th are copyriJhted •1982 WIIWI~n~th.

Back wues are available by wrltlna to Back lasues, P.O. Box U667, New Orleans, La. 7017$. Because of allmited supply, back wues are available for S4 ~ch. Please allow a few weeks for processina and delivery of orden.

New subscriben: PI- allow up to six weeks for nceipt of fint iasue due to our small, non-computerized subscription department.

Foreian customen must pay only by I.M.O. or check drawn on a U.S. bank. Because of exorbitant back proceuina charaes. we cannot ac­ cept checks In Canadian dollars or other foreian currency, or checks drawn on a forelan bank.

Subscrlben must nollfy us immediately of any chanaes of address. If nollfJCation iJ not received, mapzines sent to incorrect old addresses "EAT MO' BETT AH" will not be rq>laced. U.S. customen, please include your zip code. Supermarket • 3135 Esplanade Ave. • 94 3-1616 • Uptown • 7700 Cohn St. • 861-1626

WAVELENGTH/OCTOBER 1982 WHOLESALE We SeLL : ~ or RETAIL (Itt-\~ UAll£R,CDiTW- 00Al.l5HII<'T5 ( BUTT~ PHONE ~(!llARS.~. ~ ( 211) WAIIAH,WESIElM 51-US 777-1727 (SilAKBIS STIUHI({S)AN­ Or TlQUE QOTHES,JAC­ 982-3590 I:ETS.LEATHERS, ANO SKINNY TIES II!

•••••••••••••CHECK METHOD OF PAYMENT 0 CHECK ..-MONEY ORDER 0 CHARGE ITTO MY CI1EDIT CArlO OVISA 0 MASTER CHARGE CAIIO# EXPIRATI~ ~TE -----

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4 WAVELENGTH/OCTOBER 1982 USTINGS

Saturday, 16 •Count Basie, Saenger Theatre. Tuesday, Wednesday, 19, 20 0 0 0 0 0 0 •Jimmy Buffet and the Coral Reefer Band, Saenger Theatre, 8:00p.m. OBARRY ~MENDELS Saturday, Sunday 23,24 0 PRESENTS, INC . •Arts Fest, Art Council of New Orleans, Oooooooooooooo 897-6123, Duncan Plaza, 11:00 a.m.-6:00p.m. Music, dance, crafts, visual art and a variety of activities for both adults and children. Free ad­ , mission. BRINGING YOU A •Latin Music Benefit, in celebration of the sixth anniversary of "Libreria del Pueblo" SPECTACULAR FALL (People's Bookstore), a Spanish and English CALENDAR OF language bookstore, featuring Banda Fiebre, Tipitina's, 8:00p.m., 822-8884. EVENTS

Monday, 25 Thursday October 1 4 •Crosby, Stills, and Nash, L.S.U. Assembly Center, 8:00 p.m. CHICK COREA Thursday, 28 Saenger Theatre; 8 p.m. •Patrice Rushen, Riverboat President. . Friday, 29 Friday October 1 5 •Nicolette Larson, Riverboat President. PETER TOSH FILMS special guest JIMMY CLIFF •Cinema Brasil, Prytania Theatre, 5339 Saenger Theatre; 8 p.m. Prytania, 895-4513. Wed. 7 and Thurs. 8: Col­ onel Delmiro Goubeia (Geraldo Sarno) and Gaijin: A Brazilian Odyssey (Tizuka Yamasaki). Weds. 13 and Thurs. 14: Tent of Tues & Wed October 19 & 20 Chick Corea, at the Saenger Oct. 14. Miracles (Nelson Pereira dos Santos) and Orfeu Negro (Marcel Camus). JIMMY BUFFET and •Loyola Film Buffs lnstiture, 865-3196. Mon. 4: Le Dejeuner sur l'herbe (Jean Renoir), THE CORAL REEFER CONCERTS Tues. 5: La Bete Humaine (Renoir). Wed. 6: BAND La Chienne (Renoir). Thurs. 7: Summer (Filming on M-TV Concert) Showers (Carlos Diegues). Mon. 11: The Friday, 1 Magnificent Ambersons (Orson Welles). Tues. Saenger Theatre; 8 p.m. •David Bromberg, Riverboat President. 12: Pride and Prejudice (Robert Z. Leonard) •B.B. King, Millie Jackson, Bobby "Blue" and A Tale of Two Cities (Jack Conway). Sunday October 24 Bland, Saenger Theatre, 8 & II :30 p.m . Wed. 13: Sergeant York (Howard Hawks). Thurs. 14: Toda nudez sera Castigada (Ar­ GEORGE Saturday, 2 noldo Jabor). Mon. 18: The Lady From •Gil Scott-Heron, Riverboat President. Shanghai (Welles). Tues. 19: Toni (Jean THOROGOOD .and Renoir). Thurs. 21: Sao Bernardo (Leon THE DELAWARE Sunday,3 Hirszman). Mon. 25: A Touch of Evil •Urban Cowboy Music Festival, Jefferson (Welles). Tues. 26: La regie de jeu (Renoir). DESTROYERS Downs Racetrack, 11:30 a.m., 821-3795. Thurs. 28: 0 Amuleto de Ogum (Nelson McAllister Auditorium; 8 p.m. Willie Nelson, Ricky Skaggs, Steve Wariner, Pereira dos Santos). All films are shown in Orion, Gary Morris, Razzy Bailey, Susie Room 332 of Bobet Hall; admission is $1.50 or Nelson, Mississippi South. by open subscription for $25. Monday October 2 5 •Prytania, 5339 Prytania, 891-3398. Sun. 10 Sunday, 10 and Mon. 11: Stormy Weather (Andrew Stone, CROSBY STILLS & •Autumn In Armstrong Park II, Traditional 1943; with Bill Bojangles Robinson, Lena and Contemporary Jazz, Gospel, and Blues. Home, Cab Calloway, Fats Waller, Ada NASH Jazz Parade from Jackson Square starting at Brown, The Nicholas Brothers, Katherine LSU Assembly Center; 8 p.m. 10:00 a.m. Armstrong Park Festivities 11:00 Dunham and her dance troupe) and Cabin In a.m.-7:00p.m. Free admission. Bring a picnic! The Sky (Vincente Minnelli, 1943; with Ethel Waters, Rochester, Rex Ingram, Mantan Moreland, Louis Armstrong, Lena Horne, the Sunday November 28 Wednesday, 13 Duke Ellington Orchestra, John Bubbles, But­ •Jethro Tull, Municipal Auditorium. terfly McQueen and the Hall-Johnson Choir). LINDA RONSTADT Fri. 15 through Thurs. Nov. 4: Diva (Jean­ Baton Rouge Thursday, 14 Jacques Beineix). •Chick Corea, Saenger Theatre, 8:00 p.m. MISCELLANY Friday, 15 FOR TICKET AND CONCERT •Peter Tosh, Jimmy Cliff, Saenger Theatre, •Cathedral Concerts, Christ Church INFORMATION (504)895-0601 8:00p.m. Cathedral, 2919 St. Charles Ave., 895-6602. \. ..J WAVELENGTH/OCTOBER 1982 5 Sun. 17: Leonora Mila, piano. Sun. 31: Bess Hieronymus, organ. Both performances are at 4:00p.m. •Contemporary Arts Center Jazz Series, 900 Camp St., 523-1216. Fri. 29: David Thomas TAKE FIVE ... Roberts, Steve Pistorius and Isidore "Tuts" Washington. Sat. 30: Tony Dagradi and Joe Celli. •Junior Philharmonic Society of New Orleans, SON~ STR-VX4 Dixon HalJ at Tulane University; 861-4289, QUARTZ SYNTHESIS AM/FM STEREO 866-7565. Sat. 23: Recital, 10:45 a.m. RECEIVER •New Orleans Ballet, Theatre of the Perform­ Features 40 watts per channel, minimum RMS, ing Arts, 895-2439. Fri. 29: "Coppelia." both channels driven Into 8 ohms from 20 Hz •New Orleans Opera Association, Theatre of to 20 kHz, with no more than 0.008% THO. the Performing Arts, 529-2279. Thurs., Sat., Legato Linear power amplifier for ultra·low crossover distortion and superior sound. Low­ 14,16: Samson et Dalila, 7:30. noise frequency synthesis tuning for Increased • New Orleans Opera Guild, University Series, accuracy and convenience. Auto-Sweep tuning Dixon Hall at Tulane University, 525-7672, for automatic sampling of each station on the 561-6270. Sun. 3: Joaquin Achucarro, pianist. dial. Eight station presets with non-volatile MNOS memory, Memory Scan, tape-to-tape CLUBS dubbing capability, and subsonic filter. •Beat Exchange, 2300 Chartres, 948-6456. Call for listings. •Blue Room, Fairmont Hotel, 529-7111. Through Tues. 12: Buddy Rich and his Band. SON~PS-LXS Wed. 13 through Tues. 26: James Brown. QUARTZ LOCK FULLY AUTOMATIC Wed. 27 through Sat. Nov.6: Lola Falana. DIRECT-DRIVE TURNTABLE •Bobby's Place, 520 E. St. Bernard Hwy., 271-0137. Every Friday: Gong Show ($100 first Features advanced fully·automatic operation prize, $25 for second). Sat 2: The Unknown with automatic record-size selector for safe, precise Indexing. Quartz·lock direct drive motor Funk Band. Sat. 9: Bobby Marchan. Sat. 16: with Magnedisc servo control and Sony Linear­ Tommy Ridgley. Sat. 23: Johnny Adams. Sat. Torque BSL design for ultra·stable speed 30: Halloween Costume Party ($300 for first accuracy. Straight Duralumln tonearm prize). Sun. 31: Carl Williams and the S.D.'s. combines high rigidity and low mass for excellent tracking. Easy access front-mounted •Bounty, 1926 West End Park, 282-9144. controls with " Repeat" mode. Convenient Wednesdays through Saturdays: Harvey Jesus •u-.® record-setting guides, audio muting circuit, and and Fyre. Sony Bulk Molding Compound base. •Bronco's, 1409 Romain, Gretna, 368-1000. M97ED Country and western music. Call for listings. •Crescent Oty Cafe, corner of Toulouse and Chartres, 525-4669. Everyday, 12-4: John Jedlin on piano.Mondays-Fridays,5-7: James SON~ TC-FX66 Booker. Fridays-Saturdays, 10-2: Ruben Gon­ STEREO CASSETIE DECK zalez and the Salsa All-Stars. Dinner and danc­ Features Linear counter Indicates time ing. No cover. remaining on tape. Dolby C for ultra·qulet •Dixie's Bar of Music, 701 Bourbon Street, recording. Laser Amorphous (LA) head for 566-7445. Fri. Li'l Queenie and Backtalk. Sat. superior sound quality. Feather-touch, full logic 2: TBA.Sun 3: Capt. Scat and controls. Automatic Music Sensor the Moonrock (AMS)/Autoplay. Remote control capability. Boppers 2-6 p.m.; Latin Tempo 10 til. Tues 5: Latin Tempo. Wed. 6: Latin Tempo. Thurs. 7: K.C. Blues Band. 12-4. Sun. 10: Capt. Scat and the Moonrock Boppers 2-6, Coldcuts 9 til. Tues 12: Joe Jackson (Fiorida,eggae) and the Lazy Day Band 10-2. Wed 13: Same 10-2. IILss Thurs 14: Bryan Lee Groove Revue 12-4. Sat. 16: Capt. Scat and the Moonrock Boppers 2-6; Whether you want to build the dlgltal·ready system of your dreams or simply Improve your Barcelona Red 8-12. Bryan Lee Groove Revue present system, JBL's L56 Is a great place to 12-4. Sun. 17: Capt. Scat and the Moonrock start. Because this 2-way, 1~1nch loudspeaker Boppers 2-6; Latin Tempo 9-til. Tues. 19: has the high efficiency, wide frequency Latin Tempo 9 til. Wed. 20: Bryan Lee 10 til. response, high power capacity, and ultra·low distortion that you need to get the most out of Thurs. 20: Bryan Lee. Fri. 22: Herschel Berry today's advanced recording techniques. and the Natives 9 til. Sat. Capt. Scat 2-6; Herschel Berry and the Natives 10 til. Sun 24: Capt. Scat 2-6; Latin Tempo 9 til. Tues 26: Latin Tempo 9 til. Wed. 27: Bryan Lee 10 til. SYSTEM PRICE $1,150.00 Thurs 28: Bryan Lee 10 til. Halloween: Capt. Scat 2-6; Li'l Queenie and Backtalk 9 p.m. til. •Dream Palace, 534 Frenchmen, 943-7223. Fri., Sat., 1,2: The Killer Bees. Thurs. 7: Doc Watson. Fri. 8: The Radiators. Sat. 9: The TULANE STE.,EO Iii Fl CO. Rockabyes. Thur. 14: J. Monque'd. Fri. 15: Woodenhead. Sat. 16: The Brains from Atlan­ 1909 TULANE AVE 524-2343 ta. Wed. 20: Big Twist and the Mellow Fellows Convenient Storeside Parking from Chicago. Thurs. 21: The Radiators. Fri. Open Daily 9·5-Ciosed Sunday 22: Rockin' Dopsie and his Cajun Twisters. Long-term Financing Available through CIT -Free Delivery Sat. 23: Walter Washington and the Solar VISA - MASTER CARD - MR BOL System Band. Thurs. 28: Roger McGuinn. Fri. 29: The Rockabyes. Sat. 30: The Blue Vipers 6 WAVELENGTH/OCTOBER 1982 and the New Jetz. Sat. 31: Bas C las. •544 Club, 544 Bourbon, 523-8611. Mondays and Tuesdays; Blues Rockers. Wednesdays­ Saturdays: Gary Brown and Feelings. •Germaine Wells Lounge, 833 Bienville, 523-9633. Fridays and Saturdays: The James Drew Trio with James Drew. Jim Singleton DON'T MISS and Jeff Boudreaux. The \'e~t· Orleans .Ia:.-:. & /lerifa!!.e Foundarions · •Gibson St. Lounge, 423 Gibson St., Cov­ ington, 892-9920. Sat. 9, 23: The Nightriders. •Hawgs, 3027 Jean Lafitte Parkway, Chalmette, 277-8245. C W music, with dance lessons Mondays and Wednesdays 7-9 p.m. Autumn in •Jimmy's, 8200 Willow St., 866-9549. Fri., Sat. I, 2: Apt. B. Thurs. 7: Backbeats. Fri. 8:· Defunkt with RZA opening. Sat. 9: The Armstrong Park II Radiators. Thurs. 14: The Nightriders. Fri. 15: Neville Brothers. Sat. 16: Rockabyes. Fri. 22: Asleep at the Wheel. Sat. 23: RZA, Thurs. 28 : Sunday October 1 0 A-Train. Sat. 30: Rockabyes. Sun. 31 : Rockabyes. RZA. •Luigi's, 6319 Elysian Fields, 283-1592. Wed. 6: The Radiators. Wed. 13, 20, 27: The Nightriders. .Ia:.:. Parade )rom Jackson .\quare •Luther Kent's Risin' Sun, 400 Dauphine, 525-3987. Wednesdays: James Rivers Move­ \!arlin!!. ar /0 .· t.\1 ment. Thursdays-Sundays: Luther Kent and Trick Bag. .·trm\fron!!. Park Fesfi\'ifies 11:00 .-t.\1- 7:00 P.\.1 •Maple Leaf Bar, 8316 Oak Street, 866-9359. Sundays: John Rankin. Mondays: Jim and Dave. Tuesdays: James Booker. Wednesdays: Trarlirional and Conremfu>nlfy .Ia:.:. • Goseel • Rlues La. Reperatory Jazz Ensemble. Thursdays: Bourre Cajun Band. Fri. I: The Nightriders. Sat. 2: Marcia Ball Band. Fri. 8: Rockin' Dop­ sie and his Cajun Twisters. Sat. 9: Cush-Cush Bring a Picnic Lunch Cajun Band. Fri. 15: Sonny Landreth Bayou Rhythm Band. Sat. 16: Radiators. Fri. 22: FREE AND OPEN TO THE PUBLIC Beausoliel. Sat. 23: L'il Queenie and Backtalk. Fri., Sat., 29,30: Tony Brown Reggae Band. Sun. 31: Marcia Ball Band. •New Orleans Jazz Hotline, 242-2323. Call for lut;s Concerts current jazz listings across the city. announces the return of •Noah's, 1500 Esplanade, 525-6624. Jazz Club. Thursdays: Disco night. Fridays: Philip Manuel and LaVerne Butler with the house band. Saturdays: Philip Manuel with Lady BJ THE PAT METHENY GROUP and the house band. •Old Absinthe Bar. 400 Bourbon, 568-0519. Thursdays: Zelda Rose. Fri., Sat., Sun., 1-3: Bryan Lee Blues Band. Fri., Sat., Sun., 8-10: TUESDAY Allen Haynes and the Stepchildren from Houston. Fri., Sat., 15, 16: Harry Connick Jr. NOVEMBER 2 Quintet. Sun. 17: The Widespread Jazz Or­ chestra from N. Y.C. Fri., Sat., Sun., 22-24: Bryan Lee Blues Band. Fri., Sat., 29, 30: McAlister Auditorium, Bryan Lee Blues Band. Sun., 31: Exuma. •Pete Fountain's Club, Hilton Hotel, Poydras Tulane University at the River, 523-4374. New Orleans' own and world-renowned clarinetist performs one show nightly Tuesday through Saturday at 10 p.m. •Preservation Hall, 726 St. Peter, 522-2238. Sundays: Harold Dejean and the Olympia Brass Band. Mondays and Thursdays: Kid Tickets available at all Thomas. Tuesdays and Fridays: Kid Sheik, Sweet Emma. Wednesdays and Saturdays: The Ticketmaster outlets Humphrey Brothers. •Prout's Club Alhambra, 732 N. Claiborne, For information: 524-7042. Rhythm and blues. Bobby Marchan, your hostess with the mostest. 861-WAVE •Quality Inn Midtown, 3900 Tulane Ave., 486-5541. Fridays and Saturdays: Joel Simp­ son, piano; Joe Bolton, trumpet; and Nick Faro, vocals. •Quarter Note, 721 Hessmer in Fat City. 888-9088. Rock 'n' roll. •Rendez-Vous Seafood Lounge, corner of St. Claude and Lasordi. Thursdays: Bobby Mar­ chand. WAVELENGTH/OCTOBER 1982 7 •Richie's 3-D, 3501 Chateau Blvd., Kenner, 466-3333. Sat. 2: Rob Grill and the Grass Roots. Sun. 3: Maynard Ferguson. Fri. 8: Michael Murphey. Fri. 15 and Sat. 16: The Drifters. Fri. 29: Roy Orbison. •Riverboat President, Canal Street Docks, 586-8777. Fri. I: David Bromberg. Sat. 2: Gil Scott-Heron. Fri. 8: Irma Thomas. Sat. 16: THE TIME Ivy. Thurs. 21: Bary Neuman. Sat. 23: David WHAT Grisman. Thurs. 28: Patrice Rushen. Fri. 29: Nicolette Larson. $5" LP/TAPE TIME •Rose Tattoo, 4401 Tchoupitoulas, 891-6886. Mondays: Free draft beer with 75• red beans. IS IT? Wednesdays: Free crabs with drinks and disco Includes 777-9311 with Lee Bates. Fri. 1: Tropical Weather. Sat. ~ VANITY6 The Walk 2: The Goners. Sun. 3, 10, 17: Stratus. Fri. 8, 15: Disco with Lee Bates. Sat. 9: Shades. Includes Nasty Girl/He's Dull So Thurs. 14: The Shades. Fri., Sat., 22, 23: Ernie Wet Dream/3d= 6 Gigolos Get K-Doe. Thurs. 28: The Bad News Blues Band. Lonely Too Fri. 29: Stratus. •Ruby's Rendez-Vous, Hwy. 90 in Mandeville, 626-9933. Fri. 8, 29: The Nightriders. •Seaport Cafe& Bar, 424 Bourbon. 568-0981. • Tues.-Sat.: Sally Townes. Sun. & Mon. 9-1: Jamil Sharif Quartet. •Showboat, 3712 Hessmer, Metairie, 455-2123, Rock 'n' roll. •Sir John's, 3232 Edenborn Ave., 887-9858. $5" LP/TAPE Rock 'n' roll. Includes O.nce Floor/Pieyin' Kinde Ruff •Tipitina's, 501 Napoleon Ave., 899-9110. Fri. Do You Reelly Went An Answer? I: The Radiators. Sat. 2: Exuma. Mon. 4: Spenser Bohren. Tues. 5: Bryan Lee Groove Revue. Wed. 6: Slash. Thurs. 7: Ras Cloud and the Sons of Selassie I. Fri. 8 and Sat. 9: Clifton Chenier. Sun. 10: Algiers Defense ' Fund Benefit. Mon. 11: Spencer Bohren. Tues. 12: The Radiators. Wed. 13: James Booker. Thurs. 14: The Jesse Hill Band. Fri. 15: Li'l Queenie and Backtalk. Sat. 16: Deacon John Blues Revue with Earl King. Sun. 17: Gospel. Mon. 18 Spencer Bohren. Tues. 19: Gary $5" LP/TAPE Brown and Feelings. Wed. 20: Mason Ruffner and the Bluesrockers. Thurs. 21: Taj Mahal. Fri. 22: The Radiators. Sat. 23: Marshall Chapman. Sun. 24: Jazz Awareness Month Benefit. Mon.25: Spencer Bohren. Tues. 26: Atchafalaya. Wed. 27: Klatku. Thurs. 28: The Tony Brown Band. Fri. 29: Albert Collins. Sat. 30: Marcia Ball. Sun. 31: The Neville Brothers. · · Tupelo's Tavern, 8301 Oak St., 86 6 -9494. Fri. I: The Lotions. Sat. 2: A-Train. Wed. 6 : R.U.N. (Old Hippies' Night). Thurs. 7: The Crave. Fri. 8: ' Raybeats / Rockabyes. Sat. 9: Li'l Queenie & Backtalk. Tues. 12: Joe Barbara. Wed. 13: Bas Clas. Thurs. 14: The Look. Fri. 15: $5" LP/TAPE Radiators. Sat. 16 : Woodenhead. Wed. 20: R.U.N. Thurs. 21: The Hands. Fri. 22: Jonathan Richman. Sat. 23: The Killer Bees. Tues. 26 : Gun Club. Wed. 27: Bas Clas. Thurs. 28: Newsboys. Fri. 29: RZA /New Jetz. Sat. 30: Bad Brains. •Tyler's, 5234 Magazine, 891-4989. Contem­ porary Jazz. Sundays: Leigh Harris , Bruce McDonald. John Magnie. Mondays: Ellis Marsalis. Steve Mazakowski. Tuesdays: Leslie Smith. Wednesdays: George French, David Torkanowsky and Herlin Riley. Thursdays: Germaine B azzle with David Torkanowsky. Johnny Vidacovich and Jim Singleton. Fridays and Saturdays: James Rivers. •Woody Herman's Club, Poydras Plaza Mall in the Hyatt Regency Hotel, 601 Loyola, 522-8788 or 561-1234. Woody and his Thundering Herd play big band jazz, Monday through Saturday 10 p.m.

Wavelength club and concert listings are available free of charge. Call 895-2342 for information.

8 WAVELENGTH/OCTOBER 1982 FEED-BACKBUSTER WITH THEIMIZ/Nfi.NEW GETS FEEDBACK OUT OF YOUR ACT FOR GOOD • Controls feed-back at high volumes • No need for expensive graphic equalization f)Fss~l..f) • Enhances acoustic sound when amplified • Easy to use -no tools required, just slip it in ~>8C"~>BStS~ • Durable light-weight design enhances the beauty of your instrument CRgn &COon are now offering a • Requires no batteries quick and inexpensive way to get feed-back • Fits all Martin, Guild, Yamaha, Applause, out of your act for good! - it's the amazing, Matrix, Takamine and Ovation acoustic-electrics; new FEED-BACKBUSTER! ANY guitar with a 4 inch round unobstructed This unique, patented device reduces or sound hole. ~ totally eliminates high-volume feed-back on all acoustic-electric guitars. The Feed-BackBuster sets up its own self-equalization and eliminates f.~~~~~~!.~~~~~~~~r:,:: ~ over-sustain of resonant chords. Ron knows no one wants to spend $50 or more for a graphic AVAilABlE ONLY THROIJGH THIS OFFER: equalizer. The Feed-BackBuster's handsome design will compliment any guitar. It has no complex Like all of Ron & Don 's quality circuitry, moving parts or batteries to wear products, the Feed-BackBuster is out. Once you've tried the Feed-BackBuster, backed up by the "Ronnie Dee" you '11 be sure it's worth a million, but --· J '"' Guarantee. now you can get one for less than you might pay for a quality set of strings. A special introductory price of $9.95 MONEY-BACK GUARANTEE (suggested retail $15.95). If you are not completely satisfied Simply slide the 'Buster under the with the Feed-BackBuster, return it strings, and fit it snugly into the sound hole. within 30 days for a complete refund The 'Buster fits all Martin, Yamaha, Guild, of the purchase price. Applause, Matrix, Takamine and Ovation acoustic-electrics; ANY guitar with a 4 inch round unobstructed sound hole. MUSICATCAC The Contemporary Arts Future programs include the Center, at 900 Camp, resumes its CAC's two-day program of programs of jazz on October 29 Women In Jazz (including third­ with the first in its four part Jazz place Downbeat poll winner Piano Series-the participants Sheila Jordan and Lady BJ, here are all traditionalists, in­ Laverne Butler, Angelle Trosclair cluding Isidore "Tuts" and the New Orleans Women-In­ Washington, David Thomas Jazz All-Stars), a program of Roberts and Steve Pistorius; on New New Orleans Music and the the next evening, October 30, annual Festival of New Works, saxophonist Tony Dagradi and as well as more of the Jazz oboeist Joe Celli join forces and Piano series. For more info, call lungs in a combination of music the Center at 524-1216. and video. -Jon Newlin

OYSTER IN BROWN BAG The Bad Oyster Band, washtub bass, will be featured in featuring Richard Schlinkert on a jug band blues performance at washboard; Mark "Ace' Eckerle the Brown Bag Concert in on mandolin; Kurt Davis on Gallier Hall on October 18 from guitar and Frank Cole on 11:30 a.m. until l.

LEA.OBELLY REMEMBERED SHREVEPORT-Blues singer looked up to him. And a genera­ Huddie Ledbetter, who gave the tion of musicians play his songs world the songs "Midnight and honor him every time they Special," "Irene, Goodnight," even think of blues music. and " Black Betty," has finally For one thing, it marks years of been given something in return: a hard work by two Caddo Parish tourist marker. police jurors, George Baird and The singer, who died of Lou Donald Aytch. Baird started a Gehrig's Disease over thirty years move to get such a marker in the ago at age 60, had, before this mid-1970s. Baird was not time, received only a few things reelected, which may or may not from the state: his life, a wife have been partially influenced by and a prison term. Now, in a his drive, Leadbelly still being park on the shores of Caddo the target of occasional racial AN ORIGINAL Lake just over nine miles from epithets hereabouts. Aytch, a Jonathan Richman is a True " I'm Straight," Richman where his body lies in a com­ black and a musician, took the Original, and like another T.O. fearlessly, or obliviously, con­ fortable grave under the pines, ball from Baird and carried it to that we also cherish, Lydia tinues to break new grounds in the man some credit with being completion this past June 10, Lunch, makes no pretense at style and subject matter while the the father of American black then some fifty fans and politi­ musicianship, instrumental skill, matter of musical competence blues music has been given a cians, media people and a hand­ use of superfluous (or for that never seems to enter his teeming measure of immortality and ful of musicians gathered to of­ matter any) devices of showman­ brain, to use a singularly ap­ public honor-which some would ficially welcome the marker to ship. Long a legend for his per­ propriate phrase from Keats, a argue has been long overdue. the public eye. sonal appearances, his records prodigy with whom Richman has Few performers could be said Aytch said he even had trouble with the Modern Lovers on absolutely nothing else in com­ to deserve a pedestal as much as getting a black minister to deliver Berserkeley Records, and such mon. This is his first New Leadbelly. He also wrote "Take a prayer at the dedication, due tunes as "Ice Cream Man," Orleans appearance-October 22 This Hammer," "Boll Weevil," partially to a prevailing attitude "Abominable Snowman In The at Tupelo's Tavern- and legends "DeKalb Blues," "Ham and in the still-very-religious Market" (down by the peas and like this don't turn up much Eggs," "Little Sally Walker," Shreveport area black communi­ carrots), "Egyptian Reggae," since Sophie Tucker died and "Didn't Old John," "Easy ty that blues music and its per­ "I'm A Little Airplane" and quit playing the Blue Room. Rider" and "Cotton Song." sonifier, Leadbelly, are the "I'm A Little Dinosaur," as well Don't miss him if you can, as Woody Guthrie thought he was devil's music. as the bizarre truth-as-a-defense the saying goes. America'~ !J~t songwriter. Pete -John Andrew Prine bit of autobiographical sexology, - Jon Newlin Seeger, an Ivy League grad,

10 WAVELENGTH/OCTOBER 1982 FAUBOURG TO REOPEN The spring of 1980 saw the the club's reputation, and the opening of one of the finest jazz owners have decided to make in clubs in the city: the Faubourg. the future, when the club What primarily distinguished this reopens, certain drastic reforms. club from other jazz clubs was Primary among these is a cut­ the unique fact that one could back in the number of live per­ eat a meal of quality in har­ formances, with jazz only on monious surroundings while weekends. The restaurant will be listening to excellent musicians. of the fast-food variety and the New Orleans' multitude of club will now have a cover tourists by and large failed to charge. discover this amazing The cut-back in live perfor­ phenomenon and the Faubourg mance will certainly have an ef­ retained a purity and intimacy fect on local musicians. The na­ for New Orleanians consumed by tional names brought in by the a passion for jazz. It also Xenia Foundation will inevitably presented an opportunity to hear take gigs away from local musi­ the city's best musicians and cians who may have to seek jobs often nationally and interna­ in more commercial and less con­ tionally known jazz stars. genial surroundings. The THE MODELS Last week, the Faubourg was Faubourg reopens with this new After two years as one of New "The crowd was huge when we temporarily closed due to finan­ policy on October 8. Orleans' most popular young opened for the Motels, and you cial difficulties: the profits were -Bonnie Canitelli bands, the Models are stretching have to wonder where do all simply not commensurate with out to new audiences with a sum­ those people come from?" mer tour of Texas and the Nor­ Ciravolo agrees, "Where were theast. The band is also assessing they the next weekend? For a ci­ its past and planning its future. ty this size, there's really nothing According to lead guitarist to do. There's two, maybe three, Johnny Indovina, the band's clubs that are geared to live reputation locally is pretty well music, bands that are doing fixed. "We are grouped together original music. Do they got o with a whole bunch of New movies every weekend?" Orleans bands that are thought In addition to Houston, the to be new wave. We're definitely band played Austin as well as not a heavy metal copy band, several northern cities-Buffalo, which seems to be the only other Cleveland, Columbus and type of band around other than Milwaukee. "The crowds were jazz people that shoots for the good and showed a lot of in­ younger audience." Adds terest," says Indovina, "They guitarist Mike Ciravolo, "When are subjected to more uncom­ we first got together, it was mercial type radio there and are never our idea to play the hits interested in bands other than and then work in originals the the big names." way most of the bands do." While their audience is chang­ As evidence of this, the band ing, the Models' sound is chang­ will soon be releasing a cassette ing as well. Indovina, the main featuring several of their original songwriter for the group, claims songs along with a version of the inspiration from New Orleans Gary U.S. Bonds hit, "New soul singers right now. "We've Orleans." The tape, made at changed a lot frpm what we used B&B Studios in June, proves the to play. We won't do the loud, band is trying to attract wider at­ fast stuff now." Ciravolo adds, tention to its music. "We've been experimenting to In July, the Models played make it interesting for ourselves. Houston, an area with what they And a recording contract has feel is a larger, more receptive always been our goal. Not to be audience for their music. In­ the top New Orleans band that dovina says that the enthusiastic people think it's cool to like for crowd really responded. six months." "Houston has tons of people The band's future looks pro­ who all seem to go out and when mising. "I want to be a success; ALLEGRA they go out, they're excited we all do. But we have to grow, Anna Fessenden, Jack Werner The Heartlands. Recorded in about being out. In Houston you we have to keep getting and Rick Mulcahy form Allegra, Bavaria in the fall of 1981, the get more attention which pro­ stronger," says Indovina. "You a group excelling in three-part recording features parlor jazz bably has something to do with don't have to sell millions of harmony on American, Irish and and ragtime, as well as folk being from out of town. They albums to be successful. If you European folk tunes. The trio songs, both Renaissance and really watch what we're doing. can reach the people that want also plays a wide variety of anti­ contemporary. They're interested.'' to hear you, you'll be a suc­ que instruments including the Allegra will be performing as The band seems unenthusiastic cess." According to Ciravolo, hammered dulcimer, marx­ part of the Fall Brown Bag Con­ about crowds here. Says In­ "We don't want to be a faceless ophone, belly-backed mandolin, cert series Tuesday October 19, dovina, "It's kind of discourag­ band like Foreigner or Journey. classical guitar, tenor banjo, 11:30 a.m. to I p.m. at the ing to be up there singing your Wt want to be recognized as be­ wooden recorders, plucked cello Board of Trade Plaza on Camp heart while somebody leaves the ing with the Models. We believe and various percussion pieces. Street. audience to go to the bar for a in what we're doing." The group has recently releas­ -Margaret Williams drink." According to Charlie -Margaret WUiiams ed an album called Music From Bouis, drummer for the band, WAVELENGTH/OCTOBER 1982 11 OCTOBER dAZZ SCHEDULE The New Orleans Arts Council tiny little brown one that holds a is at it again-October is filled single humble cheese on rye. The almost daily with their CBD­ Brown Bag Concerts are easily Iocated Brown Bag Concerts, the best series of free diversions begun originally as lunchtime in the city, and this year they diversions for legal secretaries culminate in the Sixth Annual and file clerks with time on their Arts Fest on the weekend of Oc­ hands and lacking the tober 23 and 24, which combines wherewithal to spend a luxurious the already sensational musical hour or two at the Bon Ton or offerings with artistic and crafts Galatoire's. Over the past half­ exhibits and dancing and refresh­ dozen years, the Concerts have ment as well as things for the grown to be as impressive as a kids to do. Schwegmann's bag instead of a -Jon Newlin

Friday, October 1 Louisiana Jazz Federation Kickoff Party at the Maple Leaf Bar 8316 Oak St. Earl Turbinton Jr. Quartet 7-9 ' Saturday, October 2 Baton Rouge WPRG Jazz Picnic, 12 -5, LASC Planetarium WIDESPREAD dAZZ Big Band Dancing with La. Sound Stage Orchestra, Trinity's, Baton Rouge, 9:30-1 a.m. Monday, October 4 Duncan Plaza, Earl Turbinton Quartet, 11 :30 cert a.m.-1, Brown Bag Con­ ORCHESTRA Tuesday, October 5 Brown Bag The Concert, Duncan Plaza, Caliente, 11:30 a.m.-1 Widespread Jazz Or­ Depression Orchestra-plays Congo Square Arts chestra Collective, Noah's Ellis Marsalis 9 returns to the Old Absin­ such mnemonic marvels as Friday, October 8 ' ' the Bar, a previous scene of the "Cherokee," "Christopher Col­ Brown Bag Concert, Duncan Plaza, Danny Barker and the Jazz crime, on October 17 for One umbus" (he used rhythm as a Hounds, 11:30 a.m.-1 Night Only and as they did the compass!), "Taking A Chance Sunday, October 10 last time they hit the 400 block On Love," "Going To Chicago ~utumn In Armstrong of Bourbon, crowds Blues" and Park, New Orleans Jazz and Heritage Founda­ of the more were described by !•on, 11 _a.m.-7, lightfooted brass marching bands, traditional and contemporary and lightheaded will those knocked-out alligators at Jazz, latm, blues and gospel music be performing such Resurrec­ the Bulletin du Hot Club du Monday, October 11 tionist steps as the Lindy, the France as "Impetuous!" Brown Bag Concert, Duncan Plaza, Percussion jam session with Mark Shag, the Suzy-Q, the Big Apple, Revivalism at its best, so get hep Sanders, 11:30 a.m.-I the Second Balcony Jump, you to the jive. Wednesday, October 13 name it. The Orchestra-once -Jon Newlin Brown Bag Concert, Duncan Plaza, Nature, 11:30 a.m.-I known as the Widespread Friday, October 15 Brown Bag Concert, Duncan Plaza, UNO Jazz Band, 11:30 a.m.-1 Monday, October 18 B~own Bag Concert, Pan Am Plaza, Connie Jones and the Crescent C1ty Jazz Band, 11:30 a.m.-1 WHAT'S HOT Wednesday, October 20 Brown Bag Co~cert, Gallier Hall, David Thomas Roberts, 11 :30 a.m. The Shades is an exciting new James Drew Tno, 12:15 ' band whose upbeat British new Thursday, October 21 wave/ska type of music is a fresh Brown Bag Concert, Spanish Plaza, Dirty Dozen Brass Band, 11 :30 and welcome sound locally. The a.m.-I band's been hampered by their Saturday, October 23 lack of image and lack of osten­ Arts Fest, Duncan Plaza tatious stage mannerisms-they Lady BJ and Spectrum, 1; Kid Sheik rely solely on their music, and and the Preservation HaJJ Jazz Band, 3; Ruben Gonzalez and the their unobtrusive, plain dark Salsa All-Stars 4· The New Leviathan Oriental Fox-Trot Orchestra, 5 ' ' suits and anonymous haircuts Sunday, October 24 emphasize this point. The fact Jasn:'i~e, 12; Astral Project, 2; Dirty Dozen that they aren't typical or Brass Band, 5 Loms1ana Jazz Federation Jazz Jam Session, Tipitina fashionable has led to their being a.m. 's Restaurant, 9-1 overlooked by the public to a Thursday, October 28 large extent. "Caged Bird Singeth" with Now playing regularly Anthony Bean and Allen Toussaint Or- around pheum Theatre, time to be announced ' the city, the band consists of Sal Friday, October 29 Vadore, rhythm guitar and lead Ton~ Digradi ~nd Astral Project, Contemporary Arts Center, 9:30; Joe vocals (he also writes a large pro­ Celli, new mus1c oboe portion of their original Saturday, October 30 material); Rob Charmers, lead Piano Series, Contemporary Art guitar; s Center, Steve Pistorius, David Greg Adams, bass; and Thomas Roberts and Isidore "Tuts" Washington George Huerta, drums. Sunday, October 31 Why not experiment and give New Orleans Jazz Club Jam Session, Landmark this new band the audience they Hotel, 1-5 deserve? -Bonnie Canltelli 12 WAVELENGTHIOCTOBER 1982 ~-~ Miller High Life Presents

Broadway's Smash Hit, Now LIVE on Stage

Thurs, Oct 7 McAlister Auditorium 2 Shows

Tickets available at all Ticketmaster locations Presented In association with Schiavone Entertainment, $8.50 Tulane Students $10.00 General Public 117 Productions, and IJII:iiL Concerts

WAVELENGTH/OCTOBER 1982 13 et's stuff some substance into the slogan, " Jazz Awareness," the theme of this issue and the Louisiana Jazz Federation's somewhat wistful program for this month. What the New Orleans music community ought to know as of October 1982, is that we can talk about sophisticated contemporary jazz as a New Orleans tradition. As evidence for this ironic assertion, consider the career and influence of a living jazz master, the pianist Ellis Marsalis. The last time I heard Marsalis play was at the Faubourg, about a week before the club closed down. A few days previous, he'd played the big time, performing at the Public Theatre in New York City with his two eldest sons, Branford and Wyn­ ton, and two old friends, Alvin Batiste and Ed Blackwell. The Marsalis brothers are, of course, a phenomenon-interna­ tional jazz stars barely into their twenties (as this Wavelength appears, they'll be touring Japan); erstwhile Orleanian Ed Blackwell has been recognized as an im­ portant jazz drummer for a couple of decades, mainly through his association with Ornette Coleman; Alvin Batiste and Ellis, "forgotten men of jazz," as Robert Palmer called them in the New York Times, have below sea level reputations outside New Orleans, with Ellis edging upward through a Columbia album, Fathers and Sons, that he recorded with his illustrious progeny. Estimable proponent of New Orleans music that he is, Palmer of Times seized the occasion of the Public Theatre concert to hail the advent of a modern jazz idiom with a New Orleans accent, new music rooted in the sounds of the old city. The headline read: "Latest New Orleans Jazz Comes To Town." Now there's some jazz awareness for you. Back at the Faubourg, awareness dawned in subtler ways. Returning from the heights of Manhattan to the regular, no-cover Wednesday night gig, Marsalis strolled into the club about ten minutes late, which i s unusual for him, and ex­ changed only brief remarks with well­ wishers, which is highly unusual, before settling in at t he piano. (Generally speak­ ing, no one without a substantial chunk of time to commit to the endeavor should strike up a conversation with Ellis Mar­ salis.) Big, slow-moving and slouchy, a guy who'll carry a grant proposal around in his briefcase for a couple of years so that he can tinker with the idea in odd moments, Ellis nonetheless retains, at 47, 14 WAVELENGTH/OCTOBER 1982 the facial expression of a hyper-alert little jazz, the vocabulary consists of Blackwell to Los Angeles where they boy, intent on figuring things out. motifs-short musical statements that hooked up with Ornette Coleman. At the piano, the little boy's wide-eyed previous mus1c1ans have made, little "Ornette," he recalls, " was formulating wonder at what comes next draws out the gems, little nuggets, which have been some very strange-sounding music. The rumpled professor's skill and knowledge played on recordings. You listen, and you three of us would go around from place to into darting themes, delicate lines. Here is begin to identify little nuggets that place, trying to find someplace to play. jazz awareness up close. Hearing the you-the musician studying- can relate Musicians would get off the bandstand music start, solitary drinkers and friends to in developing your vocabulary. We and stand in the back of the room and in little groups at the Faubourg's bar find that invariably, if the creative spark laugh. It sounded funny to them. It repositioned themselves at tables near the is there, and all of the other things that sounded funny to me-but I was trying to stage. This was not background music. impel one to reach out and go through figure out what the guy was doing." After Listening to Ellis Marsalis takes a bit of this experience of improvisation, students about three months, he decided that there concentration, a degree of personal in­ will learn to use the ideas of all these was really no place for a piano in the style volvement. musicians as a source for their musical of music they were playing, so he returned Of the half-dozen reviews I've read of vocabulary. You hear, and you try it. And briefly to New Orleans. the Fathers and Sons album, not one has at first it doesn't usually work too well." A tour of duty as a Marine Corps musi­ failed to classify Ellis as a bebop player, The evidence continues to mount, cian brought him right back to L.A., an accurate description, but not a reveal­ however, that pupils who follow this jazz where he spent the next two years playing ing one. Rather than exemplify a jazz master tend to work things out quite well. jazz in his off-duty hours with the musi­ style, he seems to work through it, as an We're talking now about jazz awareness cians who, in the late 1950s, moved on to idiosyncratic shaper, teasing a passing as education. For the past eight years, play "free jazz" in New York City and moment to forsake the flow of time and Ellis has run the jazz program at the New shake the jazz world hard. Marsalis follow the pianist's peculiar whim. Orleans Center for the Creative Arts though, was not in that number. "I carne Likewise following as best we could that (NOCCA, pronounced with a long "o"). back to New Orleans. I don't know why. night, the listeners could not always be That distinguished little institution Maybe I didn't have enough courage to go sure even that a piece had ended, so light operates within the public school system to New York." was the player's hand in tapering off his to provide gifted high school students In New Orleans, Marsalis became a musical phrases. We held our applause with rigorous professional training in the moving force among the young black until, diminuendos done, Ellis nodded to arts. The jazz program requires students musicians who developed a modern jazz signal the completion of a thought. to study classical music as well as jazz, scene in New Orleans in the earlyl960s. Once, after pursuing art's impulse with the goal of preparing graduates for He opened a jazz club at his father's through a pop tune Ellis was elegantly major music schools and the expectation motel, formed the Ellis Marsalis Quintet, refashioning-he hesitated, contemplated that most of them will become profes­ and recorded for A.F.O. Records, a brave the next note as a mathematician ponders a sional musicians. experiment in which a number of New theorem, then resolved the situation in an A short list of the program's best Orleans musicians, led by Harold Batiste, effortlessly lyrical phrase that seemed to known alumni inevitably begins with sought to present their music outside the sail from the periphery to the center of Wynton Marsalis, the astonishing young dictates of commercial recording. The consciousness in its own smooth trumpet player who moved in rapid suc­ music, to use Robert Palmer's term, was time-well, after striving to follow such cession from NOCCA to Juilliard to the "a kind of advanced chamber jazz," and movement of thought to the piece's end, I flashiest professional debut of any jazz the recordings stand as the principal arrived at an odd conclusion of my own: as player of the past twenty years. Reports antecedents to the albums that the Mar­ the final note fell into place, I looked up are that he plans to follow up the success salis family and other contemporary New to find myself gazing out over the au­ of his first album, Wynton Marsalis, by Orleans jazz players have made in the past dience from the piano bench, and nodded recording two classical trumpet concertos couple of years-solid evidence to anchor happily at the rightness of it all. The ensu­ with the Prague Chamber Orchestra; as a a claim that a modern jazz tradition ing applause, I'm afraid, shattered that jazz musician, he'll appear on a for- . prevails in New Orleans. momentary illusion: I couldn't help but thcoming live album with Herbie Han­ Marsalis has played steadily around notice that some of it was coming from cock, Ron Carter and Tony Williams, town over the years, with occasional ex­ the table off in a corner where I was sit­ among other projects. tended engagements at the Carnegie ting alone, so I reshuffled my perceptions The next name on the list is equally ob­ Tavern in New York during his summer accordingly. vious: Branford Marsalis, who looks hiatus from teaching. Two albums docu­ Jazz awareness can get to you, especial­ ready to take his place in the spotlight ment his recent work, Fathers and Sons, ly if your background runs more to with a debut album due this fall. Names mentioned previously, showcases Ellis metaphor than musical smarts. Of course, other than Marsalis include Donald Har­ Marsalis the composer; the Marsalis side tracing the connections between music rison and Terrance Blanchard, who of the record (saxophonists Von and and language can lead a man of played the Kool Jazz Festival in City Park Chico Freeman hold sway on side two) · theoretical bent-and Marsalis is surely with Art Blakey's Jazz Messengers, and a presents four of his original pieces-hard that- through some intriguing conversa­ number of others now, as Ellis puts it, "in bop, snazzy and swaggering. The pensive tional byways. "Learning how to im­ the work force." style of his club performances is better provise," he reflects, "is like learning Marsalis' own stint in the work force represented on Solo Piano Reflections, c how to talk. The first thing you have to do stretches back to 1955, when, just out of which Ellis produced on his own Elm is develop a vocabulary. In the case of Dillard, he accompanied his friend Ed Records label; the record doesn't match WAVELENGTH/OCTOBER 1982 15 the meditative intensity of his best live ef­ forts, but it does include his singular reworking of Fats Waller's "Jitterbug Waltz," an excellent introduction to the quirky delights of his playing. The classic Years of playing creative music in the face of the torpor that often characterizes the local scene have provided Ellis Mar­ alternative to traditional salis with some sharply critical perspec­ tives. "New Orleans is not a professional city. There are professional demands, but New Orleans they're not really at the level they would be in New York. Most of the musicians in • • New Orleans live on what we call Mom Street. They can go to Mom and get a lit­ cuts1ne. tle breakfast-or to Auntie, or to Sister. ''Whereas, the demands that are placed Prime rib, cooked to perfection, on a professional musician in New York with no further adornment. for a certain level of excellence-whether Splendid steaks and lamb. With a it's excellence in terms of show' business, superb selection of distinguished jumping up and down, or excellence in terms of John Coltrane and experimenta­ wines to complement your classic tion-those demands mean that you've meal. For luncheon or dinner · got to meet a certain level of excellence if reservations, please call 529-7045. you're going to survive. That is not the case here. "Therefore, you find a lot ofmusicians who are not going to put forth the effort, and they're going to blame the general public. That is the reaction: to say that the people here don't like jazz, they don't listen and they don't come out. .. " Ellis shakes his head. "No introspection." iqBI\OOM That's the category of jazz awareness called facing life. Corner of Royal & St. Louis Streets In his professional life, Marsalis has traversed a significant quarter century of jazz history, from the beginnings of free jazz with Ornette Coleman to the reflec­ tive musical conservatism prominently ex­ emplified by Wynton and Branford Mar­ salis. As a player and composer, he stands as the strongest link between the pioneer spirits of modern New Orleans jazz who came together in the early 1960s and the intensely creative nucleus of musicians who have emerged here in the past few years. As a teacher, he has made damn sure that New Orleans jazz will continue to look toward the future. A final burst of jazz awareness compels me to temper these ringing declarations with an acknowledgment that present op­ portunities to hear Ellis perform are scarce. The Contemporary Arts Center will present him as half of a piano duo with James Drew, another limpid stylist, in its Piano Players series. Tyler's features his luminous, understated duets with guitarist Steve Masakowski on Monday THE ONLY nights. When the Faubourg reopens (as, God help us, The Snug Harbor) he may figure in the new, limited jazz policy, but •oE THAn FmiNG. there are no guarantees. The Timberland® boat shoe is the perfect addition to any wardrobe. It This paucity of local gigs notwithstan­ has waterproof brown leather uppers that stay soft and supple, solid brass ding, Ellis Marsalis is clearly not one of eyelets that won't rust, and a permanently bonded soft, white Vibram® those languishing New Orleans legends. sole for longer wear. His work in the splendid NOCCA jazz It's the classic boat shoe with one big difference: Timberland quality program constitutes a major project in Available in styles for men and women. itself, and a unique contribution to New Orleans music. He also seems ready to 1imberland ~ pursue further chances to record and per­ Birkenstock: form nationally. "I've made no plans," he pronounces emphatically, "to become Uptown Square • 200 Broadway • Suite 182 • (504)891-7090 the teacher who used to play." 0 16 WAVELENGTH/OCTOBER 1982 So why is George Schmidt (who once told us, in an echo-sort of-of Boldini and Sargent, that he was becoming a por­ traitist and was going to "paint only the rich and powerful") embarking on a lream~ ~cenes series of four large History Paintings, in­ escapably linked to the history of New Orleans music? "I'm painting my dreams," Schmidt says, standing before a wide, six-foot high canvas in the early stages of completion entitled "Buddy Bolden's Nervous Breakdown." The an~ painting is derived as much from Brueghel's 'Fall of Icarus" as from the description of the event in Don Marquis' book about Bolden. A large table nearby is littered with photographs of friends dressed in costumes in different poses and Jazz Visions preparatory charcoal drawings, and Schmidt reveals his delight ("I'm doing what I want to do") in consulting primary George Schmidt is painting New Orleans' jazz history instead of sources-old photographs and newspaper accounts and digging in local archives. He writing about it: "I'm painting my dreams," he says of a quartet of brandishes a startling photo of a New Year's Eve party at the old St. Charles huge canvases that include Jelly Roll Morton, Buddy Bolden, Hotel-"Look at that! Dentists have just Sarah Bernhardt, Tom Anderson, John Robichaux and Emile ruined everything ... you don't see faces like those any more!" Some of the faces 'Stalebread' lacoume and the Razzy-Dazzy Spasm Band . turn up in one of the other history pain­ tings, "John Robichaux's Orchestra in the Japanese Room at Antoine's." Already involved in local music as istory Painting is probably the the inclusion of their works in history vocalist and banjoist with the New most despised of once-popular texts and encyclopediae: Gerome, Leviathan Oriental Fox-Trot Orchestra, painting genres-even today in Meissonier, Feuerbach, Delaroche, Schmidt becomes wittily histrionic about art schools students might still Emanuel Leutze. the new paintings: "I have an emotional be asked to knock out a still-life Provincial museums in France and Bri­ relationship with the subject matter ...This or a landscape (and George Dureau still tain, storehouses of 19th Century taste, is my going back to my childhood looking does landscapes, among other things), but are crammed with splendidly detailed at the encyclopedia and those Gerome what art professor is going to ask his tableaux with cumbersome titles like paintings of Roman history .. . l'm in­ pupils to dream up a new version of such "Charlemagne and his Principal Officers terested in the past so I'm going to paint once-popular subjects as "The Con­ receive Alcuin," "Julius II giving orders it. These paintings involve research not tinence of Scipio," "Zenobia found on for the building of the Vatican and St. aesthetics. My earlier things were about the banks of the Araxes" or "The Body Peter's to Bramante, Michelangelo and art [a series of paintings derived from of Harold brought before William The Raphael," "The Excommunication of Diane Arbus photographs, and another Conqueror"? The great era of History Robert The Pious," "Cardinal Mazarin's as-yet-unexhibited series of pain­ Painting begins with David and then In­ Last Sickness," "Queen Rod ope Observ­ tings- largely in blues-of Duchamp gres, continues through the pompiers in ed by Gyges," "Alcibiades in the House readymades: the Bicycle Wheel, the France and the Pre-Raphaelites in of Aspasia," etc., etc. Modern critics and Rotoreliefs, the Rrose Selavy/Why Not England and a few of the Nazarenes in artists, as trapped by conventions of style Sneeze? pieces] but in these paintings c Germany, but the great names in the and subject matter as any Academician, there'll be no metaphysical decoration ... genre are all but forgotten today, save for dismiss them as colorful tripe. They're so big because it gives me some WAVELENGTH/OCTOBER 1982 17 light and the detail; freedom with the like those tiny Meissoniers when you see your back III at Solferino,' over 'Napoleon when you bend hurts after a while for the and you feel sorry looking at them see these super-realist artist. .. When I for the ar­ always feel sorry paintings, I I wanr as much over for a Year, tists, bent photographic possible but not detail as paintings to be ... I want these realism or Rembrandt's like Velasquez as more they're about light 'Night Watch,' as anything else." much a frieze-like Bolden painting, In the in its early stages, composition, still a center) slumps against Bolden (in the a double (a fence in front of cemetery surveys his collapse woman of color a large while to the right from the porch) up by the procession is held horseback to the left the musi­ central event, and drama, distracted by the cians, who seem had the cor­ ~ ranks. Schmirft ... are breaking Jackson in mind of "Dryades and but it ner where it happened they don't know It was a in the central city. was somewhere CIO because there Let Us rain parade, the black and CIO CIO CIO and a white You! was a black in separate Tempt had their parades ways. they and went different Bountrful Breakfasts tree neighborhoods the parade -I0:30pm musicians struck lusc~aus Lunches Open Tues·Sat, 7am But the black band 8am-9pm had to get a non-union Delectable Dinners Sunday, and so they band came to Daily Speoals Monday that was how Bolden's Sensational Closed play."and Soups and Salads Esplanade but Superb 4-7 pm 437 works, as high Very Happy Hours, 944-0793 Two more-finished Orchestra wide, are the Robichaux sug­ not as Naked Dance," painting and "The piece of Jelly Roll Morton gested by the a Storyville name (based on the same an undraped female tradition in which customers her charms for would display paintings evoke the shimmy); these odd via in their wonderfully Degas and Goya colors. and their umbrageous framing is "a portrait of The Robichaux painting event," rather than of a specific the room that the room still says Schmidt, adding on the unused for decades exists though He also men­ floor at Antoine's. second was a left-handed that Robichaux tions he needs to emphasize violinist, a detail to work on the painting. when he returns place in the Naked Dance" takes "The at Josie Arlington's mirrored ballroom of the uni­ the interpolation mansion with from Mahogany phallic chandeliers Mor- quely ceiling; Jelly Roll Hall adorning the glimpsed in the painting, ton will appear so far only an folding screen, but behind a his placement. "All blob indicates horizon umber have the same four paintings it didn't really . .it's as if, although lines . could walk around that way, you these happen day and see all of the city on a single things happening. ugly, that's we live in are so "The times Painting is out of probably why History is there worth chronicling fashion-what you had the J 9th Century now? In life and History of contemporary painters this modernism started but all of to seek Painters, telling painters with Baudelaire ... I don't in the modern city their subjects makes one of why when Rossellini some- know it's Art but when his history films 1982 18 WAVELENGTH/OCTOBER one does a History Painting it's Reac­ tion." The Robichaux painting, with some startling visages derived from various old group photos strewn about the studio, seems to derive almost as much from the society-column paintings of Beraud and Tissot and Gervex as from Velasquez, save that it combines the lov­ ing detail and grace of a Tissot or Beraud with the stylistic freedom and playful irony of a Velasquez. The fourth painting in the series (all four are commissions for Con Demmas, but Schmidt hopes the paintings stay in New Orleans since locals have a "back-lot at Warner Brothers idea of the past like Yancey Derringer or Pretty Baby," and besides "the purpose of the History Pain­ ting is to instruct!") hasn't been started yet, although a beautiful large charcoal study for the just-primed giant canvas rests on one of the large tables. The title: "Sarah Bernhardt Meets The Razzy­ Dazzy Spasm Band." Schmidt describes its genesis: "A few years ago I was teaching a course and one of my students was an old man who was married to the daughter of Emile 'Stalebread' Lacoume [leader of the Razzy-Dazzy], and he told me that he had all of these inscribed cards to Stalebread from different people like Sophie Tucker... and he brought them in and he mentioned that there was also one from 'Sarah Boinhawt' inscribed to Emile Lacoume. In the painting Sarah is tipping them a dollar outside of Tom Anderson's since during one of her visits to New Orleans she went to Storyville as a tourist. Tom Anderson is in the background ... who to use for the children will be a prob­ lem. Have you seen a picture of the Spasm Band? They were just awful looking 110u..:u•.u presentation kids ... but in this painting, it's like the Three Magi, the world comes to visit..." THE LEGENDARY JONATHAN RICHMAN Schmidt's enthusiasm is infectious, to AND THE MODERN LOVERS- First N.O. say the least: How did he decide on sub­ Gilbert Heatherwick o · ject matter? "I thought to myself: What l :;siiiii'

WAVELENGTH/OCTOBER 1982 19 ...... , ,...... , Satardav SPECIAL THANKS TO: Cyril Nevzlle, Clark Vreeland, Earl King, jesse Hzll, Gary 1 2 Brown & Feelings, Steve Nelson, Fr£enz, the Radiators, Monk, Robin, Woodenhead, RZA, the Dozen, johnny Magnie, Chakula & Chink, Tuts, james 1HE Booker, other Room Services, each and every Nevtlle Brother, the Bad Oysters, RADIATORS EXUMA Mean Willie & Sabu, Leslie Smith, Suzy Malone, Red, Franco, Ricky Castnllo, Walter and OZ, Gary Edwards and Is Music, Martha Lagoy, Frank Quintini, Tom­ my Malone, Rick Spain, Stevenson Pa/fi, all the folks at Whole Food, and all the hot fish the island man others who did it. .• - r' !I" ~ ~ I'! ... 3 4 5 6 7 live on WWOZ ~ 8 9 :~l ~=·:· PEOPLE'S SPENCER BRYAN LEE RAS CLOUD CLIFTON CLIFTON ~=·:• BOOK STORE BOHREN GROOVE SLASH AND THE SONS CHENIER CHENIER ~=·:· BENEFIT REVUE OF SELASSIE-1 ~=·:· Banda Fiebre veggie knight studios casta 8 p.m. spaghetti $1. review your grooves reggae the king puts out ...... and returns :: 'black beatles' back for more for more [: :: ~... _ ... ·=· ·. 10 11 12 13 live on WWOZ 14 live on WWOZ 15 16 f·- :! DEACON JOHN ALGIERS SPENCER THE JESSE HILL LI'L QUEENIE BOHREN RADIATORS JAMES BOOKER BLUES REVUE DEFENSE FUND BAND AND BACKTALK WITH BENEFIT EARL KING red beans & rice special tuesday me. fingers oo poo pa doo queasel, weenie, where dat guitar go? $1 .50 edition at the 88's extravaganza & the beanies ,..,_ + ,', I• ' .:' ~: ' -:·: >!" ;· ::. ~> ..-.. ~!~ 17 18 ; 19 20 live on WWOZ 21 22 23 :: SPECIAL GARY BROWN MASON RUFFNER TAJ THE MARSHALL :: GOSPEL SPENCER AND FEELINGS AND THE RADIATORS CHAPMAN :: SHOW BOHREN BLUESROCKERS MAHAL :. if you saw them hot blues great music at 9 close the marathon, from fort worth the true ~·· fishhead musicheads under-recognized watch for details every monday you'll be here via the quarters fishin' musician female rocker '~.00:0.•~" ''Ff. ' ·.· 24 25 26 27 live on WWOZ 28 29 30 ~ JAZZMONr j.i BENEFIT SPENCER THE ALBERT MARCIA Easterling 31 BOHREN ATCHAFALAYA KLATKA TONY BROWN COLLINS BALL Klatka BAND Mars THE 'l' etc. NEVILLE arranger for :: :) BROTHERS spence is back bayou blasters woody herman reggae master ice is nice widdoze long laigs '• : halloween in from I· his slot lafayette way with power horns of the midwest .:-'· >~· - -- il]: [• :· " ·,; .;. ,,, .--·, ~ ,' 501 Napoleon Ave, corner-Tchoupitoulas- Phone 899-9114 ~·

By Almost Slim

The overflow of late- outh Louisiana is dotted with front door, Slim's only advertisement is clubs, barrooms and dance­ by word of mouth. All the Creole people halls, where you can go to hear in St. Landry and Evangeline Parishes model cars and pickup live Cajun and zydeco music. know that there's a "Big French Dance" Most of the clubs bear the name every Saturday night at the Y Ki Ki. trucks in the parking lot of their owners: Richard's in Lawtell, Admission to one of Slim's dances is an Fred's in Mamou, Bushnell's in Iowa, oddly priced $1.75 or $3.75. Inside, it's is the only sign that Pat's in Henderson and Snook's in Ville your typical Cajun dance-hall: small Platte. bandstand, a huge dance floor, an enor­ Since the advent of air-conditioning, mous bar and seemingly acres of chairs there's a Big French the newer clubs have been built without and tables. the benefit of windows, but the tradi­ Everyone knows when "strangers" step Dance every Saturday tional oblong shape of the older dance­ in. But they are quickly made to feel at halls has been maintained. Some of the home, and blend into the good times.The smaller bars, like match-box-sized Buzz's only prerequisite at Slim's is that you night at Slims. in Mamou, don't even have a stage for the dance. musicians. The smoke and noise that per­ Everybody dances at Slim's. vade these clubs seem to go hand in hand Grandmaw-maws waltz with each other, with the music. The musicians play carrying their purses on their arms. Hefty through brand-new amplifiers for the middle-aged men can two-step fast dozen or so couples that waltz in the small enough to tire even the youngest girl in the space provided for dancing and the old club, and couples dip and sway with a men who smile seated at the tables against lithesomeness that pleases both partici­ the wall cluttered with empty Schlitz cans. pant and spectator alike. "Is everybody havin' a real good time?" The men and women dress in a variety quizzes the accordion player, with more of colors-men in colorful polyester suits, than a hint of French accent. some with fancy jewelry or exotically One of South Louisiana' s most feathered cowboy hats; the younger girls memorable and enjoyable nightspots is dress casually in tight designer jeans; Slim's Y Ki Ki, located just north of while the older ladies display their color­ Opelousas on Highway 167. Located ful party dresses of brilliant purples and within 100 yards of both soybean and gn::ens. sugar cane fields, the only indication that The bandstand, surrounded by anything is going on is the overflow of Christmas lights and a wrought-iron rail- late-model cars and pickups in the park­ ing, just barely accomodates a five-piece ~~ ing lot, since the Jax Beer sign has long band. Recently heard at Slim's was the since been broken. group Marcel Dugas and the Enter- Except for the posters taped to the tainers, made up of Marcel Dugas on ac-

WAVELENGTHIOCTOBER 1982 23 zydeco, that's what we like," declares 81G! f~e-.s,_h b~-.c.e.. Slim as the patrons seated at the bar nod in approval. "I like the French music, me. SLIM~ 1-Kl-KI Now, Marcel, he plays a little rock 'n' roll, but not too much. See, a lot of peo­ Sat. fe.b· ~ • ple will get up and leave if they hear too much rock 'n' roll. They com_y to hear TUA£;7.Gl /fAM.1·CtJ French music. They can go some place IN PERSON else to hear rock 'n' roll." Once the Entertainers begin at 9, they don't take a break until they quit at 1 a.m. MARCEL Dugas puts out nothing but great French zydeco music, alternating waltzes with two-steps, and an occasional blues or soul tunr , as the dance floor remains crowded from the first to the last note of the even­ ing. Dugas grins constantly., his rugged face bathed in sweat, as his meaty hands DUGAS.., chokes the notes out of his shiny Hohner accordion in a spirited N.O. Booking Agency AND HIS version of "Eh, 4830 Chestnut (Upstairs) 'tite Fill e." N.Q., La 70115 The crowd responds with explosive ap­ 504 (899-0654) plause after each number, and many shout requests at the bandstand between llllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllll I AMD songs. After everyone is well warmed-up, Oct 1- Dixies (Bourbon St) Playing The Latest Hit Tunes vocalist Gene Morris steps to the Oct 8- Trinity's (B.R.) microphone every so often singing his Oct 9- Tupelo's (N.O.) familiar "Going Back to Big Mamou" or cordion, "Jumpin'" Joe Morris (former­ ; "Joy to the South," before returning to Oct 1 5- Tipitina's (N .O.) ly with Clifton Chenier) on bass, Ernest mingle with the enthusiastic audience. Oct 23- Maple Leaf (N.O.) Johnson on rubboard, "Henry" on tenor Even though Dugas is the featured per­ Oct 29- Antler's (Lafayette) sax, and Lightnin' Slim's old drummer, former, there really is no star. "Jockey" Oct 3 1 - Dixies "Jockey" Etienne on drums and vocals. handles the vocals with professional ease every Wed: Hamilton's Place Dugas, from Crowley, Louisiana, is a though his dynamic drumming tends to long-time veteran of the zydeco circuit. become static. The saxophonist squeezes (lafayette) He proudly wears a black nylon Adidas some guttural sounds out of his instru­ sportshirt emblazoned with his name over ment between barking out the vocals to a a large hunched frame that has obviously couple of Ray Charles requests (in picked a whole lot of cotton and cut a French). Joe Morris demonstrates how he whole Jot of cane. got his nickname "Jumpin'," as he Now in his fifties, his career goes back dances a furious breakdown in front of to 1956, when he recorded with Sticks the bandstand accompanied by drums, Herman on Eddie Shuler's Goldband rubboard and the shrieks of the crowd. label. Although he remained active play­ Ernest Johnson prowls the bandstand, ing the dance-halls on weekends, he didn't both hands a blur as he supplies a frantic reenter the studio until Shuler called him backbeat, stopping only to wipe his dark in 1969 to accompany Wild Bill's glasses between numbers. Washboard Band. In 1974, Marcel cut In zydeco music, emotion and feeling three excellent singles for Jay Miller's draw more applause than technical profi­ Blues Unlimited label with vocalist Gene ciency. If mistakes are made, they occur Morris, including the popular "Going with such desire and honesty, that they Back to Big Mamou," which can still be sound genuine and not at all out of found on many a jukebox along the Gulf place.No one ever notices when the musi­ Coast. cians end their songs differently. Unlike the more popular zydeco artists, Just as Dugas' lilting zydeco rhythms like Rockin' Dopsie, Clifton Chenier and differ from music found elsewhere, so too Buckwheat Dural, who have toured is the environment found inside Slim's Y overseas, Dugas still plays the older tradi­ Ki Ki. When one of the regulars asks a tional French style of accordion. Un­ new face to dance or inquire if they are doubtedly his career has been held back passing a good time, they do so with genu­ by the fact that he doesn't sing, but that ine sincerity. doesn't seem to bother Marcel, as he ap­ Released from their toils in the rice, pears to enjoy his celebrity status at the cane or oil fields, the Creole people are Creole dance-halls, barbecue picnics and free to enjoy Saturday night the way they church dances. Like the other groups that always have, unconcerned with the latest alternate playing at Slim's (The Ardoin dances, fashions or just what anyone else Brothers, Wilfred Latour's Travel Aces, thinks. Preston Franks and the Eunice Playboys At Slim's a waltz is a French waltz and led by John Delafose) the group performs a two-step is a French two-step. If Dugas as far west as Texas but rarely further east plays something that is particularly ap­ Representing a variety of Blues, Cajun, than Lafayette. pealing, young girls get up Contemporary, Country, Jazz, Pop, to shake and Reggae, R&B and Rock Artists. Slim tends bar with his two sons, all older men will break into an old-time reel clad in colorful Hawaiian shirts, and oc­ or a breakdown, just as they did on a 500 Valence, Upstairs New Orleans, LA 70115 Dianna Chenevert (50-4) 899-8297/368-2785 casionally strays over to the dance area to Saturday night forty years ago. sprinkle it with dance floor wax. "Strictly And still do today. 0

24 WAVELENGTH/OCTOBER 1982 MIXED-MASTERS

When confronted with the pleasant task of choosing between ISLAND RECORDS PIW~DtLY British, Jamaican and American pressings of the same album, PRESENTS EXUMA'S NEW AllUM be aware that each pressing will sound different due both to the quality of plastic and the mix of the music.

s reggae albums become increas­ pressings have the double disadvantage of A ingly available in American record poor sound quality and a soft, wimpy stores, you may occasionally find yourself low-end mix, a problem especially confronted with the pleasant task of noticeable in the fourteen volume United choosing between British, Jamaican and Artists Anthology of Reggae Collector's American pressings of the same album. Series, released back around 1977. Be aware that these albums do sound dif­ This knowledge might best be applied ferent, due both to the quality of plastic to the bewildering array of albums of ear­ and the mix of the music. ly Bob Marley material that fills most reg­ Just as most British labels are known gae record racks. They all contain basical­ for their superior sound quality, most ly the same songs, but the similarity ends Jamaican records are fair to poor in quali­ there. Soul Rebels and Soul Revolution ty. However, '!Vhat is sacrificed in sound Part II, both oh Upsetter Records, are the quality is usually more than compensated Jamaican versions and therefore feature for in the low-end mix of Jamaican the original Lee Perry mix. But don't AVAILABLE AT LEISURE LANDING records. The bass and drums (the low­ forget, the disc itself will be of poor quali­ 5500 MAGAZINE ST. • SC)5..8713 end) are mixed loud; you won't just hear ty plastic with plenty of surface noise. For Moil Order: Send '9.00 money onl4tr poyoble the difference, you'll feel it. This mix clean, high quality discs of the same to Exuma c/o Cat Island Records, P.O. Box 750061, New Orleans, La. 70175. Allow 4-6 gives the music a live sound, closer to its songs, you'll want to listen to African weekt for delivery. Orders outside U.S. add roots as dance-music. Herbman and Rasta Revolution, which •2.75 for postage ond hondllng. Most of the early reggae music that can are British Trojan pressings. But then, be found on British pressings has been re­ remember that these versions have been mixed (in fact, this will be stated re-mixed. Finally, in the case of these Bob somewhere on the album jacket). There­ Marley songs, don't even bother with the mix takes the form of boosted guitars, American pressings unless the packaging keyboards! and other high-end in­ attracts you. struments, as well as occasional additions In the reggae music of the 1980s there is of guitar solos, done in the hopes of mak­ a less dramatic difference in the mix of ing this "crude" music more palatable to British, Jamaican and American press­ Babylonian tastes. Worse yet, American ings. On all of these records, the low-end WAVELENGTH/OCTOBER 1982 25 is emphasized, but it's done differently now. What used to be achieved by boosting certain low-end frequencies along with moderate use of echo is now accomplished by the use of drums and electronics that smack down on the beat. In a sense, the reggae throb has been replaced by the reggae slap. This change in style, along with the fact that current domestic distributors of reg­ gae (Rounder, Shanachie and Alligator Records) are not tampering as much with the original mix, has more or less standar­ dized the sound of reggae records . ••••••••••••••••••••••••••••••••••••••

IIH \f{)"" IIII \ RH ;c; U. ('I ·\SSJ( . Augustus Pablo Original Rockers Message 1004 One of the leaders of the musical revolution in the early days of reggae was producer/musician Augustus Pablo. At a time when dub music was just beginning to be more than a popular vocal song with most of the vocals removed (this form was called "the version"), Pablo entered the scene with his melodica. Teaming up with many of the great Jamaican producers, he created a unique new dub sound by taking versions, breaking them down to their basic guitar, bass and drum tracks, and then adding on his own melodies. He experimented with many different instruments, utilizing at different times the melodica, piano, organ, even vibes. Another unique Pablo trick has been to recycle songs by writing new words and melody to a song and then using relatively unknown singers like Jacob Miller, Hugh Mundell and Delroy Williams. Using dif­ ferent combinations of singers, lyrics, and lead instruments, Pablo has been known to create as many as four songs from one basic guitar, bass and drum track. Over the last ten years, Augustus Pablo has released so many albums and 45s that it's hard to keep track of them in WWNO America. Some of these albums, such as This is Augustus Pablo,Pablo Nuh Jester (re-packaged as Dubbing in Africa), and 89.9101 East of the River Nile are exercises in creating mood music with slow tempos CLASSIC JAZZ JAZZ ALIVE! ELEMENTS and peaceful melodica melodies. Other albums are wilder experiments in dub, MUSICIAN'S .HOUR JAZZ HIGHLIGHT featuring Pablo's songwriting and musi­ LATE NITE JAZZ CHASIN' THE BYRD cianship, teamed with the genius of pro­ ducer King Tubby. The true classic Pablo album is King Tubby Meets Rockers Up­ A cultural service of the town, but unfortunately this album has University of New Orleans been unavailable for almost two years. The next best thing, and the classic album for this month is Augustus Pablo-Original Rockers. This album is a compilation of 45s that AP released dur­ ing the years 1972 to 1975. More than any n of his other albums, this one gives a cross­ U rrr section of all his early styles, and even National Public Radio features a version of "Africa Must Be Free By 1983," with vocals by Hugh Mundell. -Gene Scaramuzzo

26 WAVELENGTH/OCTOBER 1982 RADIO

1801 AIRLINE HWY. BETWEEN WILLIAMS BLVD & THE AIRPORT

THE RATINGS GAME 468-8790 Some of the drawbacks for the Arbitron radio-rating system are that the sample size is very small, the mobility of radios makes accuracy difficult to achieve and programming overlap makes radio less distinguishable than TV stations.

.A Quiz. Here's a quiz for y'all: ratings, 7,068 diaries went out (in a I which commercial radio station is radio audience area estimated at number one in New Orleans? Go ahead, 1,894,000) and 3,112 were received at the write it down. All set? Now, give me the end of the ratings period. The diaries answer. divide each day into time segments, and Congratulations, you're right! the respondent notes what radio station Wait a minute, certain skeptics may he/ she is listening to for each time. say, how'n'the hell do I know what you The drawbacks of this system are answered? Couldn't seven different peo­ several, though no one involved seems to ple have given seven different answers? mind too much. First off, the sample size How can they all be right? is very small-less than one tenth of one Ah, my friends, welcome to the ratings percent of the total population. And the game. With a little statistical manipula­ mobility of radios-cars, walkmans, tion, almost like magic, I can prove to you· etc.-makes accuracy more difficult to that any of at least seven New Orleans achieve than for something like the commercial stations are number one in Nielsen TV ratings. And, finally, pro­ the Crescent City. It's a great game, and gramming overlap makes radio stations as a special treat, we're going on a walk­ less distinguishable than TV stations. ing tour through the rules and regula­ Johnny Carson only plays on one TV sta­ tions. Come on along, and you, too, will tion but Steve Miller plays on a lot of Jets a day October Appearances: soon be able to amaze and confound your radio stations. If a respondent ,.. friends with terms like 12 + and AM or two go by without filling in the diary, Maple Leal Bar ":· . will have a difficult time recalling Drive. It's all part of the ratings game he/ she T,, Li'.'' Qr•Cj :/ •'' <'" spectacle oc­ exactly where he/ she heard what. II. The Main Event in this ... ·: J.r,, S:r"r!P' :. n. 1 T·. •'. ·, the Despite all its inaccuracies, the Ar­ curs twice a year with the release of l h hr:::'. V:d ,, ·. ': high degree of ,:, Arbitron commercial radio ratings. Ar­ bitron ratings are given a I • ' \ ~ , . ,. bitron is simply a ratings service, indepen­ credibility (at least by those who score Tipitina·s dent and unaffiliated, and capable of well in them), and their arrival is eagerly w,.cJ o. · . , recognizing a good scam when they see anticipated by those who use them. Which . .. ..__ ..:-·. ; <. ·-··-. ·-;,<_;•. :~: :._ one. Each spring and fall, Arbitron mails brings us to the next section. ·,: .;.~· . . ;.. Players For booking informatiOn: .~· out radio listening diaries to a lightly Ill. You Can't Tell The '· screened group of people in the greater Without A Scorecard. Playing the ratings 866 6789 ~:; New Orleans area. For the spring 1982 game is quite a privilege. While all the WAVELENGTH/OCTOBER 1982 27' commercial stations are charted (and the Uh-oh, bad luck. You've been cast as ••• non-commercial stations' share may be the ad manager for WINE, which got a ·•:•• deduced from the figures), not everyone 1.2 share (out of a possible 100) for AM subscribed to the ratings report. Admis­ Drive. But all is not lost. Looking at your sion to the game ranges from eighty 0.6 rating from the last period, the first dollars, the amount the advertising agen­ thing you note on your promotional sheet cies pay, to a cool $30,000 per year for the is that WINE has doubled its AM Drive radio stations. If a station doesn't play, it audience since the last ratings. You also is not allowed to use the figures to pro­ mention that you've climbed five places in mote itself. Ad agencies and advertisers, the standings (do not mention that it is the other major players besides the sta­ from 46th to 41st). And be sure to point tions, use the statistics the same way as out that in the category of left-handed the stations do, but from the other side of Armenian circus people with twelve or the transaction. Simply, the advertisers more children, you are the clear-cut win­ are the buyers, the stations are the sellers, ner, with a whopping 540'/o lead over your and the product is time and the number of closest competitor. Finish by stating that ears per time slot. when AM Drive is combined with the IV. Rules Of The Game. Arbitron 4:00-4:15 a.m. time slot, WINE delivers ••• publishes its ratings in the form of a 113% more women 100-110 years old ••••• • booklet, with page after page of ratings than it did in the last report. tables. This is where the fun comes in. See? That wasn't as hard as you The various tables offer statistical thought, was it? Let's give it another spin. SO's & 60's breakdowns by age, sex and time, down This one's a little better. Now you're ad .!.• to 15-minute periods. There are cross­ man for WZZZ, weak in some areas but APPAREL and ..,: references, breakdowns within with several obvious strengths. You come ACCESSORIES breakdowns, figures by percentage and by in fourth in PM Drive, so your first step is audience size-in short, enough numbers to release a data sheet showing the shares to provide something for everyone. The for this period. Conveniently, your data is HOURS 11-7 • MONDAY - SUNDAY largest category is Tot. Pers. 12 +, which only for stations ranked fourth through means everyone twelve years old and twelfth. Looking good. Your chief pro­ 1938 BURGUNDY over. The time categories given most at­ blem is that a series of chauvinistic BETWEEN ESPLANADE & ELYSIAN tention are AM Drive and PM Drive, the editorials cost you your entire female au­ FIELDS lN THE FAUBOURG morning and evening rush hours when dience, so you lead off your promo sheet everyone, it is assumed, is listening to by stressing that WZZZ offers a higher ••• 947·4556 their car radios. Scoring well in these percentage of male listeners than any •••••• times can offset a minimal share in other station. Also point out that you are another time slot. number two among 12-18 year olds from The minute detail of the ratings is what midnight to 6 a.m., up 66% from the last allows so many radio stations to claim ratings. Close by noting that you deliver ratings superiority. A station's advertising 43% more illegal aliens in the evening manager simply finds his station's than in the morning. strengths and targets his advertising ef­ VI. A Disclaimer. Lest all this sound forts accordingly. On this basis, almost too cynical, and lest any readers think so­ any station can make a strong pitch to meone out there in Radioland is pulling some partic~lar advertiser. the wool over someone else's eyes, keep In the largest category, total person age one thing in mind: everyone playing the twelve and over for all time periods, game knows the rules and understands WAIL had the largest ratings share-but how to play. Really, this gives everyone nobody uses that figure (except WAIL). involved in the advertising side of radio a From a practical standpoint, it is mean­ chance for some creative fun and games; ingless: there simply aren't that many they all have the same basic information, advertisers who want to pitch everybody and no one is so naive as to be taken in by at once. Each particular product to be all this. Says Phil Zachary, "It's really an advertised is geared toward a particular ego-building device for broadcasters." group of people. The key to using the And I should take the time here to thank figures is to be able to show an advertiser Mr. Zachary himself, for being extremely that he will get an efficient cost per thou­ helpful and forthright in showing me just sand listeners, and that those listeners exactly how the game is played. I enjoyed belong to a group most likely to be in­ it, and I hope your advertising manager terested in his product. If your station will still talk to you after he reads this. scores highly with the over-65 age group, VII. The Post-Game Show. Ultimately, you will solicit Geritol ads. ·u you score in like any other rating system, the Arbitron the 1i to 18 range, you will be selling a lot ratings are meaningless except to a small of pimple cream. As explained by Phil group of people with specialized needs. Zachary, program director of WQUE and As for proclaiming any particular radio the man to whom I am indebted for most station number one in New Orleans, it's of this information, "the ratings are a impossible. Even in terms of specific au­ selling tool, and they're more versatile diences, it's highly questionable, given the than any other we use." Indeed. sample size and methodology. Whichever V. Play Ball! Now that you've absorb­ station a person listens to is number one ed all this useful information, you're for that person. ready to play the ratings game. So spin the What station do I think is number one? spinner in the middle of the board, and I'll be happy to tell you-for $30,000. let's see what happens. -Keith Twitchell 28 WAVELENGTH/OCTOBER 1982 BEST TAPE A SOUND NUMBER­ BEST ANY PRICE NUMBER $30.00 an hour

Home-taping gives power back to the consumer - which is precisely what frightens the major record companies.

ooking over some new albums, I they span twenty-five years of rock 'n' Lspied a small and strange symbol roll in their expansive use of oldies.) It's on the back of a record-jacket. At first harder and harder to find an LP wherein glance the symbol appeared to be a skull­ every cut is even "pretty good." The big and-crossbones; closer scrutiny revealed companies supposedly had trimmed the the bones to be bones but the skull was a fat (by letting personnel go) during the 3683 Magazine St. cassette. Over the cassette were these deflation that followed the Disco Infla­ 897-3170 words: "Home-taping is killing music." tion; but they haven't cut the fat out of The record companies, the major their brains. Most popular music seems to 455-2168 record companies, that is, are currently in be made by accountants or fast-food a panic. Record sales are at an all-time salesmen. low. And to make matters worse, the big What home-taping does is give some stadium shows fared poorly this summer: power to the consumer. The consumer low public exposure-low record sales. So becomes an editor, a programmer. The the major record companies want you to consumer cuts out all the fat himself and believe that things are bad for them tapes what gems can be found. Also, a lot because would-be customers are home­ of home-taping involves making pro­ taping. Rather than go out and buy a new grams of, say, all your favorite tracks by LP, you, the consumer, tape the new John Lennon. Or you could mix Bartok, record off the radio or you tape a friend's Bob Dylan, Charlie Mingus and Talking copy. The blank cassette costs you bet­ Heads. The possibilities are endless. The ween three and five dollars; the new Walkman-type deck enable one to bring album runs about seven dollars (as low as one's music anywhere; and the music one six if it's on sale; as much as eight if it's by brings can be programmed by oneself for a "superstar"). Usually you can fit two oneself at a low cost with a little time and and a half albums on a ninety-minute imagination. tape-one a side plus some. The big com­ A proposal by one of the majors calls panies point to this discrepancy in prices, for a tax to be levied against blank tapes then they point to their falling revenues so that the companies could recoup the and say, "All the money that should be losses they claim to suffer through home­ rolling into our pockets over here is roll­ taping. The majors say artists, com­ ing into the pockets of the manufacturers posers, and arrangers are being deprived of blank tapes over there!" of their rightful royalties. But who would What they fail to mention is the decide where these extra revenues will end depressed economy, the popularity of ar­ up? The majors would decide and the cade games, E. T., arid the rapid growth revenues would end up in their own cof­ and expansion of cable TV. Ever since the fers. Disco Inflation, record companies (the A cassette tape is small and easy to pass majors) have been releasing increasingly around, it's an easy way to circulate infor­ more homogenized music, on more in­ mation and entertainment. American ferior plastic at higher and higher prices. culture becomes a throw-away culture Quality's been going down; prices have more and more with each passing day. been going up. Alongside the Disco Infla­ The major record companies contribute tion came tight playlists on commercial to this condition by releasing mostly FM radio stations that only get tighter, throw-away product. The consumer seek­ meaning the erosion of album-oriented ing pleasure if not information can find stations. (There's more variety on a com­ the treasure- and throw away the trash. mercial AM station like WTIX because - Zeke Fishhead

WAVELENGTH/OCTOBER 1982 29 REVIEWS

*599 LPITAPE

RUSH Tropical Breeze Jasmine Inner City 1155

At last the music of Jasmine is available is particularly effective with all of the without the distractions of poor acoustics, swells and crescendos in the music. noisy crowds, and faulty mixing that jazz Markway and Black are a jazz/rock tour groups and their audiences must endure in de force and Sander's expertise in this New Orleans. Tropical Breeze was record­ idiom is the finishing touch. ed at Sea-Saint Studios with production The tunes range in style from the airy assistance from Allen Toussaint. The "Oh Pepita" to the solemn and familiar musical virtuosity, nuances, and am­ "Malaguena." "Jasmine" is a love song bience of flowing sensuousness in Jasmine and "Everything I Do With You" is a are all presented here in a superb mix. medium tempo funky number. The music here is difficult to Once again, New Orleans musicians categorize. Jasmine is truly what fusion is make an aesthetically significant musical about. Old and new musical themes are statement. fused with Latin rhythms and propelled - Brad Palmer by a New Orleans backbeat. Eight of the nine tunes on the record were penned by Brazilian composers. Album Of The Year Drummer James Black's "Jasmine" is the Art Blakey and exception, and blends well with the other tunes to create a very cohesive presenta­ the Jazz Messengers tion. All lyrics were composed by Ron Timeless SJP 155 Cuccia, who, as a jazz poet, is talented at fitting words around musical rhythms. This album has much to recommend on Cuccia's talent is amplified by the many levels. It is extremely listenable and marvelous vocal style of Cassandra holds up well under repeated playings. Wilson. Ms. Wilson sounds as though she Art Blakey has obviously pared down his came straight from Brazil rather than her superior musical knowledge for his Mississippi home. She moves from lyric to younger colleagues, who all sound scat with the fluid motions that are ex­ courageous and fresh. What is most in­ pected from performances in this idiom. spiring about this album is how new it She shares melodic chores with the flute sounds in comparison to the many 'dated' of Kent Jordan and the violin of Sun Kim. albums that have recently been appearing. Of all the players, Jordan gets the most Trumpeter Wynton Marsalis, a native solo space and makes good use of it. Sun New Orleanian, began working with Kim's haunting violin keeps the whole af­ Blakey in 1979, a position previously held fair from becoming too light and blowing by such great trumpeters as Clifford away. Brown, Freddie Hubbard and BilJ Hard­ With Jasmine's leader Patrice Fisher on man. He plays with full knowledge and harp, the rhythm section is completed by confidence, revealing his extensive train­ Jim Markway, bass; James Black, drums; ing; his trumpet never sounds cracked or and Mark Sanders, percussion. The harp dry and his solos are dynamically put 30 WAVELENGTH/OCTOBER 1982 together as evidenced on Charlie Parker's "Cheryl." Art Blakey is complemented by bassist Charles Fambrough, best known through his association with McCoy Tyner. He is technically facile and excels in the solo passages of his "Little Man." Sax­ ophonists Robert Watson and Bill Pierce shine out and display a remarkable sense of timing, never being put out with Blakey's sudden shifts. Robert Watson's 8316 Oak Street "In Case You Missed It" is really brilliant, with a no-nonsense feel to it. It 866-9359 would be very easy to take this rhythm section for granted-they l'nake it sound so easy! The members of this super band com­ plement each other and it's a good in­ dicator of where these musicians are head­ ed. Art Blakey is continuing to do his best and sounds as fresh and creative as ever! Sundays -John Rankin This album is very good. eclectic guitarisms -Bonnie Canitelli Mondays- Jim and Dave Atomic Cafe light country pickin's Original Soundtrack Tuesdays -James Booker Rounder 1034 Piano Pn.nce of New Orleans

I've not seen the film, Atomic Cafe, Wednesdays- La. Repenory Jazz which is apparently a fey-horrifying cau­ Ensemble tionary compilation of America's late- 1940s/early-1950s Kierkegaardian Thursdays - Bourre Cajun Band romance with the A-bomb, as reflected in newsreels, popular music, training films Fri, Oct 1 - The Nightriders and the pronouncements of military tacti­ cians, politicians and over-eager scien­ Sat, Oct 2 - Marcia Ball Band tists: this soundtrack is a,Potions counter of ephemerae, running'frtim one authen­ Fri, Oct 8 - Rockin' Dopsie and tic masterpiece to some incredible crud his Cajun Twisters (all however with redeeming social value) in the blues, rock, country and gospel Sat, Oct 9 - Cush-Cush Cajun styles. Now this is itself interesting: leave it to blacks and rednecks, least respectable Band and most disenfranchised of immediate­ postwar Americans, to pass the most tell­ Fri, Oct 15 - Sonny Landreth ing comments on the most demonic addi­ Bayou Rhythm Band tion to The Technology. The black music is generally witty and cool and ironic, the Sat, Oct 16 - Radiators redneck music excitable and vivacious. The authentic masterpiece, "Atom and Fri. Oct 22 - Beausoleil Evil" by those jazzy human pipe-organs the Golden Gate Quartet, opens the Sat, Oct 23 - L'il Queenie and album; how could one beat a combination Back talk of prescience, wit and virtuoso technique (despite the accusations of over-slickness Fri, Oct 29 & Sat, Oct 30 that haunt the Golden Gates)? Baritone Tony Brown Reggae Band Bill 1 ohnson gives the narrative line as usual-Atom being a "friend of the Halloween Night - Marcia Ball human clan" led astray, Garden of Eden­ Band like, by the conniving, voluptuous Evil-"lf we don't break up that rom­ ance soon, we'll all fall down and go boom, boom, boom!" is the refrain moaned by the sublime Henry Owens-the one really "colored" soun­ ding member of the Quartet and probably PATIO PARTY their greatest lead. for Louisiana Serenely sly and suave, this secular war­ Ja~z Federation members ning is light years ahead of the rest of the Frt, Oct 1, 6 pm - 9 pm selections which include such discoveries • Become a member, $5. (all worth hearing once, but some only once) as Skip Stanley's kicky-as-a-grade­ Z-horror-picture "Satellite Baby," Sonny

WAVELENGTH/OCTOBER 1982 31 Russell's godawful "50 Megatons," Fri. Oct 1 Lowell Blanchard and the Valley Trio's "Jesus Hits Like An Atom Bomb" Roulette (anything with a title like that is already Sot, Oct 2 self-parodic with its hayseed Last Judge­ ment opposed to technological destruc­ The Sheiks tion and its punctuating shouts of "Great Wed, Oct 6 Gawd a-mighty!"), the creepy, lounge­ Melange lizardish and Nino Rota sounding "Atomic Love" by Little Caesar (not the Thurs. Oct 7 one of "Those Oldies But Goodies Re­ mind Me Of You" fame) and the Red Chrome Callender Sextet. Fri. Oct 8 There are other hits-no pun in­ tended-that deserve a bit of study: the Cypress Buchanan Brothers' "Atomic Power" Sot, Oct 9 which is hokey beyond belief with its mix­ ture of clarinets and fiddles and 24-K eschatology but has a peculiar force that Wed, Oct 13 make it soun~ like a seminal fossil; Loui­ siana Red's "Red's Dream" (the latest cut The Sheiks on the album, from 1962) with its account Thurs. Oct 14 of Red wreaking havoc at the U.N. and bossing Castro about-like Moms Mabley The Rebels collaring Khruschev and telling him, Fri. Oct 15 "Listen, boy ... " and Billy Hughes and Lillian the Buckaroos' anti-mechanist "Atomic Axe Sermon,' which is both witty and musical­ Sot, O ct 16 ly tasteful, the Five Stars' almost artfully banal "Atom Bomb Baby," and Slim Chrome Gaillard's "Atomic Cocktail" (better Wed, Oct 20 than anything on the recent MCA reissue album), which recalls Pauwels and The Sheiks Bergier's fascinating-but-unexplored Thurs. Oct 21 comment in Le Malin de Ia Magie that Explorer anyone could make an atomic bomb at home on the kitchen range, and is sparse Fri , Oct 22 and clever-"when you take one sip, you The Rebels won't need any more"-and makes us think that Ronny Graham might have Sot, Oct 23 been satirizing Gaillard's ultracool Lillian icebox-jive as much as Harry The Axe Hipster's benzedrine-hysteria in his old Wed, Oct 27 New Faces routines about hepcats. An interesting document this, with a Chrome few works of folk art and much enjoyable Thurs. Oct 28 trash; I'm just a sucker for theme albums, I guess. Good scholarly notes inside by Roulette Charles Wolfe. Fri . Oct 29 -Jon Newlin Cypress Sot, Oct 30 Since 01' Gabriel's Time Clearance Melange Hezekiah and the Houserockers Halloween Party! Sale Louisiana Folklife Series 40% OFF LP-003 Stage & Studio Lamps

Weds-Sat This disc, produced by the Louisiana Folklife Center, is without a doubt one of Used Power Amplifiers open 6 PM -Dirt Cheap- bands10:30 PM the most outlandish releases in some time. Hailing from Ferriday, Louisiana, the Wed~esclaya group is not your typical blues trio. All sorts of WRNO NIGHT Led by Hezekiah Early, who doubles normally expensive on drums and harmonica, the group also consists of guitarist James Baker and the merchandise Thursdays extraordinary Peewee Whittaker on at very affordable prices. SPECIAL DRINK vocals and trombone, of all things. NIGHT Between them, the group incorporates blues, ragtime, jazz ·and even rock 'n' roll 4239 BANKS STREET into their style. Though virtually NEW ORLEANS, LA 70119 unknown, the band was the highlight of this year's Baton Rouge Blues Festival. 504-486-5577

32 WAVELENGTH/OCTOBER 1982 As a group, the trio's sound is raggedy at best, but that doesn't bother me and it shouldn't you. The Houserockers play with a fervor not often captured on wax these days. One listen to Peewee taking a rude solo on his trombone should con­ vince anyone. Admittedly you'll get more out of this release after you've seen the Houserockers work out. Side one con­ tains studio takes, while the flip side was recorded live at last year's Natchitoches Folk Festival. Most material is quite tradi­ tional-"St. Louis Blues," "Racetrack Blues" and "Outskirts of Town"-but the approach is definitely out of the or­ dinary. 7i-iCLUB This record isn't for everybody, but neither is this magazine. BOURBON ST. -Almost Slim 711 NEW ORLEANS FINEST

Fri, Oct 1- Trinity's,-Baton Cornbread For Your Live Entertainment Rouge Husband And Biscuits Sat, Oct 2- Tupelos For Your Man: Wed, Oct 13 & Grant St. Dance Wed, Oct 27 Hall-Lafayette Mr. Clifford Blake Sr. Thurs, Oct 28-Jimmy's Calls The Cotton Press Fri, Oct 29-Papa Joe's-Baton Louisiana Folklife 37321 Rouge This curio comes to us direct from Nat­ "Louisiana's premier group... " chitoches, famed for its meat pies and the -Baton Rouge Morning Advocate 8127182 late Cammie Henry and that curious set­ " ... the most no-nonsense virile rock tlement on Cane River called Isle Brevelle band around town." -Gambit 4124182 and the Little Eva Plantation (where Mrs. Stowe supposedly derived some of her in­ spiration) and that notorious and now­ removed 1927 bit of public statuary, ''The BOILED SHRIMP Old Darkie," which was inscribed on its base: In Grateful Recognition Of The Ar­ ALL YOU CAN EATI duous And Faithful Service Of The Good· $7.95 Darkies Of Louisiana. And now Mr. Blake joins the list of above wonders: "calling" the cotton press-a big malignant machine which bales and arranges the cotton and claimed one of Mr. Blake's legs some years ago-inspires greater production, keeps the workers cheerful through the Brucknerian thunder of the damn thing, warns them when they are too close to its maw, times them ("sun is almost down") and is apparently a Lost Art, which as demonstrated in Mr. Blake's chants, com­ bines gospel caB-and-response and blues moaning with the more primitive features of the Industrial Revolution-one doubts whether those child miners investigated by the Sadler Commission in Mid-Victorian England had pipers or fiddlers to cheer them. Mr. Blake explains that he had an almost mystic vocation to call the press, and besides, he "didn't want my sisters to rock no white folks' babies," and thus by luck/ determination/nerve (and, one suspects, a little bit of knuckling under because the press caller represents the bosses' interest, not the workers'-he keeps the workers happy so they can pro­ duce more), he gained the coveted posi­ tion of shouting raconteur that has gained him enough eminence to merit an entire record to himself. Mr. Blake is eloquent

WAVELENGTH/OCTOBER 1982 33 on the mechanics of the press and on the origins of the blues-a "pacified mind" is his description of a blues-less one, and his singing of the Sanctified hymn, "I Done Got Over" has nothing to do with Irma Thomas. His voice, a shouting, alternate­ ly razor-like, alternately gnarled, lilt-slices through words in linear movements that are horizontal and to the vertical floating as opposed \ . 1: 1\ t: tl .\ T smashing of the press. The second side of the record is given over to jabliaux, folklore and PBISIBEIT reminiscence-peopled with clever rabbits and stupid mules, overseers dispensing justice of a Biblical harshness, haunted SPECIAL ATTRACTION graveyards and hoodoos (a charm involv­ Thursday, September 30 ed in one story is made up of egg yolks, PAUL CARRACK with Epsom salts and black pepper-those NOISE TO GO people in Natchitoches eat some strange omelettes) and charitable residents of featuring NICK LOWE Calcasieu Parish (a redneck gentleman gives Blake a hambone and a baked SPECIAL ATTRACTION Friday, October 1 potato, the former being the first meat he had eaten in six months, he tells us). It is DAVID BROMBERG less interesting than the first side, but a record like this is still a good demonstra­ SPECIAL ATTRACTION tion of what small record labels do well Saturday, October 2 and an even better and more heartening GIL SCOTT-HERON demonstration that state funds don't just line legislators' pockets or adorn their Friday, October 8 wives' bodices. If the state of Louisiana MOONLIGHT CRUISE can press a record as charming as this, it's IRMA THOMAS doing something right. -Jon Newlin Saturday, October 16 MOONLIGHT CRUISE Lords of the New Church, IVY An Island SPECIAL ATTRACTION Tupelo's Tavern Thursday, October 21 MOTHER'S September 3, 1982 GARYNUMAN With a long break between acts, Oak SPECIAL ATTRACTION T~VERN Street was crowded and the police •••••••••••••••••••••••••••••••• threatened to send a paddywagon; very MONDAY NIGHT • reminiscent of the 1978-1979 punk scene FOOTBALL in New Orleans. The Lords of the New $2. 50 Pitchers Church came on with thundering sound, generally in black with Stiv Bators in during the game leather pants and a red sash. LADffiSNIGHT They set everyone's adrenaline pump­ Tuesday & Thursday ing with their aggressive attitude; the au­ Saturday, October 23 dience was crammed against the stage and DAVID GRISMAN WEDNESDAY NIGHT the club-owner threw a couple of slam­ Double Shot Bar Liquor dancers out before deciding to let the au­ SPECIAL ATTRACTION $1.00 dience kill themselves and / or the band. MONDAY-FRIDAY Brian James, ex-Damned, played wren­ Hour: 4:30-6:30 ching guitar solos with stereo and setup Happy and swayed and grimaced as if he had Hi-Balls $1.00 several gunshot wounds; the bass player, Draft Beer 50¢ ex-Sham69, dealt out punchy bass lines SUNDAY while maintaining a bored and detached Open at Noon presence, while the drummer leapt off his $2.50 Pitchers bass drum at the end of the set. Thursday, October 28 Stiv Bators was only slightly calmer PATRICE RUSHEN $1.00 Hi- than usual. For the finale, he threw All himself on the floor and in one of those SPECIAL ATTRACTION acts of self-destruction for which he is Friday, October 29 •••••••••••••••• famous, beat himself across the chest with corner of the mike stand and then threw the NICOLETTE LARSON Carrollcon & Maple. microphone around and around, even­ ''A step off tually slamming himself in the groin (ac­ New Orleans Steamboat Co. the trolley ' ' cidentally?). The Lords thrilled me more 586-8777 than any other band in recent times. 34 WAVELENGTH/OCTOBER 1982 An Island played an impressive opening set to a seemingly unimpressed au­ dience. Opening bands have a hard role, going unnoticed except when they take up too much time. An Island is a three-piece local band playing mostly original music with semi-political themes and a hard­ driving dance beat; visually they are very exciting. with -Lenny Zenith NORA WIXTED Homegrown WGNO-TV, Channel 26 September 26, 1982

September's Homegrown featured the Radiators, taped at Jimmy's in late August. According to Bob Gremillion, co-producer and director of the show, Channel 26 used the services of Southern Mobile Video and mixed the sound through television speakers for optimal television sound. The tape that I preview­ ed was high quality and as clear as can be expected from television. The music was that good old fishhead repertoire of original tunes that the Radiators do with such wonderful freshness. Crowd shots were edited in and the audience clearly enjoyed the show-dancing figures swayed to the music and made you wish you were there too. The show's only problem is one you'd expect-the range of television simply cannot capture that live feeling, the musical intensity, the stomach-thumping beat of actually being there. Yet Channel 26 does an admirable job, taking the resources of an open, inviting club like VI31L Jimmy's, and the talent of the Rads to v12 1=-uu----~c~l-ri--=-()-~--.,J create a local concert rivalling the slickly packaged M-TV. Channel26 has captured the Radiators' energy and style. Look for 26's Homegrown to appear ANNOUNCES OPENING OF later this fall featuring other New Orleans acts. The station hopes to make a monthly NEW UPTOWN OFFICE: series out of the show by the end of the 5622 B Perrier St. year. DREAMER SPARKLE - Margaret Williams ELS THESHOES LAKEFRONT UNIQUE PIERRE Bobby McFerrin NATURAL HIGH UNKNOWN FUNK BAND Sat, Oct. 2 and many more Hammond Social Club Bobby McFerrin Hammond, La. · 10 p.m. Elektra/Musician EI-60023 Fri, Oct. 8 10 p.m. Mr. Bojangles Gretna - New Orleanians may remember Bobby Sat, Oct. 9 Animal House McFerrin as the vocalist with Astral Pro­ Thibodeaux, La. - 11 p.m. ject throughout 1978. In addition to sing­ Orleans: Fri, Oct. 15 ing lyrics, McFerrin takes on the role of Barbara Coppersmith Executive Club other instruments with his astounding Bill Kearney Luling, La. - 10 p.m. vocal improvisations. He calls these Baton Rouge: Sat, Oct. 23 "vocalise" (pronounced vo­ Jimmy Burrand The Lobby vocalizations McComb, Ms. - 8 p.m. ca-leeze) and his objection to being called (504) 891-0614 Fri, Oct. 29 a scat singer is understandable. In his Mr. Bojangles lightest moments he is a fine scat singer. (504) 488·0852 Gretna - 10 p.m. His more serious moments are musical 5822 Perrier St. New Orleans, LA. 70015 marvels. FOR BOOKING . • • · • McFerrin's vinyl debut does not justify 34 this talent however. The album is just a 4008 Hyacinth, Suite 105, , LA. 70808 ROCK c; • • little too safe. Baton Rouge YOU'LL NE • • Van Morrison's "Moondance" is . .: ·. ·... · ·-:.·:- .. :-··. · :-·-::-··.·.·· .· rhythmically and melodically strong here, WAVELENGTH/OCTOBER 1982 35 and McFerrin and Phoebe Snow team up for a very funky "You've Really Got A Hold On Me." But next to Ms. Snow's raunchy blues style, McFerrin's voice is too soft and pretty. It has a thin texture and he stays mostly in the upper register, leaving him out of his element on the Smokey Robinson tune. McFerrin's "All Feets Can Dance" and "Sightless Bird" are vocal extravaganzas with numerous vocal overdubs. The im­ pressionistic "Sightless Bird" effectively uses longer notes to connote great ex­ panses. The above two tunes and Bud Powell's "Hallucinations" (on which McFerrin is featured a capella with vocalise overdubs) show a serious talent at work. Good interaction contributes to the suc­ cess of the three tunes just mentioned, but on other selections there is no real in­ terplay between McFerrin and his band of West Coast musicians. Jazz is not an idiom where the band can be just a An innovative shopping place for backup for a front liner. the buying and selling offine, While McFerrin has good jazz musi­ vintage and previously owned cians playing with him, and while McFer­ items featuring complete rin's roots are in jazz, I can't recommend wardrobes for men and women. Sell some of your treasures and buy others. this as a jazz album. I do recommend it, Make Another Time 'Round your first though, as an example of the heights to .go 'round. which good pop-oriented music can rise . 1507 St. Charles Ave. McFerrin comes across here as a very 568-9520 talented composer and arranger. One Mon.-Sat. 11-6 hopes some day he will compose, arrange Cndit Ctuds: MIIStnCard. VISA and perform an extended work for voice and jazz ensemble. These days record labels are putting too few dollars into the development of new artists. It is therefore encouraging that Bruce Lundvall on his new Elektra/Musicians label has made it possible for this important artist to make his musical statement. -Brad Palmer

Trick Bag Earl King French EMI 83299 WEDNESDAYS What a welcomed LP. This one covers DRAFT BEER NIGHT Earl's stay at Imperial Records from 1960 25¢ aGlau $2'.00 Pitchers to 1962. Many of the tunes that Earl's reputation is based on are included in this outing. "You'd Better Know," "Come FREE OYSTERS On," "Mama and Papa," and the title 25¢ DRAFT BEER tune are among the better known items. Fridays 5:00-8:00 PM Wardell Quezergue, and the true god­ father of New Orleans R&B, Dave Bar­ Pool, Patio, Pinball and tholomew, produced and played on One Helluva Jukebox plus . . . these. Once again Earl's songwriting is his forte, being ·simultaneously humorous, witty and deeply personal. . ·.... ·.. ~\-­ Earl lays down some "alley" guitar and C3 .. ~~--- he really wails especially on his mentor Guitar Slim's "The Things I Used To ~~~ Do." Even though Earl never got a true hit out of these Imperial forays, his recor­ dings were great examples of New Orleans Sandwich Shop R&B from the early "classic" period. Serving Daily This set is a real service to collectors. Hot Lunch Specials Assorted Hot & Cold Sandwiches Great packaging and superb sound make and Snacks this a "must." -Almost Slim 36 WAVELENGTH/OCTOBER 1982 CLASSIFIEDS

THE RECORD ONE-STOP OLDIE-BUT GOODIE QUESTION OF THE MONTH What New Orleans artist had a big national hit of Blueberry Hill? The first 50 correct answers to the above question will receive a free oldie but goodie album. Write with your answer c/o The Roadrun­ Shepard H. Samuels ner, the Record One-Stop, P.O. Box 547, Kenner, LA 70063. The answer to last month's question is Don't Mess With My Man by Irma Thomas record­ Attorney at Law ed on Ron Records, her first single. Juris Doctor-Louisiana LOOKING FOR lead guitarist, into original new Civil and Entertainment wave music and pop. Must be familiar with rockabil­ ly, ska, other styles. Vocal and image a plus. Call Law Practice Michael at 488-6101.

WANTED. Keyboard into progressive techno space­ funk w/multi-stuff. 899-4251, 899-3549, 861-3502. 89g.:3524

HEY! Not only does Red Star have cards framing WEDNESDAY, OCTOBER 6 and other neat stuff, but now we have a small selec­ tion of used records!! Still next to Leisure Landing, THE RADJATORS at 5432 Magazine St.

W~SDAY. OCTOBER t3 RENT A PARTY Dream Palace and Cafe Marigny are available for THE NIGHTRIDERS private parties. Call 943-1694 for information. Announcing TROPIC NEW ORLEANS ROCK 'N' ROLL Those Oldies But Goodies! If you're looking for those special records that you can't rind anywhere WEATHER else, send us your want list of 45s, LP's or tapes. Or featuring if you would like one of our catalogues, send $2 (to Benson Dupre cover postage and handling), refundable from first order, to The Record One-Stop, P.O. Box 547, Ken­ Donald Provost ner LA 70063. We have one of the largest stocks of Timothy Will i ams_,....~~~= oldie-but-goodie records in the South. Karl Morrison

YOUR STATE of consciousness is the key to your own experience. For a taped message call jazz • reggae • blues • r & b 10:30 P.M. WEDNESDAYS ECKANKAR 899-5716. day 822 7196 • nite 899 8610 REDDELL'S RECORD WORLD OLDIE BUT GOODIE SALE The Following artists greatest hits album are $3.99 each or 3 for $11, Elvis Presley, Lloyd Price, Fats Domino, Bobby Bee, the Big Bopper, the Beatles, Dale Hawkins, and many others. We also have a large selection of collectors records, especially New Orleans Music. We buy and trade records, too. Oldie 45's start at $1.50 each and we have many rare singles. Come visit us. That's Reddell's Record World at2225 Veterans Blvd. Kenner, LA 469-8597.

STUDIO TIME only $30 per hour. New late night rates at Thee Studic, metro New Orleans' only true professional S-track recording studio. Call 524-5716 for bookings and inforJ!lation.

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MUSICIANS WANTED / Experienced dependable and hardworking female vocalist seeks band with professional attitude. Must enjoy mellow as well as other styles. Call Penny at 524-1248 before 5:30p.m. STONEE'S MULTITRAC STUDIO Amps, drums and piano included. $15 an hour for the first 3 hrs. and $10 thereafter. 467-3655. GUITAR chord patterns. Unique sounds. Seven progressions chart Ill. Send $1.50 to Superior Music Suite 53 Box M.H. Fair Oaks, CA 95628. LIVING BLUES. America's leading blues magazine; sample copy $2, subscription (4 issues) $8. Living Blues, 2615 N. Wilton, Chicago IL 60614.

WAVELENGTH/OCTOBER 1982 37 LAST PAGE

Blues guitarist Mason Ruffner, usually education ... " etc., etc. All that was miss­ heard at the 544 Club on Bourbon, will ing was the bouncing ball at the bottom of make an appearance uptown this month the screen. Bob Geldof, he of the Boom­ at Tipitina's October 20. Be SJ)re to town Rats Band, was appropriately check him out: he's one of the best. neurasthenic as Our Hero (?) Pink, who Ironing Board Sam, late of West Mem­ has lurid visions right out of a Ken Russell phis, Arkansas, and currently gigging movie, but without the master's endearing around Savannah, Georgia, is returning silliness. Before he shaves his head and to New Orleans soon to stay ... Clarence eyebrows, Mr. Geldof looks like a poor Frogman Henry is working on his next man's John Travolta ... album in England ... Roosevelt Sykes, WRNO is opening a new twin cinema, "The Honey Dripper," has been in poor supposedly this month, in Uptown health since returning from the Nice Jazz Square... Also at Jimmy's Oct.l and 2, we Festival. Get well soon ... Allen Fontenot should finally see and hear the long­ is making an unqualified hit in New awaited debut of Apt.B, the major off­ England, taking his Country Cajuns on a shoqt of the deunct Cold... Donnie York number of club and festival of Shanana visited Traci Borges' Metairie dates ... Frankie Ford recently celebrated studio while in town. The two apparently his 30th anniversary in show business with hit it off, and Donnie will be recording a a giant party staged by his manager Ken Traci Borges composition titled "Creole Keene at Frankie's posh Gretna home. In Ma Ma" on his new solo album. The attendance were such luminaries as Jim­ whole track has been produced, arranged my Fitzmorris, Bobby Mitchell, Ernie and written by Traci ... Little Euclid and K-Doe, Bobby Cure (sporting a Kojak Blues guitarist Mason Ruffne; the Rhomboids planning to do Moon and hair style), Frankie's mom Mrs. Vincent Frank Zappa one better with something Guzzo and about 500 others ... If you pearance at Tupelo's on Saturday, Nov.6. called "Newcomb Girls" ... James Brown listen to your radio closely you'll of A Hell-uva good show is promised ... The playing the classy Blue Room this month. course notice Dr. John singing the latest Showboat has changed hands. No longer Black acts now tend to be the biggest draw Popeye's commercial, but did you know will the club feature live bands. Instead for this swank nitery where Leon Kelner that Lee Dorsey is also singing about the new owners, affiliated with Andy once upon a time tinkled the ivories Wendy's Chicken Sandwiches? ... Earl Capp's, are turning the Showboat into a regularly. King is back at Sea-Saint, working on funk club, complete with a disc jockey Janice Medlock, recently of Lucky some new material... spinning the platters ... Pierre's. has started a band to perform The Newsboys will be at Studio In The John Rankin is now appearing every her own pop-rock originals. The Medlock Country to work on a demo in a couple of Wednesday evening at the Cafe Marigny, group consists of Terry Grovetto (drums), weeks. Also getting a demo together are atop the newly decorated Dream Palace. Steve Giovengo (bass), and Jerry Lopez the Blue Vipers ... Drummer Kerry Brown The food and atmosphere are tops, too, (guitar), with Janice handling lead vocals is back in the French Quarter between and the chef's from Austria... Meanwhile, and keyboard. They are presently rehears­ touring and he'll play on Gatemouth downstairs at the DP, their musical ing for a November debut. .. Brown's next Rounder effort. .. Les weekends have been jumping starting Brief epistle from the A-Train arrived, Gatreaux is replacing Guitar Slim, Jr. at every Thursday with Walter Washington letting us know that their first gig in Dorothy's Medallion Lounge on Satur­ and his Solar System Band; Albert King Austin was an overwhelming success. days ... Bryan Lee is sporting a new and Doc Watson are slated for ap­ "Austin is one of the most happening rhythm section and working around town pearances soon, too ... A new band, The cities in the U.S. with more than their quite a bit .. . Billboard magazine recently Blind Dates (three girls-Leslie on bass, share of great live bands. After the great featured New Orleans radio in their Margaret on guitar, Charlotte handling time we had in Austin, we wondered why September 4 issue, rating WTIX the top vocals- and two guys-Chuck on guitar we didn't play there before" ... Word AM station while WAIL took the gold and Johnny on drums-sounds like Seven reaches us from Covington that a group medal in the FM category ... Studio Mentis Brides for Six Brothers) is the latest calling themselves LightZ will be heading folks A.J. Loria, Mary Fox and Carlo garage band from Metairie, playing into town in November to take on the Ditta are heading out to meet with the everything from The Ventures to The likes of Persia, 24K, Cypress. Sound president of Warner Brothers to "get a Police ... technician John Seibert refers to them as contract or bust" ... WNOE has become Jimmy Buffett will be taping an M-TV "the blinding light out of the East" ... Dir­ the first southern AM station to broadcast segment at the Saenger Theatre October ty Dozen stole the show from les artistes in stereo. It won't be on the market for six 19 and 20, so the management has sug­ at the CAC fete celebrating the opening of more months ... gested that we all get tanked up on the art gallery season. While puzzled Hot new spot across the lake is Ruby's margaritas and head for the onlookers shooked their heads over what Rendezvous in Mandeville where the Saenger ... Metro Music, sponsor of the was being pushed as Art this year, the ars Radiators have been doing gigs. How to referral service prominently displayed on gratia ars set was shaking their groove get there? Cross the Causeway and take the inside back cover of this very rag, is things to the great sax sounds of the Dirty the first right, go about a quarter of a relocating two blocks closer to the West Dozen ... mile, look for a Western Auto on the left: "{:Jank Expressway, adjacent to the new Musicians for Music has received an at this corner take a right. Ruby's is the D.H. Holmes store on 1700 Barataria ... · $8,000 grant from the Louisiana State first building on your right (Lamarque New Orleans Philharmonic Symphony Arts Council to record Louisiana com­ Street) ... Beaucoup New Orleans-based Orchestra, now in its forty-seventh posers James Drew, Ramsey McLean and groups have been doing stints at a Baton season, is currently doing a 19-concert Earl Turbinton Jr. ·Grammy-award ·win­ Rouge club dubbed Trinity's, which tour of Italy, Austria, Switzerland, Ger­ ner Allen Toussaint will be offering pro­ was- once upon a time- the many and France... duction assistance to the project. The Kingfish ... Exuma and The Neville Local premiere of Pink Floyd/ The three LP recordings are expected to be Brothers will be winging to the Nancy Wall brought out a colorful assortment of released in the spring of 1983 and will be Jazz Festival en France for an appearance patrons at the Robert E. Lee. The sold both at retail record outlets and on Oct.6. theatre's sound system must be the best in through the Musicians for Music mail The lovely and talented Richard Hell, the city and we thought the walls of the order service ... Current release of Jasmine singer, actor and celebrity, fronting the theatre might collapse during a and Woodenhead are available by writing intense Voidoids, will put in an ap- thunderous chorus of "We don't need no Gazin's. P.O. Box 19221, NOLA 70179. 38 WAVELENGTH/OCTOBER 1982 PLAYERS BASS WILL· GUITAR PLAYERS INTO ALL STYLES AND GUITAR PLAYER AND BASS PLAYER . CALL BUTCH - EXPERIENCED INTO U TOP, RUSH TRAVEL SEEKS GROUP WANTED AND R&B. AND YOUNG GUITARIST FORM lNG TO WANTED FUNK TOP FORTY. WILLING TO ·1648. MUSICIANS INTO . CALL BRETT BLUES SEEKS PEOPLE AFTER AT 340 WITH OWN EQUIPMENT AT 282·6712 PLAY ALL FUSION AT 347-3060. BAND. CALL FRED PLAYER WHO CAN 347-4208 OR BILL NEED A BASS 822·2400: AT 5:00 P.M. CALL DON AT ­ BAND IN­ STYLES? FOR TIGHT SQUEEZE FOR HOT LEAD PLAYER SEEKS WORKING 542. WANTED: DRUMMER STARTING, LOOKING GUITAR CONSIDER PAGE METAL ONLY. CALL GROUP WITH VOCAL . JAU, OR POP. WILL EXPERIENCE IN HEAVY AT GUITARIST AND DRUMMER . TO BLUES TIOH IS RIGHT. ·6025 OR ANGELO JOEY AT 362·5153 JUST FORMING IF SITUA BRASS-WOODWINDS ARROH AT 466 !!! CAPABILITIES. CALL BAND ANYTIME. . WILLING TO BE READY TO ROCK WILLIE AT 241 ·3948 MAN LOOKING FOR GIGS 456·2926. MUST FOR CALL SAX . CALL MICKEY AT LEAD VOCALIST WANTED TO IN ON SHORT NOTICE SEEKS EXPERIENCED . SUBMIT STYLES. ROCK SIT 10:00 AM AND 11 :00 ROLL ORIGINAL GROUP WORKING BAND GUITARIST INTO ALL 682-8012 BETWEEN ROCK AND CAPABILITIES ESTABLISHED , 4305 BACKGROUNO SINGING WITH VOCAL RESUME TO: TOPCATS COUNTRY WITH AT . BASS PLAYER . SERIOUS TAPE OR . BAND, CALL WAYNE PM AND PERFORMING AVE. KENNER. 70062 ABILITY SEEKS BAND. FOR RECORDING AT 1·649·6525 CALIFORNIA PLAYER LOOKING FOR . CONTACT D. BITHER 362·8633. SAX-CLARINET AT ONLY KEYBOARDIST AND WITH. CALL CHRISTINE LOOKING FOR OF BAND INTO TO PLAY MALE VOCALIST ABLE BAND UNDER 30 YR S. ARIST SEEKS SERIOUS ROCK GROUP SEEKS · LEAD GUITAR PLAYER LEAD GUIT AT 865·0622. 865·3505. ORIGINALS FOR RECOR . CALL JOHN. 455·2168 METAL. CA LL LENNY TO HANOLE ROCK AGE - ALL STYLES HEAVY MING. MUST BE ·7006. VOCALISTS DING AND PERFOR OR CHRIS AT 467 LOOKING FOR ROCK , D. BITHER AI SERIOUS GUITARIST DO GUITARIST SERIOUS. CONTACT I PLAY RHYTHM & FE MAL VOCALIST/RHYTHM · ROCK GROUP IN DESPERATE NEW WAVE GROUP. 17 C&W BAND WITH TRADI 1·649-6525 ESTABLISHED ANOIOR 1 YEAR BAND EXP. SEEKS WORKING · KEYBOARD PLAYER BACK UP VOCALS, OR LEAN KEYS, AND SEARCH FOR TOP, BLUE CALL 454-7808 TIONAUSWING/PROGRESSIVEIR&B THAN SEEKING BASS, INTO GRANO FUNK, U YEARS PLAYING. LIKE MARCIA BALL BAND WONDER, VOCALIST 242·1937. JEREL. INGS. MORE . I ALSO STS TO PERFORM STEVIE . CALL MARK AT 454·2478 ASK FOR TO BIJST MY BIJTT VOCALI . ETC. CALL OYSTER CULT SYLVIA. READY KATHY AT DUKE, QUINCY JONES WORK· L MATERIAL CALL GEORGE . TO EOUIPMENT SEEKS HAVE ORIGINA AT 682·2628 TWO ROADIES GUITARIST WITH PREFER ANYTIME. SHANNON WORKING BAND SEEKING ANY STYLE BUT 888·4520 A WEEK. 4 TO 5 HOURS lNG BAND. I PLAY AT STARTING OUT. HEEDS WORK 3 TO 4 TIMES ORIGINALS. CALL STEPHEN ROCK AND PROGRESSIVE BAND IN , BUT HELPFUL. DOING SOME WANTED. PLAYER A DAY NO EXP NECESSARY 6:00P.M. MALE VOCALIST . CALL BRIANT ORUMMER AND KEYBOARD AT ·0837. SERIOUS ONLY 738·1682 AFTER LS. SERIOUS MINDED 18·22. CALL ERIC CALL LENNY AT 897 ORIGINA . OF YES. AGE ROBERT AT 241 ·8466. AFTER 7 STYLE AVAILABLE, CALL OR RON . 279.4819 UP SINGER. GUITARIST . WORK FOR STANO -4538. ALL STYLES FOR A GIG HAVE HIS TWIN FULL TIME LAFAYETIE. 944 ROCK SINGER LOOKING AT : GEOOY LEE. OR NIGHT CLUB IN CALL FELIX WANTED BASS LOCAL 318·234-7514 ROCK AND TOP FORTY SOME . EQUIPMENT CROSS AUDITIONING . CALL GARY AT LEAD GUITARIST INTO . VICTORIA 340-3948. $360/WEEK 6:00. EOUIPMENT AND POTEN­ 277-3863 ANYTIME 10 TIL 2 OR AFTER SEEKS GROUP WITH PLAYERS FROM AT 468-7883. OR FORM· TIAL CALL RICHARD SEEKS GROUP FORMED BAND SEEKS BAND NEEDS VOCALIST FORTY. COON· WORKING WORKING TRAVELING . ROCK , OLDIES, TOP ESTABLISHED . CALL 469·5296 KEYBOARD/VOCALIST DRUMMERS lNG . INTO ROBERT AT SINGERNOCALIST OR · FOR YOU NAME IT CALL KEYBOAROISTNOCALIST . . FOR MORE INFORMA DRUMMER LOOKING TRY, AND 5:00 ()( 899-4389 WILL BE RECORDING 0421 . EXPERIENCED , BLUES. AFTER 5 PM. AFTER ANGELO AT 1·385· , INTO GOSPEL. R&B 348·0527 TION, CALL JIM WORKING BAND MILTON AT MINDED BASS AND RIGHT PERSON. TOP FORTY. CALL OLD WITH WIDE : SERIOUS GOOD PAY FOR THE ROCK . AND VOCALIST, 26 YRS · WANTED INTO ORIGINALS AND MALE , DANCE ABILI KEYBOARD PLAYER DO 897·6946. RANGE. GOOD SHOWMANSHIP . ABLE TO , RUSH, TO MATCH. ALSO COPY MUSIC AT DRUMMER INTO ZEP AND VOICE SOME . CALL VIC HEAVY METAL HEAVY TV. SEEKS WORKING BACKGROUND VOCALS PLAYERS ·W WANTS JOB IN CI..ASSICALL Y TRAINED OR KEYBOARD AC?OC. DUIE GIGS - 60'S POP MUSIC 347-1755. PLAYER AVAILABLE BAND. MUST HAVE BAND. PREFER . METAL ROCK - ~ T 288·6653. HEAVY PIANIST/KEYBOARD AL AT 469·2427 CONTROL RECOMMENDED ORIGINALS. CALL CHIP BAND LOOKING FOR FOR ALL STYLES. CALL MANAGEMENT AFTER 6:00 WELL FORMED STAGE PM RAYNARD AT 835·6554 - R&R. SINGER WITH GOOD AM AND EARLY CALL SEEKS BAND METAL 455·4313 OR .M. FEMALE VOCALIST AFTER . CALL KARL AT WORK. P JAZZ - CALL ELIZABETH PRESENCE AVAILABLE FOR · SOUL. AND AT 456·1654. KEYBOARDIST STEADY OR SEEKING ANY WORK AT 895·171 0. BRUCE JAU OR ROCK. SCHOOLED DRUMMER . 5:00PM PREFER AT 486-4903 GLEN AT 833-1445 AND SINGER NEED­ WORK. CALL JEFF lNG SITUATION. CALL EXPERIENCED ORUMMER WEEKEND AT 561 -6038. METAL BAND. CALL &·OO P.M OR DIANE ED FOR HEAVY AFTER 27 . DWAYNE AT 456·15 Happy Hour 5-8 Sunday Brunch Free hors d' oeurves noon- 3 p.m. restaurant and music bar cuisine tres difference tuesdays - Margueri tas, free cheese boards call for information Music by Spencer Bohren 9-1 and reservations wednesdays - Strawberry Daiquiris Music by John Rankin 9-1 534 Frenchmen St. above the dream palace thursdays -Schnapps shots- dinner patrons get a '2 for 1' ticket 943-1694 ...- ..-L-L.-L- , for show at the Dream Palace. fridays - TGIF 5-7 Heineken $1 Oysters $1.50 dozen closed mondays saturdays - Kamakazis music by John Magnie with (free hors d'oeurves) 5-7 sundays - Bloody Marys MENTION THIS AD Music by Jim & Dave. Brunch $8.50 all you can eat & get 2 for 1 appetizer SOMETHING SPECIAL EVERY DAY!