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Wavelength Midlo Center for New Orleans Studies

11-1982

Wavelength (November 1982)

Connie Atkinson University of New Orleans

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GERMAINE BAZZLE SWAMP POP INSIDE WTUL MUSIC EDUCATION

I

ISSUE NO. 25 • NOVEMBER 1982 • $1.50 VERA CRUZ praBnts The Sl-IRllv1P

We are very pleased to announce and welcome the addition of The Shrimp to Vera Cruz's menu! Carrying on the Vera Cruz tradition of quality and diversity, these new shrimp dishes are created with the finest, freshest ingre­ dients, subtly seasoned to perfection and served up in a delectable variety of combinations. For lovers of seafood and Mexican cuisine, we present this Treasure of the Sea a Ia Mexicali! Listed below are just a few of our selections: Nachos de Casa camaron - cheese, beans, steak, shrimp, guacamole and jalapenos; $7.95 Tacos al carbon camaron- two flour tortilla tacos filled with guacamole, steak, shrimp, topped with lettuce, tomato and cheese- $7.95 Arroz con camaron - steamed shrimp mixed in rice and Vera Cruz sauce - $6.95

7537 Maple St. • 866-1736 Monday -Saturday 11:30 am-10:30 pm Sunday 11:30 am-9 pm 1141 Decatur St. 523-9377 Monday-Friday 5 pm- 10:30 pm Lunch Saturday Noon-10:30 pm Sunday Noon-9 pm ISSUE N0.25 e NOVEMBER 1982

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

Features NOCCA ...... 16 Germaine Bazzle .19 WTUL .••. . .24 Swamp Pop • . 29 Columns Listings ...... • • . • ...... 5 November. .10 Media ... . .31 Christgau . . 33 Reviews . . .35 Last Page . . 42

f'OODQ Cover illustration by Skip Bolen.

l'llblhlttr, Patrick Berry. Editor, Connie Atkinson.Assoclalt Editor, Jon Nowlin. Edltorbl Asslstaat, Margaret Williams. Art Dlrt:. Kathleen Perry, Tair-Ray Yate5. Dlstrt""tlon: Patti Hibbitts. Joe Torczon, Hampton Wei55, Eduardo Young. Coa­ lrtMiors: Eddy Allman, Steve Alleman. Bonnit Canittlli, Robtrt Christpu, Yorke Corbin, Tanya Coyle, David Dtlegator, John Dt982 Wavtltngth.

Back issues are availablt by writina to Back lssuts, P .O. Box 15667, New Orleans, La. 70175. Because or alimittd supply, back i55Ue5 are available for S4 each. P1ea.se allow a few weeks for processing and cklinry or orders.

New subscribers: Please allow up to six weeks for receipt of first issue due to our small, non·romputerized subscription department.

Foreign customers must pay only by I.M.O. or chtck drawn on a U.S. bank. B«aust of exorbitant back proensina charges, we cannot ac~ cept chocks in Canadian dollars or other foreign currency, or chocks drawn on a foreign bank.

Subscribtrs must notify us immtdiately or any change5 or addrtss. If notification is nor received, mapzines sent 10 incorrect old addresses will not bt replactd. U.S. customtrs, pltast include your zip codt. "EAT MO' BETTAH" Supermarket • 3135 Esplanade Ave. • 943-1616 • Uptown • 7700 Cohn St. • 861-1626

WAVELENGTH/NOVEMBER 1982 3 .. Bring in 3 FOLONARI 1.5 liter bottles or labels

FOLONARI Soave, Valpolicella, Bardolino, Lambrusc~, Bianco, Rosado and receive one 1.5 liter bottle FREE of the Folonari of your choice

Redeem at: La. State Liquor Dist., Inc. 1318 Montegut Street New Orleans, LA 70117 504-944-2481

Imported by "21" Brands, Inc., N.Y., N.Y. LIS"nNGS

Rockln' Blues From Houston, TIL DOCTOR ROC KIT and the Sisters of Mercy

Appearing In New Orleans

Thurs., Nov. 18 Tlpitina's (Broadcast Live on WWOZ - 10:00pm)

Fri. thru Sun., Nov. 19, 20, 21 The Old Absinthe Bar

Look for Doctor Rockit's NEW DIGITAL ALBUM

CONCERTS Saturday, 13 •Juice Newton, Riverboat President. Tuesday, 2 •Pat Metheny, McAllister Auditorium, Thursday, 18 Tulane University. • Roy Ayers, Riverboat President. • Hamiel Bluiett with the Improvisational Art Wednesday, 3 Ensemble, Faubourg, 10. •The Jerry Garcia Band, Riverboat Presi­ • Fabulous Thunderbirds, Trinity's, Baton dent. Thursday, 4 • Ray Charles, Trinity's, Baton Rouge, 8:30 & II. ".. .a snappy, truckln' little affalt".27 minutes of Friday, 5 both cut•the-rug and sublime rcx:kln' ~•• .,.'' • Kenny Rogers, Larry GaiJin and the GaiJin -The Houston Qllronlcle Brothers Band, LSU Assembly Center, 8. Now available • Richard Hell, Tupelo's. at Leisure Landing RtcerdS, 5500 Magazine St • 895-8713 or from Saturday, 6 ~erfect ClrQie Reoords • R.E.M., Tupelo's. 2001 Kirby Drive, Suite 1001 Houston, Texas no19

Saturday, Sunday, 6,7 • Annual Bluegrass Festival, with the Heights of Grass, Collins Creek, Delta Ramblers, Luke Thompson. Hwy.25 in Folsom, 55 miles north of New Orleans. Saturday 6-12, Sunday 2-till; New Orleans information, 831-8290. Monday, 8 • Peter Frampton, Riverboat President. Thursday, 11 •The Imperials, Saenger Theatre. Adam Ant, Riverboat President, Nov. 28 Friday, 12 For Booking Information: • Dean Darling and the Wanderers, featuring (713) 868-5880 Flashback, Hyste and comedian Lance Mon­ Friday, 19 talto, St. Bernard Civic Auditorium, 9. • Albert King, Dream Palace.

WAVELENGTH/NOVEMBER 1982 5 Saturday, 20 •The Original Glenn Miller Orchestra, Mar­ riott Hotel. • Joe Jackson, McAllister Auditorium, Tulane University, 8:30. Saturday. 28 • Adam Ant, Riverboat President. • Linda Ronstadt, Baton Rouge Centroplex. MISCELLANY •C.A.C. Music, 900 Camp, 523-1216. Fri., Sat., 26,27: "Women In Jazz" featuring Sheila Jordan with Harvie Swartz, The New Orleans Women In Jazz All-Stars, Jasmine with LaVerne Butler, Lady BJ and Angelle Trosclair. •Cathedral Concerts, Christ Church Cathedral, 2919 St. Charles Ave., 895-6602. Sun.7: Music for high voice, harp and organ. Sun.21: Organ recital by William Teague, St. Marks Episcopal Church and Centenary Col­ lege, Shreveport. • Delta Festival Ballet, 861-7488, 889-0940. Sat.20: Fall repertory program featuring· "Konservatoriet," "Brahms Fantasies," "The Rain," and "Minkus Pas de Trois," Theatre for the Performing Arts, 8 p.m. • ~ew Orleans Opera Association, 529-2278, 529-2279. Thurs., Sat., 11,13: "La Boheme," Theatre for the Performing Arts, 7:30. • New Orleans Opera Guild University Series, 525-7672. Thurs.4: Hermann Prey, baritone, Dixon Hall. Fri.l2: Ballet Rambert, Britian ballet company, Orpheum Theatre. For Booking and Information Call N.O. Booking Agency, Inc. • 899-0654 • New Orleans Philharmonic Symphony, 524-0404. Tues., Wed., 2,3: Vivaldi, Gould, Prokofiev; Joseph Kim, violinist. Tues., Wed., 16,17: Haydn, Rossini, Tchaikowsky, Rimsky­ luc.p Concerts Korsakov; Lynn Harrell, cellist. Tues.,Wed., announces the return of 30, Dec. I: Gershwin, Bruckner; Santiago Rodriguez, pianist. FILMS • Loyola Film Buffs Institute, 865-3196. Mon.!: Shoeshine (DeSica), 7 and 9. Wed.3: Modern Times (Chaplin), 7 and 9. Thurs.4: Tent of Miracles (Nelson Pereira dos Santos), 7 and 9. Tues.9: Memorias del Subdesarollo (Tomas Guetierrez Alea), 4:30, 7 and 9. Wed.IO: Two Women (DeSica), 7 and 9. Thurs. II: A Brief Vacation (DeSica), 7 and 9. Tues.16: The Great Gatsby (Jack Clayton), 4:30, 7 and 9. Thurs.18: Lucia (Humberto Solas), 7. Mon.22: A bout de souffle (Jean­ Luc Godard), 7 and 9. Mon.29: Le Mepris (Jean-Luc Godard), 7 and 9. Tues.30: Alphaville (Jean-Luc Godard), 7 and 9. All films shown in Bobet Hall. , ~~U ~~U[f{]~[KJW • Prytania, 5339 Prytania St., 895-4513. Through Thurs.4: Diva (Jean Jacques Beniex). Sun.7 and Mon.8: Lost Horizon and It's A Wonderful Life (Frank Capra. Tues.9: Thief @~@lliJ~ (Michael Mann) and The Long Good Friday (John MacKenzie). Sun.l4 and Mon.l5: You Can't Take It With You and It Happened One Night (Frank Capra). Tues.l6: The Man Who Tuesday, NOVEMBER 2 Would Be King {John Huston) and Zulu (Cyril 9:30p.m. Endfield). Weds.17 and Thurs.18: Voyage en Douce (Michel Deville). Sun.21 and Mon.22: McAlister Auditorium, Tulane University Mr. Deeds Goes To Town and Mr. Smith Goes To Washington (Frank Capra). Wed .24 and Tickets available at all Ticketmaster outlets Thurs.25: Quest for Fire (Jean-Jacques An­ For information: 861-WAVE naud) and Walkabout (Nicolas Roeg). Fri.25 through Thurs.Dec.9: Eu Te Amo (Arnoldo Jabor). 6 WAVELENGTH/NOVEMBER 1982 CLUBS • Beat Exchange, 2300 Chartres, 948-6456. Video and New Wave music. Call for listings. eBiue Room, Fairmont Hotel, 529-7111. Through Sat.6: Lola Falana. Mon.8-Sat.20: Rita Coolidge. Mon.22-Thurs. Dec. 7: Johnny Desmond. · •Bobby's Place, 520 E. St. Bernard Hwy., 271-0137. Call for listings. •Bounty, 1926 West End Park, 282-91944. Wednesdays through Saturdays, Harvey Jesus and Frye.

Af~ert Kin!(, Dream Palace, Nov./9.

•Bronco's, 1409 Romain, Gretna, 368-1000. In January, Wavelength will publish its annual Band and Booking western music. Call for listings. Country and Agent Guide, a comprehensive list of the working bands and •Cotton Blossom, Audubon Park docks (behind the zoo) Saturdays: Blues Cruise with musicians in the New Orleans area, with all the pertinent live entertainment. Boards at 8:30, leaves at information-addresses, phone numbers, members' names, what kind 9:30 and returns at II :00. of music·, agent's name, and anything else you might want to add. • Crescent City Cafe, corner of Toulouse and After almost a year, we still receive requests for last year's Guide Chartres, 525-4669. Everyday, 12-4: John from people who are looking for bands, and since Wavelength Jedlin on piano. Mondays-Fridays, 5-7: James goes all over Louisiana and the Gulf South, club owners and bookers Booker. Fridays-Saturdays, 10-2: Ruben Gon­ in other cities and states often want to find the bands they read zalez and the Salsa All-Stars. Dinner and danc­ about in Wavelength. Don't miss out on a job because a club . ing. No cover. . owner can't find you! •Dream Palace, 534 Frenchmen, 943-7223. To get your band listed, fill out the form below (use an index card Thurs.4: Walter Washington. Fri.5: Apt.B with the Backbeats. Sat.6: Li'l Queenie and if you don't want to mutilate your copy of Wavelength) and send Back talk. Thurs. II: Walter Washington. it to us as soon as you can, along with a black and white photo Fri.12: Bas Clas with the Backbeats. Sat.13: (non-returnable) if you have one. A listing in the Band Guide is free, The Newsboys with Lenny Zenith. Thurs.18: of course...... : .. Walter Washington. Fri.19: Albert King. ~~ Sat.20: Woodenhead. Wed,24: Walter ;~~~~~~~~~~~~~~~~~~~~~~:.nnr...-~---- .... Washington. Fri.,Sat. 26,27: The Radiators. • Faubourg Club, In the Snug H~rbor P.O. Box 15667, New orleans, LA 70175 Restaurant, 630 Frenchmen. Jazz. Listings to Wavel;~~th, t·': be announced. d . our 1983 Band Gutde. : ·. •.t e544 Club, 544 Bourbon, 523-8611. Please list our ban tn Y . : <~ Mondays-Fridays, 3-9: Bryan Lee Groove BAND NAME : ··:· Revue. Mondays, Tuesdays: Blues Rockers. : .:·/ .. Wednesdays-Saturdays: Gary Brown and Feel­ ings. •Gibson Street Lounge, 423 Gibson Street, T~Y:PE~O=F~M~U~S~IC-----======-=-=-=-=-===- i:.' Covington, 892-9920. Call for listings. •Hawgs, 3027 Jean Lafitte Parkway, BOOKING AGENT-PHONE NO. : :: Chalmette, 277-8245. C&W music with dance MEMBERS NAMES ------L~~ lessons Mondays and Wednesdays, 7-9. .. •Jimmy's, 8200 Willow, 866-9549. Thurs.4: .; " ··-....: Backbeats and the Blind Dates. Fri.5: The . Sheiks. Sat.6: Radiators. Thurs.!!: Submarine Attendants and the Executones. Fri.,Sat., 12,13: Apt.B. Fri.,Sat., 19,20: The Sheiks. Wed.24: New Music Benefit. Thurs.25: The WAVELENGTHINOVEMBER 1982 7 Sheiks. Fri.26: Gregg Wright. •Luigi's, 6319 Elysian Fields Ave., 283-1592. Wednesdays: The Nightriders. • Luther Kent's Rising Sun, 400 Dauphine, The classic 525-3987. Wednesdays: James Rivers Move­ ment. Thursdays-Sundays: Luther Kent and Trick Bag. •Maple Leaf Bar, 8316 Oak St., 866-9359. alternative to traditional Sundays: John Rankin. Mondays: Wabash Company. Tuesdays: James Booker. Wednesdays: La. Repertory Jazz Ensemble. New Orleans Thursdays: Bourre Cajun Band. Fri.5: The Radiators. Sat.6: Anson Funderburgh and the • • Rockets. Fri.12: Oliver Morgan. Sat.13: Beausoleil .. Fri.l9: Li'l Queenie and Backtalk. culSlne. Sat.20: Deacon John's New Orleans Blues Revue with special guest Earl King. Sat.27: Prime rib, cooked to perfection, Cush-Cush. with no further adornment. Splendid steaks and lamb. With a superb selection of distinguished wines to complement your classic meal. For luncheon or dinner reservations, please call 529-7045.

iqBI\OOM Corner of Royal & St. Louis Streets

• New Orleans Jazz Hotline, 242-2323~ Call for current jazz listings across the city. • Noah's, 1500 Esplanade, 525-6624. Fridays: Philip Manuel and LaVerne Butler with the house band. Saturdays and Sundays: Philip Manuel and Lady BJ with the house band. • Paddlewheel, 1928 West End P,ark, CR280 282-5800. Wed.3: The Newsboys. Fri.5: The 150 WATT TWIN TWELVE Rockabyes. Sat.6: Persia. Sun. 7: The Topcats. Chrome. Thurs. II: Gregg Wright. LEAD AMP Wed.lO: Fri.,Sat., 12,13: Vieux Carre with Angelle $559.00 Trosclair. Sun.l4: Strait Face. Wed.l7: The Two channels are featured on the CR280 150 Knights. Fri.19: Roulette. Sat.,Sun., 20,21: watt twin 12 lead amp ... one normal channel and Wed.24: Bas Clas. Fri.26: The one SCG (Sequential cascading Gain) booster The Newsboys. channel. This feature allows the musician to Newsboys. Sat.27: Apt.B. Sun.28: Flashback. switch from one channel to the other to achieve • Pete Fountain's Club, Hilton Hotel, either a "clean" or "dirty" sound without having J>oydras Street at the River, 523-4734. New to interrupt his guttar playing Preamp tone controls include a separate low. mid Orleans' own and world-renowned clarinetist and high equalization with a fmal EO section that performs one show nightly Tuesday through has a warmth (bass enchantment) control and Saturday at 10 p.m. presence (upper harmonic) control. A bright switch is also included. which provides an im· • Preservation Hall, St. Peter St., 522-2238. mediate 8 db boost in high frequencies . Sundays: Harold Dejan and the Olympia Brass 150 watts RMS drive two 12" speakers. Other Band. Mondays and Thursdays: Kid Thomas. features include reverb. effects looping. conve· Sweet Em­ nience outlet. external fuse and intemaVexternal Tuesdays and Fridays: Kid Sheik, speaker 1acks. ma. Wednesdays and Saturdays: The Hum­ phrey Brothers. sale prices. • Riverboat President, Canal Street Docks, Call for other CRATE 586-8777. Wed.3: The Jerry Garcia Band. · Sun.7: Howard Johnson. Mon.8: Peter Frampton. Fri.l2: T:Q. and the Cats. Sat.13: D&S Music Co. Juice Newton. Thurs.l8: Roy Ayers. Sat.20: 2515 Delaware Ave.• Kenner, Louisiana Piece of a Dream. Sun.28: Aoam Ant. Thurs.30: Arlo Guthrie and Shenendoah. (504) 466-2110 • Ruby's Rendezvous, Hwy.90 in Mandeville, 626-99~3. Call for listings. 8 WAVELENGTH/NOVEMBER 1982 • Seaport Cafe ·and Bar, 424 Bourbon, 568-0981. Tues.-Sat.: Sally Townes. Sun., Mon., 9-1: Jamil Sharif Quartet. e711 Club,- 711 Bourbon, 525-8379. Mon­ days: AI Broussard, 9:30. Tuesdays through Saturdays: Randy Hebert, 9:30.

•showboat, 3712 Hessmer, Metairie, 455-2123. Rock 'n' roll. •Sir John's, 3232 Edenborn Ave., 887-9858. Rock 'n' roll. eTipitina's, 501 Napoleon, 899-9110. Mon. I: Clark Vreeland's Room Service. Tues.2: An­ son Funderburgh and the Rockets. Wed.3: Woodenhead. Thurs.4: The Heartfixers featuring Chicago Bob. Fri.5: Li'l Queenie and Backtalk. Sat.6: Apt.B. Sun.7: St.Croix Philharmonic Steel Orchestra. Mon,8: The Blue Vipers. Tues.9: Dan Hicks. Wed.IO: Tony Digradi with Astral Project. Thurs. II: Curle Brothers Blues Band. Fri.l2: The Radiators. Sat.l3: Gatemouth Brown. Sun.I4: Pressure. Mon.l5: The Backbeats. Tues.l6: The Nighthawks. Wed.l7: Sax Machine. Thurs.l8: Doctor Rockit and the Sisters of Mercy. Fri.l9: Deacon John Blues Revue. Sat.20: Marcia Ball. Sun.21: Ras Cloud and the Sons of Selassie. Mon.22: Lenny Zenith plus the Tri-Tone Subs. Tues.23: Junior Walker and the All-Stars. Wed.24: The Radiators. Fri.,Sat., 26,27: The Neville Brothers. Sun.28: The Kiiler Bees. Mon.29: The Blind Dates. Tues.30: New Jazz Quintet. eTyler's, 5234 Magazine, 891-4989. Contem­ porary jazz. Sundays: Leigh Harris and John . Magnie. Mondays: Ellis Marsalis and Steve Mazakowski. Tuesdays: Leslie Smith. Wednesday: George French Trio with David Torkanowsky and Herlin Riley. Thursdays: Germaine Bazzle with David Torkanowsky, Johnny Vidacovich and Jim Singleton. Fridays and Saturdays: James Rivers Movement. - •Germaine Wells Lounge, 833 Bienville, 523-9633. Fridays and Saturdays: The James Drew Trio with James Drew, Jim Singleton and Jeff Boudreaux. •woody Herman's Club, Poydras Plaza Mall in the Hyatt Regency, 601 Loyola, 522-8788. Woody Herman and His Thundering Herd play big band jazz, Monday-Saturday, 9: 15 and 10:45.

Wavelength club and concert listings are available free of charge. Call 895-2342 for in­ formation. WAVELENGTH/NOVEMBER 1982 9 IDOLATRY Billy Idol's manager hustled us half-sneer /half-grimace expres­ upstairs into a muggy dressing­ sion and his spiked haircut. room, where the blond and blue­ I asked him about his reputa­ eyed "punker" of the late 1970s tion as a sex symbol: "You real­ looked a bit shy and restless as ly become aware of it when you he drank a Dixie. Dressed in see posters of yourself in the "New Romantic" garb-satin record stores, and your records striped baggies, medieval belt selling .. .lt wasn't a conscious ef­ and vest, assorted chains, rings fort, I did what looked good. It and a cross dangling from his was nice for a change to smell ear-he turned a few heads walk­ perfume coming up at you rather ing down Oak Street. than the smell of dirty gym· Billy was· still amused at the shoes!" transvestite strip show he had While Billy Idol's direction just seen on Bourbon seems more commercial, he views Street-"You just knew she had it as a natural progression, con­ to be a bloke!" Billy's previous centrating on music rather than TALK TO ME BY HAND group, Generation X, had never message. Anson Funderburgh was in Knocks Me Out (recorded 'neath toured the U.S. but he recogniz­ He feels "White Wed- New Orleans last month, playing the full prairie moon in Dallas ed problems similar to touring ding" was his most significant those blues that made his first this past August). The new disc Britain and Europe: "Clubs were song to date-"It's about people album, Talk To Me By Hand includes more original tunes, has scared to try new things; they who are ridiculously conser­ (produced by Hammond Scott), "a more total group sound" and were against the way I vative. Like having the bride such a success. Scott and will be distributed nationally by looked ...in England the band wear white even though she's Funderburgh have another album Rounder Records. was on 'Top of the Pops' but pregnant, 'cos God wouldn't like that will appear in January, She not on the charts. We were sign­ it! People like us view them (the ed for two years (with Chrysalis) ridiculously conservative) as one before our single broke." Idol extreme and they see us as the was so polite and calm that the other. Absurdities, that's what only clue to his previous it's about." hardcore-punk image was his -Lenny Zenith OUR6AN6 Capping off a Wednesday described as "a hybrid cross night September rampage of between U2 and The Byrds, with international new wave talent, stronger root growth." The the 22nd saw Tipitina's play host Gangsters whipped their crowd to San Francisco's Translator and into a dancing sweat-soaked British funk-punksters Gang of frenzy with sledge-hammer Four. Previous sold-out beackbeat, astral guitar September acts included The pyrotechnics, nifty clothes, and English Beat and Stray Cats. enough spaces in their music to Translator's sound has been keep it interesting and English. -rico diVIN dOHN A solitary cry of "Get-down­ euphoria. A standing sitting-in get-back-up-again!" notwithstan­ Earl King provided icing for the ding, jivin' Johnny Reno was cake. spotted executing the difficult Mr. Reno's saxophone "Juke Jump" flawlessly to four reportedly caused the feet of an feet above sea level in the steamy elderly Canadian man to jump confines of the Tipitina Arena. and slide so wildly about the September 27 saw the Juke dance floor that his shoes were Jumpers, from sunny Panther reduced to smoldering strips of City, Texas, hoist their crowd to spent leather. equally dizzying heights of R&B -rico

10 WAVELENGTH/NOVEMBER 1982 ANNIE LEIBOVITZ She jumped at me, trying to employers in common, age in lick my eye; that's how my common, an ethnic background photo session with photo jour­ in common and both of us are nalist Annie Leibovitz started. It losing our hair. A quick smile, a was II a.m. on Wednesday, Oc­ snap of the shutter and she at­ tober 5, and Annie's plane would tacked again-this woman didn't leave at noon. We met at the want to make friends, she Marriott (where Annie had ad­ wanted to wrestle. She grabbed dressed the national meeting of my shoulders, tickled my arm the University and College pits, I gave up trying to give her Designers Association) but An­ any directions and hoped she nie's ride to the airport was due wouldn't lock me in a figure to leave fifteen minutes later. I four or an atomic drop. thought, just enough time ... • Portrait photography demands Standing in front of me with "Sensitivity." Many people are, long brown hair and casually for many reasons, afraid of loose clothing was a woman cameras. Ms. Leibovitz would whose work I ardently admire rather be behind the camera than (hundreds of Rolling Stone in front. Still, no matter where covers and feature photos, many the camera is, she is aware of it of them entrenched in the collec­ and controls it. tive consciousness). But, raising Her energy and muscles turned my camera to meter and set my our fifteen minute photo session exposure while looking through into five, and I didn't even have the lens, she moved left then time to thank her for documen­ right, then jumped up, landed ting the music scene of my and lunged forward until all I generation. She's past that could see was a large wiggling now-her work will stand the tongue approaching. Feeling like test of time. a po-boy but trying to deport A couple of hours later, it oc­ myself like a journalist, I quickly curs (painfully) to me that it's documented this pictorial hard to load a camera with historian of rock's taste buds. Band-Aids on my hands, carry While cleaning my lens, I equipment with bruises on my wondered how I could take con­ shoulders-no wonder Annie trol of this photo session. Mak­ publishes so much ... she beats up ing friends would be a start-we her competitors! had friends in common, a few -Donn Young

HELLUVA WEEKEND A great weekend of new music movements" which indicate the is planned early this month, deepest stage of sleep when featuring the legendary Richard dreams occur). No one has deter­ Hell, Georgia's newest export mined why former U. of Georgia R.E.M., and a batch of good art students make such swell local bands, playing for a worthy dance bands-the B-52's and cause, presented by Tupelo's, in Pylon are other notable ex­ conjunction with Pontchartrain amples- but when these guys Productions. played here earlier this summer The weekend begins on Friday, to a sparse mid-week crowd, · Nov.6, with Richard Hell who, if everyone danced. They have a he didn't actually invent punk new mini-album out, Chronic rock, apparently originated the Town, which is very good and a spiky hair and torn shirt look great single, "Radio Free that seemed such a big part of the Europe," but they're really a early scene. Hell has been largely knockout live, where they come idle in the five years since the across more like a group of boys classic Blank Generation, doing a fooling around with guitars in little acting and issuing a few the basement for fun than jaded singles, but he has just released adults making careers in music. Destiny Street, a terrific record Go see them, and be prepared to that includes not only new ver­ sweat. sions of the singles "Kid with the The weekend winds up Sunday Replaceable Head" (originally with a nuclear disarmament produced by Nick Lowe and now benefit featuring the Rockabyes, almost impossible to find) and Red Rockers, and An Island. the lovely "Time," but also The Defense Department will no covers of the Kinks' "I Gotta doubt monitor the turnout for Move" and Dylan's "Going Go­ this event to assess the strength ing Going" (!) Check it out. of the opposition so come out Saturday, Nov.7, will see the and show you care. return of R.E.M ("rapid eye -Steve Alleman

WAVE LENGTH/NOVEMBER 1982 11 WOMAN IN dAZZ Sheila Jordan is a New York­ the methods of Lambert, Hen­ based jazz singer who is a dricks and Ross by forming a secretary-in-an-advertising­ vocal trio that put words to agency by day, but also enjoys Charlie Parker solos ·in the late a subterranean reputation as one 1940s) will sing accompanied on­ of the great jazz vocal stylists: ly by bassist Harvie Swartz, who subterranean because, in 1962 will play obbligato to her vocal­ and again in 1982, she was as lead instrument. Her reper­ selected by down beat as the toire includes standards old and female singer "most deserving of modern ("Am I Blue?" and­ wider recognition"-now that's "~at'll I Do?" and "Please classy obscurity. Ms. Jordan, Don t Talk About Me When I'm who makes such sensible Gone" through "Lazy After­ statements in interviews as "Who noon" and "Lush Life" and the hell is ever going to suffer as "Baltimore Oriole") as well as much as Billie Holiday? And things you've never heard but, who wants to?" and "I'd rather from the sound of them, might sing the melody than make a want to. Nat Hentoff, Robert poor choice in improvising," is Palmer and JohnS. Wilson have going to appear November 27 as all written ecstatically of Sheila the climactic event of the Jordan-and you might want to Women-In-Jazz weekend at the discover her, too. The show Contemporary Arts Center. Her starts at 9:30; LaVerne Butler appearance sounds like one of and Patrice Fisher and Jasmine the more interesting one-shots of are also on the program. the year: Jordan (who predated -Jon Newlin

SHARING THE WEALTH The New Orleans music com­ Harry Duncan, concert promoter munity got a nice boost from an and former manager of the unusual source recently. The Meters and Captain Beefheart, rock band, Foreigner, which presented checks to the grateful chose New Orleans as its final recipients on behalf of the band stop on its most recent national which is developing a reputation tour, shared some of the fruits for a generosity not so common of its labor by presenting a in this line of work. Thanks, healthy check to WWOZ, guys. Tipitina's and Wavelength. -Jon Newlin THE OTHER dAZZFEST. The Kool Jazz Festival took program was broadened into one place in Saturday and Sunday, that was more varied and eclec­ September 18 and 19, and tic-tasteful old and new jazz, featured artists like Art Blakey cool modern jazz, Spyro Gyra and the Jazz Messengers, Earl with electric Latin music, Jeff Klugh, George Benson, Joe Lorber with fusion. Notable Henderson, the Crusaders and local musicians peppered the some outstan!;ling local per­ crowd and drummer Johnny formers like the Dirty Dozen Vidacovich went so far as to go Brass Band. up on the side of the stage to get KNIGHT MOVES The concert, at City Park's a closer view of Art Blakey. An album tentatively titled Delight" and "Comment ca grassy old driving range, was One grump was the printed Louisiana Hey Rides Again is be­ va?" Borges says that both CBS well attended, though the programme which didn't give the ing recorded at Traci Borges' and Polygram are "very in­ relatively small crowd may have order of the performers; Knight Studio in Metairie by terested" in the album. been due to the limitations of an therefore, if one had gone solely Donnie York, a current member When asked about his un­ outdoor setting-temperatures to hear the Crusaders, it not only and original founder of Sha Na fading youthfulness and slicked­ were well into the 90s and there cost $15 but entailed a six-hour Na. back coiffure, York replies was little shade to be had. But it wait. Hopefully, the Festival's The album will feature all New modestly, "When you're a car­ was a thoroughly enjoyable event management-which also polled Orleans musicians and the songs toon character for a living, you for those prepared with the audience to see who they (all written by Borges) are reflec­ can never grow old ... if you want sunglasses and picnic baskets and would like to see next year-will tions of life in the South with to." umbrellas. rectify this problem next year. titles like "Creole Mama -rico The scope of the traditional -Bonnie Canitelli 12 WAVELENGTH/NOVEMBER 1982 Tony Klatka, a member of roll or just swing. Klatka writes Blood, Sweat and Tears for eight all of the band's music and ar­ years and now a local resident rangements. The members are has formed a new band called Tony Klatka, turmpet; Larry (get ready) Klatka. Although all Sieberth, piano; Jay Griggs, of the band's members are, like guitar and vocal; Jim Markway, Tony, college educated jazzmen bass; Hernan Ernest, bass; and and each respected in his own Eric Traub and Cris Kaercher on right, he says it's difficult to pin flute, sax, piccolo and clarinet. their sound down to just rock 'n' -Bonnie Canltelll CUSTOMER SERVICE Several years·ago during the to--but its main purposes, getting fuel crisis, Fred Laredo had the more week-night business for happy idea of a shuttle bus to Tylers' live jazz and getting a get customers to his jazz club. few perhaps-intoxicated drivers The idea is now reality: the bus off the street, may soon be hap­ runs uptown only and by a pily achieved. schedule that is-strictly adhere_d -Bonnie Canitelli B'LU·JETT AT FAUBOURG Whether you call it "avant­ their own right. Presently touring garde" or "loft music," the with the Kool Jazz Festival, the soulfulness of baritone sax­ World Saxophone Quartet was ophonist Hamlet Bluiett is selected in the Downbeat Critics transcendent music. Not surpris­ Polls in 1982. ingly, Bluiett's virtuosity gained New Orleans will witness tot him the New York City Jazz he adventurous spirit of Hamiet Award for baritone saxophone Bluiett together with the Im­ along with several national En­ provisational Art Ensemble, dowment Grants for Composi­ Thursday November 18 at the · tion. newly reopened Faubourg, 626 Bluiett was a member of Frenchmen. Featured will be Ed­ Charles Mingus' jazz workshop ward "Kidd" Jordan, soprano, and helped pioneer the "Loft alto and tenor saxophone; Clyde Jazz Series." These 1975 series Kerr, Jr., trumpet; Elton Harris, served as birthplace to the bass; Alvin Fiedler, the ensemble Hamiet Bluiett Telepathic Or­ founder, on drums. chestra. The magic of Bluiett can This event is part two of the be heard on several solo releases Jazz Contacts series and is joint­ AFAMILYWAY on the India Navigational record ly coordinated with SUNO and Since the New Orleans reggae all peoples, they are especially label. Bluiett is also a member of the Xenia Foundation. For band Kush debuted last concerned with the status of the World Saxophone Quartet, workshop and concert informa­ December, there have been blacks here, whom they see as an art ensemble formed by musi­ tion, call 861-1789. several personnel changes and re­ self-repressed, lacking the con­ cians who are all virtuosos in -Eduardo Young groupings; but currently, in their fidence and knowledge needed to third incarnation, the band achieve their potential. members feel they've finally Like most reggae bands, there achieved some stability. Pro­ is the strong sense of message blems had arisen from clashing behind the music, of the creative drives, and the resulting spreading of love and light ac­ changes have taken Kush cording to the tenets of towards a more spiritual perspec­ Rastafarian teachings. The band tive. members see themselves as The nucleus of the band is teaching while playing, in a more vocalist/percussionist Joy Diaz spiritual than political sense. and her three sons Howard, Their ambitions are lofty: their Melvin and Peter (sax, bass and goals include returning to play in rhythm guitar respectively). Jamaica, and England, and, Rounding out the lineup are ultimately, Africa. John Bargky-on drums, For now, though, Kush is here Whoshavel on keyboards, and in the Crescent City, offering lead guitarist Marcus. Most of some of the best reggae yet the band members stay in one played by a local act. They play house, which they feel adds to a variety of clubs, from the unity in their performance. Maple Leaf to the Beat Ex­ ANNIVERSARY SPLA The Diaz Family's route to change. Man overboard?? That's Cres­ Guzzo, beamed at her son's New Orleans was from Jamaica So, for those of you cent City crooner Frankie Ford backstroking prowess, someone by way of England, and much of who didn't make it to the doing his own personal version - ~n _the crowd was overheard say- their motivation to play arose Sunsplash Festival, don't of "Sea Cruise" at a recent par­ mg, "Sure hope that's a double a from the culture shock they ex­ despair, the bayous are alive with ty celebrating his thirtieth an­ knit you're wearing, Frankie!" perienced upon arrival here. the sound of reggae music. niversary in show business. As -rico Although they wish to appeal to -Keith Twitchell Frankie's mom, Mrs. Vincent WAVELENGTH/NOVEMBER 1982 13 UJ ~ <{ ::::; 'SUPPER' ..J ~ :i z :r A SMASH ..,0 When composer Valerian Smith first conceived Supper three years ago he thought the musical might serve as a mean­ ingful alternative piece of theatre. But barely a month after Supper completed a smashing · six-week debut run at the Baton Rouge Little Theatre, he has dramatically revised his initial analysis: "Supper," Smith said ·after the musical had sold out nearly all its dates, "has taken on a life of its own." The life expectancy of Supper will be enhanced a bit more when the spirited black produc­ tion opens at the Orpheurn in Supper, accordingly, is about a and carrying on as if they were ings in the city were New Orleans for a scheduled little-known slice of southern­ at a neighborhood bar. "Hell," come by. That it was composed f.our-day run, November 26-29. style Americana, set in Baton Smjth laughs, "It's better than a and produced by a local From there, Smith hopes to take Rouge. It is also an almost literal bar-they don't have a closing citizen-much less a black local the musical on the road dramatization of Valerian time.'' citizen-made Supper's triumph throughout the South and Smith's sunny, uncannily positive The subplot Smith and his col­ all the more remarkable. Southeast. Depending on how approach to the struggle for laborator-Autobiography of St11ith expects that as many as well the production is received racial equality and peace among Miss Jane Pittman author Ernest a dozen parts in the production here, Smith would like to make neighbors. Gaines-wrote into the musical may be recast when the musical the next jump directly to Lon­ The concept of the musical is leap smoothly from inter-family opens at the Orpheum, due to don. deceptively simple: revolving quarrels, a romance between two schedule conflicts on the part of For Smith-who has a full­ around a set of characters who teenagers, and a foiled burglary. some of the cast members. time dental practice when he gather one weekend at a black The songs, all written by Smith, The job of recasting those isn't composing-Supper's suc­ church supper. These "suppers" cover a wide range of stylistic parts will fall to director Geof­ cess would be, in part, vindica­ Smith says, are almost entirely a bases-everything from gospel . frey Newman, artistic director of tion for his life-long crusade .to southern phenomenon, and a choruses, MOR love ballads and Howard University's Ira Aldridge bring people closer together. A way of life for many in the modest jazz instrumentals to full­ Theatre. Newman's credits in­ native of West Virginia who at­ Baton.Rouge black community. tilt R&B and funk to a rollicking clude two award-winning entries tended the dentistry school at A typical supper, as it turns dose of second-line rock 'n' roll. at the American College Theatre Washington, D.C.'s Howard out, takes place at a church Throughout the production, Festival at the John F. Kennedy University, Smith is a perennial members' house and lasts an en­ Smith returns again and again to Theatre for the Performing Arts optimist, a black humanist who tire weekend-from Friday night, one central concept: whoever and the European premiere of settled in Baton Rouge nearly non-stop, until Sunday morning. you are, whatever you're doing, the Tony-winning Raisin, which thirty years ago because he took A church supper's main function you can be proud of yourself he staged in Switzerland in 1979. to heart the advice of a promi­ is to raise money for the church and, most impo'rtantly, do what Newman's assistant director, nent Howard faculty member: or to help raise money for a par­ you need to do for yourself. and Supper's choreographer, is a "He told us," Smith remembers, ticular church member. Smith puts it even more simply: man called, simply, Kashka, "Don't go to a big city where In any case, the supper, as "You get what you give." whose credits range from an ap­ you'll be absorbed by the white such, is hardly religious in That philosophy, and the pearance in the film version of culture; go down south where nature. marvelous vitality of Smith's The Wiz to a role in the Los you are needed. I remembered On a given night you can compositions, succeeded in Angeles Opera production of that advice. And it served me find supper-goers gambling, energizing Baton Rouge during a Scott Joplin's Treemonisha. well." drinking beer and hard liquor time when quality theatre offer- -Eddy Allman 6ATE CRASHING The phrase "Take one" assumes new and unexpected dimensions when uttered in the electric atmosphere of Bogalusa's Studio In The Country by local . string-and-swing man Gatemouth Brown. For details of this and other fascinating tales from deep within the sterile environs of the modern recording studio, stay tuned to a future issue of Wavelength. - rico WHOLESALE WE SELL: ~TS or- RETAIL CPI.EATED, lEATHER,C(JHJN­ ENTAU SHIRTS IBUTTO'I PHONE DOWN COU/&5 Ba\IU~. AA (21 2 ) WAIIAH,WESTEI1Nl 51-()ES 777-1727 (SNfiJ

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WAVELENGTH/NOVEMBER 1982 15 r. Bert Braud cocks an eye at got a young man, Charles Cannon, who the kids taking their places in a has just composed a song-he's singing it basement classroom one after this afternoon for the first time. It's very noon at N.O.C.C.A.-the New difficult. It demands vocal technique that Orleans Center for Creative he didn't realize it demanded. He's fin­ Arts, the city's arts high school. "People ding that out in the preparing of it. We've come here," he remarks, "and they ex­ had to take two measures at a time and pect it to be like that television show, just work on vocal technique. It's really Fame. It's not much like that. The show is beyond his technique, but he's coming up one explosion after another-all flash. to it." · What you have to pay attention to here is In the run-through before the taping, process." Braud accompanies young Cannon on the Braud _heads N.O.C.C.A.'s music piano, while Alfaro straddles a chair and department, wh~re has taught since the leans out over a classroom table as if her school's founding eight years ago. body4Were a directional antenna aimed Describing himself as a "composition­ toward the singer. The song turns out to type academic, with experience ·in the be a dolorous Rosetti poem from the Nor­ playing field," he looks the part of the ton Anthology, which the student has set serious contemporary composer who has to music that taxes his control. His put notions of fame and flash far behind teachers pick out error after error. "He him. His suede shoes might make it on wrote the song and sings the wrong television-but not matched with his notes," sighs Alfaro. "I'm playing it the green pants and loose blue shirt that pulls way you want it to be-but you don't open at the belly when he gesticulates for have it. written that way," observes emphasis. The process for this particular Braud. But there's a palpable sense of afternoon, however, does involve televi­ professional camaraderie between the sion; a crew from Louisiana Public three. Alfaro mentions that she'd like to Television is shooting footage for inclu­ sing the piece herself at a recital; she says sion in a documentary to be shown this, in fact, three or four times. And around the state. A young institution and Braud advises his pupil: "You can't be a quite a small one (with 269 students at genius in every piece-just every other present, ·perhaps 100 of whom will drop one." out by the end of the year), KO.C.C.A. Making one concession to the demands presents a sturdy claim for public atten­ of television, Cannon tucks in his shirt tail tion. Two of its music program alumni-­ before the taping; his performance comes jazz musicians Wynton and· Branford off as lugubrious, lacking some necessary Marsalis-have in fact gained interna- dynamics, but the only real sign of strain . tiona! fame at the start of their careers, is a single cracked note, which he is quick and an impressive number of graduates in to mention in the ensuing class discussion. all the disciplines have received student One student asks him about his intent in prizes, scholarships and promising starts. the piece, which was apparently written Eavesdrop for a few minutes on the for an assignment dealing with impres­ conversations of the music students prac­ sionism in music. "I was trying to convey ticing in the school's basement, and you'll an impression ... of deadness." The re­ hear more than a few references to audi­ joinder is immediate: "It worked!" As tions and competitions. The presence of a the students shuffle out of the classroom television crew on campus seems no big at the end of the session, Lorraine Alfaro deal. · overhears Charles Cannon joking about What the television audience will cracking a note on statewide television. eventually see is a truncated performance "You know," she tells him, "the only class, staged to the extent that the per­ person in the room with the vocal techni­ formers have run through their presenta­ que to sing that song was me. A year from tion shortly beforehand and heard critical now, you'll have the technique." comments from their teachers, none of It's this conscious application of in­ whom is much inclined to contrivance for tellectual discipline to innate artistic abili­ the cameras. Talking about the process, ty that makes the N.O.C.C.A. program vocal teacher Lorraine Alfaro says, "I've such singularly good news for music in

WAVELENGTH/NOVEMBER 1982 New Orleans. Our city's famous musical culture often lacks an intellectual focus and proponents of the various styles of music that proliferate here tend to think in terms of preserving a heritage rather than developing an art. The handful of young players and singers who pass through the school test themselves against professional standards of performance at an age when they can tap powerful creative energies. Music is the art that tendency to bend over and give a student maybe choose not to-but the ones who develops best in youth, and the art most an entrance if we feel that this interest shouldn't, we don't want to get them­ characteristic of New Orleans. The con­ deserves a chance. What we look for is in­ messed up. That happens to too many junction of those two conditions at tensity. And we have never been wrong already." N.O.C.C.A. deserves some notice. about that." • Music students who lack a strong The educational process, of course, is The background that Braud brings to foundation begin the program by study­ hardly that abstract. On the nuts-and­ his teaching includes a doctorate in com­ ing with Lorraine Alafaro, a career bolts level, N.O.C.C.A. operates within position from L.S.U., experience as a teacher at levels ranging from the public school system to provide working jazz and show pianist, and his kindergarten to college. "I'm what is selected high school students with profes­ work as a .contemporary composer. He known around l'!ere as the basic music sional training in the arts. Music students stresses the importance of the interchange teacher. The vocal students, by and large, are selected by auditions, held four times between the classical and jazz aspects of come here without ever having been asked a year, and concentrate their studies in the program. "The best students who to look at a piece of music and sing it. either classical, vocal or jazz music. In came out of here were strong classical They've learned everything by rote. I practice, the three area designations are players-and they all played jazz. We like discovered that my level one students largely an administrative convenience, to think of it as learning a skill. Anybody could not keep up with the instrumental since the fluidity of the program en­ can learn a jazz skill at this age, if they level one students in theory class. I had to courages considerable interchange. can play their instrument. But they can't do something about that, because when Students spend half a day at N.O.C.C.A. learn it after this age, because the creaiivi­ they get past here, they're thrown in with and half at their home schools, five days a ty turns off. the instrumentalists; they've got to be at week. The music department accepts 35 to "We have classical pianists coming in the same level. I decided to start right at 40 percent of its applicants. There are 37 here who wouldn't think of jazz; then the beginning and teach basic music. students currently enrolled in music, with they get here and start seeing those things "I have some people other than an attrition rate of 10 to 15 percent in jazz and say, 'I can learn that skill.' So they vocalists in it. Some of the jazz people and close to zero in classical. This sets off wind up doing both. Most of them call who are aimed at jazz are in it also. They the program from the rest of the school, themselves classical majors because they come here not having read music before." where close to half the students drop out want to go to conservatories after here, With advanced students, Alfaro works by the end of the year. and it looks good on their record and all strictly on voice. "It's just like at the "You have to remember," Bert Braud that." university level-except that I can't work notes, 'that our auditions are based on a Braud brings out N.O.C.C.A.'s par­ privately with the students as much as I'd higher standard of performance to begin ticular strength with a comparison to New like to because I've got too many. I've got with." A good percentage of the music York's High School of the Performing fifteen." She speaks with unrestrained en­ department consists of piano students Arts, the model for the school in Fame. thusiasm about her charges. "I think who have studied with private teachers, "When we first started the school, I went we're going to have some major singers of and most instrumental students come in to the New York school, which I thought the future come from here. I hope so." with a better background in music than, was a normal school. Anybody that wants She hesitates to make specific predictions, say, writing students bring to literature to play their violin four hours a day goes then names Michelle Charbonnet, now a and composition. The selection of to the High School of the Performing sophomore at Northwestern. "I think students, says Braud, is "a process of in­ Arts. They don't do any real counseling she's going to be the first one. And we terview plus audition. Equally important. about professional careers, they don't have a graduate at Eastman, Howard The interview is sometimes more impor­ really get into the nitty-gritty of private Stern. But I think Howard is more in­ tant. Sometimes a student ·who is really lessons, they don't get into the guidance terested in the musicology aspect of it. He gifted is not easily discernible on an in­ aspect. We're into the guidance aspect came here as a vocalist and got enthralled strument or in singing, because they ha­ pretty heavy around here. If a student ma­ with the theory. He's trying to change his ven't had a chance to do anything. But jors in music, and he shouldn't, it's my major to composition at Eastman-but a talking to them about specific interests fault. We don't care too much about the he's got a gorgeous bass voice, really yields a lot of information, and we have a ones who should major in music and gorgeous." And Alfaro adds slyly, "I've WAVELENGTH/NOVEMBER 1982 17 got a young Leontyne Price here. She of N.O.C.C.A. in that field, it would classically-trained players who has looks like her and the voice is very similar. make C!n apr parallel to what has already mastered improvisational skills. I'm going to have her the rest of this year happened in jazz. Among those now coming up is another and next year!" A sketch of music at N.O.C.C.A. needs Marsalis son, Delfeyo, who took the Like the other N.O.C.C.A. teachers, a few lines about the program's most outstanding brass player award at Alfaro is a practicing artist. Early on, she famous graduate, Wynton Marsalis. Tanglewood last summer; he'll be perfor­ had set her sights on a performing These are from a piece in the November ming as a trombone soloist with the Sym­ career. "Quite frankly, I wanted to go to Atlantic Monthly by jazz critic Gary Gid­ phony later this season. And Ellis Mar­ New York and I just didn't have the guts. dens: salis relays news of another stuaent, a Lawrence Tibbett heard me sing once The pride that animates Wynton 's pianist with extraordinary promise in when he was down here doing an opera music is reflected in candid interviews that both classical and jazz playing. He also role, and he took me aside and said, make clear his preference for jazz and his bears a well-known ' name. To quote his 'Young lady, you really have got familiarity with its history; his advocacy is teacher, "Harry Connick, Jr., is going to something. You ought to go to New York. a welcome response to the the jazzmen scare some people." This January, the I'll help you.' But I still didn't have the who have cqmplained bitterly of the de­ elder Marsalis and the younger Connick guts." Remaining in New Orleans, she meaning implications of the word ~jazz. , will pay a visit to a national conference of has sung several roles with the New The fastidiously tailored Marsalis even jazz educators in New York. It seems like­ Orleans Opera Association, sung as a looks like a performer from jazz's glory ly that people will listen. soloist with ~he Symphony, and done ex­ days. With his husky arms supporting the What we have here is a success story in tensive recital singing. She also serves as trumpet at about 30 degrees short of a the New Orleans public schools. A closer choral director for St. Martin's Episcopal right angle and slightly right of center, his look than the scope of this article affords Church, and has taught in the public stance resembles that of the legendary would presumably reveal some problems school system since 1967. Alfaro evinces King Oliver. as well, but the strengths are obvious. close to a religious conviction that her "I haven't made up my mind about Perhaps the greatest strength of N.O.C.­ mission is teaching, with her work at Gary Giddens," says Ellis Marsalis, Wyn­ C.A.'s music program is the reflection of N.O.C.C.A. the most satisfying ofher ton's father and N.O.C.C.A. 's jazz in­ the quality of the educational process that career. structor. Profiled in last month's shines through the remarks of the three One intriguing aspect of the thought Wavelength, he makes a brief appearance teachers. Bert Braud sums it up: that major operatic singers may be star­ here. As much as anyone, he personifies "Students who study the discipline of ting to emerge from New Orleans is that the intellectual respect for jazz that the. music sometimes get shortchanged on the such a development would set an element music program inculcates. New Orleans creative aspect. Johnny's going to prac­ of the city's musical past marching smart­ jazz la·rgely began with the creative im­ tice his piano lesson every day, and all the ly off into the future. This town made its provisations .of unschooled musicians; scales constantly-and it's necessary to do contribution to opera by supporting the with about the same degree of mild that. But I think in addition to that he first opera company in America; it may be overstatement that Giddens practices, it's must be fed a diet of creative kinds of ex­ high time to jump back into the stream of possible to say that much of the future ercises. We do that. We definitely try to operatic history. If a virtuoso emerges out direction of the music rests in the hands of keep'the spirit open." 0

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18 WAVELENGTH/NOVEMBER 1982 By Kalamu ya Salaam

have really been lucky," is how making recordings and videos-Germaine think it was an important experience for Germaine Bazzle describes herself. has decided teaching is the most impor­ me to grow up in the Lafitte Project. I She was born on Pauger Street, in tant career she can undertake. grew up with a lot of the second line." the heart of the Seventh Ward, "To me, anybody who teaches is doing Germaine proudly exclaims, "I was a reared Congregational at Beecher one of the greatest things that you can do participant" in the second line. "My Church (she recently converted to for an individual. I think that when we are parents were people who masked every Catholicism), grew up in the Lafitte blessed with the ability to do something, Carnival. I'm told that when my mother Housing Project in Treme, graduated we have to share it. Music happens to be was expecting me, she went out and was from McDonogh 35 public high school, the vehicle for me to be able to share dancing up and down the streets on Mardi and majored in music at Xavier Univer­ myself with kids. It's something that I Gras Day. My grandmother used to say of sity in New Orleans. have to do." me, 'That child has come here with Mardi At first glance, most people would not Germaine remembers that as a child her Gras in her' because I would dance at the say Germaine is lucky. Although an whole neighborhood was into music. "At drop of a hat." honest assessment of New Orleans that time somebody in the neighborhood As a developing adolescent and young vocalists will reveal that she is one of the always had a piano. We had one. That adult, Germaine got the best of two most innovative singers to emerge from was the main source of entertainment. musical worlds, worlds which some peo­ this city in the last three decades, Ger­ Everybody sang, you sang all day. You ple see to be at odds with one another. maine has never achieved significant ac­ didn't make any big deal out of it because At Xavier University, Germaine was ex­ claim as a singer. In fact, her career has everybody was doing it." posed to classical music, and at home, been one of low visibility: no recordings, Growing up in the projects afforded through the influence of her older no tours, and infrequent club dates. Germaine contact with the street music of brother, she listened to jazz. That's fine with Germaine because New Orleans, a contact she considers in­ Germaine catalogues her experiences as rather than make a career as a profes­ valuable. "Now that I am older and really a music education major at Xavier: "You sional singer-touring clubs and concerts, understand and appreciate all of this, I learned to sing the classics-Schubert,

WAVELENGTH/NOVEMBER 1982 19 Brahms-and also participated in the tually listening, sometimes tuning the operas. Xavier was the opera point for words out and listening to what was hap­ Blacks, thanks to the courage of Sister pening instrumentally, to trying to imitate Elise. She initiated it because of her belief the solos." that Blacks should have the opportunity, Germaine smiles as she fondly and we certainly could not go down to the remembers, "It was a big thing for me Municipal Auditorium at that time. and my circle of friends to be able_.to sing "The entire music department par­ the song with the words and then be able ticipated in the opera. Either you played to do the solos. Then you really had it, an instrument, or sang in the chorus, or you knew what was going on. From that it you had one of the lead roles. That was helped me develop some kind of concept another dimension to my musical ex­ of improvising or scatting." perience. It allowed me to be able to ap­ But Germaine moved beyond scatting, preciate that whole spectrum of music." beyond doing what other singers did. "I Literally on the other side of town, Ger­ wanted to do something other than im­ maine was basking in the sounds of jazz. itating. For a long time I would-not listen "One of my biggest influences jazz-wise to a recording by any vocalist at all. Any . was that one of my brothers started listen­ song that I wanted to learn, I would go ing very seriously to jazz. He introduced downtown and buy the music. I would sit me to Charlie Parker, Miles Davis and down and learn the music. If I had to others. He would have his buddies come · change the key, I would do that, and then over and they would sit there for hours I would say, what else to do besides sing just listening. I would be sitting there, melody and the words?" too. I think that as a result of that I Fortunately for us who are music started paying close attention to what lovers, Germaine found something else. each musician was doing." "I started thinking about the music. The When Germaine graduated from voice is an instrument. I am able to sing Xavier University she remembers Sister the words but it seems to me that I should Elise calling to tell her that the superinten­ be able to make some other kind of dent of schools in Thibodaux needed a sound. The horn sound was the easiest to music teacher. Initially hired to work with do but I wanted to concentrate on it. Now secondary students, Germaine ended up I'm prom1smg myself to develop Representing a variety of Blues, Cajun, working with children from six to eight­ something rhythmically with my voice. I Contemporary, Country, Jazz, Pop, Reggae, R&B and Rock Artists. een and she stayed in Thibodaux for believe that I can do something to sound twelve years. To her satisfaction she was like bongos," and seemingly without ef­ 500 Valence, Upstairs New Orleans, LA 70115 Dianna Chenevert (504) 899·8297/366·2785 able "to accomplish all the things that I fort she demonstrates what she means. "I wanted to accomplish with my students. I want to get it worked out so that I can be did an operetta, the Christmas Oratorio, able to do it whenever I want, provided it Handel's piece, Beethoven. It took me will be effective.'' twelve years to do it but I did it." If her past accomplishments are any in­ Germaine was perplexed because her dication, she will be effective. For ex·am­ new freedom wasn't fulfilling. "I had ple, to hear· Germaine do the trombone private piano students. I had my gigs. But line and trombone solos on Duke Ell­ there was something else that was missing. ington's "Mood Indigo" is astounding. Money? Yes, because I wasn't making the You hear a trombone but you see a singer same salary as when ' I was teaching, but and it's. sometimes hard to figure out there was something else. I stayed out of what's happening. Unlike some singers the classroom about three years. One day who imitate a horn for a chorus or two, I got a call that Xavier Prep needed a Germaine does the entire song as a music teacher _part time. I .applied for it wordless instrument. Tbe effect is and got it. As soon as I got into the marvelous. classroom, I felt it. I said, 'Ok, this was Germaine's "Mood Indigo" developed what I was missing.' I missed not being one night when she shared the bandstand able to teach in a classroom." with saxophonist Red Tyler, Edward From that point on it was clear to Ger­ Frank, and two other musicians. "I said maine what her vocation was. "Every day 'let's do Mood Indigo but I .don't know it is more and more obvious to me that the words.' The way we do it now is the teaching is the thing that I'm supposed to way that it happened that night. The do. At one time I though it wasn't, during trombone was to make the variety with those three years when I wasn't in the the saxophone and blend the tones. I've classroom and was talking about record­ never bothered to learn the words to that' ing, and doing this and that. But it just song." Germaine's light laugh iJluminates didn't sound right to me. I wasn't even the room, but her achievements as a willing to put forth the energy to find out vocalist are important. if singing was a possible career for me. People who have seen Germaine per­ When I got gack to the classroom I found form often comment about her visual out teaching was what it's about for me." presentation, particularly the movement Germaine has influenced thousands of of her hands. Germaine smiles again when people to appreciate music through her asked how that developed. "I think teaching, but she has also deeply touched because of working in a corner. Before I many of us with her innovative jazz sing­ started singing in New Orleans, the band ing. She points to those early sessions director in Thibodaux and I had a two under her brother's tutelage as the beginn­ piano show. Both he and I wou1d play ing of her style. "I shifted from singing piano and sing. When I started doing the the words of the popular tunes to just ac- gigs here I didn't have anything to do with

20 WAVELENGTH/NOVEMBER 1982 my hands. I was working at Mason's and there was nowhere to move. I was stuck in this corner. I guess through that combina­ tion the hand thing came in." As with many habits which seem to be inconsequential at first glance but are ac­ tually essential to a person's style, Ger­ maine states "also it helped me to concen­ trate, to block out the conversations that . were held at nearby tables. I was working with guys who really knew what they were doing to make sure that I did my part right." Germaine usually gets her part more than right. Although she is not a fixture on the jazz scene, her vocal work is far more interesting than many who sing six nights a week. (She sings every Thursday night at Tyler's.) Her show is both sen­ sitive and lively. She will open with a bop standard taken at a medium or up tempo, render an absolutely impeccable reading of Monk's "Round Midnight" as a vocal shows topper, and end with a rousing se­ cond line (including the dance steps) ver­ sion of "Ease On Down the Road" from the Broadway show The Wiz. In addition to nightclub work, Ger­ maine also sings in a couple of choirs. "I'm in the New World Ensemble with Moses Hogan conducting. Twice a month we get together and go over music and prepare music for concert performances. Making budget demos, A-V masters, non-sync film or video Then with the Cathedral Choir I sing soundtracks? Whatever the applicatien, you'll appreciate another type of music. It gets com­ Tascam's Series 20: professional r~cording and mixing plicated ... " But not really, if you under equipment that remains affordable by sticking to the basics. stand that all of this is music that Ger- · The 22-2 2-track and 22-4 4-track machines run at 7.5 or 15 maine Bazzle learned to appreciate in her ips, with sync on the 4-track for inserts·and overdubs. The early years. Today she is able to profes­ companion MM-20 mjc/line mixer is compact sionally cover the spectrum of vocal and expandable: music. In her own dazzling style she is repatch a few cables, maybe add an accessory, and change simply doing what she love(. to do. Music your whole system. See us and learn how much you can do is her life. with Tascam's Series 20. Closing out the interview, Germaine mentions that although she had not been interested in recording earlier in her career, she would do so now if the ciT- -cumstances were right-if the recording were well planned and well executed. Then she returns to her favorite subject: "Here comes the teacher bit. I'm hoping that parents will encourage thdr children to become involved in some kind of creative medium, be it dance, or writing, or painting, music, or whatever. I believe that we all have the ability to create. I really wish that parents would encourage their children because I have found for myself a lot of peace in creative expression." Germaine's face turns both excited and TASCAM - serious as she emphasizes her closing com­ TEAC Production Products ment. "I work with kids every day, and I want our kids to have a positive self im­ age. I think that when they get involved in creative activity they have to struggle to get it just right but that glow that comes from creative accomplishment, there's no money for that. We weren't put on this TULANE STEI\EO Iii Fl CO. earth without creative ability. I wish more 1909 TULANE AVE 524-2343 people could see the value of creative ex­ Conven1ent Stores1de Park1ng pression." Open Da1ly 9 5~ Closed Sun.cJdy New Orleans is lucky to have a teacher Long :erm F'f'anc1nq Avarlat;le throc;qh CIT ·Free Dr;lr.-.•rv and singer of the stature of Germaine Bazzle. 0 VISA · MASTER CARD MR BOL

WAVELENGTH/NOVEMBER 1982 21 CLARK ANSON TilE L'IL QUEENIE REGGAE VREELAND'S FUNDERBURGH HEARTFIXERS APT.B AND BACKTALK SUNDAYS ROOM SERVICE AND TilE featuring ROCKETS CHICAGO BOB new music at 9 p.m. urban blues from N.O. fusion Atlanta. music at 9 p.m. Mondays------1st in a series 7 8 9 special show * 10 live on WWOZ 11 lifle on WWOZ 12 13

ST. CROIX THE DAN TONY DAGRADI CURLE BROS. THE GATEMOUTH PHILHARMONIC BLUE VIPERS IDCKS with BLUES BAND RADIATORS BROWN STEEL ASTRAL PROJECT ORCHESTRA back from five pieces 15 steel drums Carla Bley's summer· cookin' the blues onstage! European tour

14 17 20 THE THE SAX DR. ROCKIT DEACON .JOHN MARCIA PRESSURE BACKBEATS NIGHT­ MACHINE AND THE BLUES REVUE BALL SISTERS WITH HAWKS OF MERCY EARL KING fust N .0 . appearance hot reggae from $1.50 veggie super sax sextet rockin' r&b since the Jazz Fest .Austin spaghetti from Houston

21 24 25 26 27 LENNY ZENITH RAS CLOUD JUNIOR THE AND THE SONS plus WALKER RADIATORS CLOSED THE OF SELASSIE-1 THE AND THE NEVILLE TRI-TONE SUBS BROTHERS beans ALL STARS casta riddim $1.50 red and rice

28 COMING UP IN DECEMBER OPEN FOR 11:30 THE THE NEW JAZZ DEC 5: CAMPAIGN FOR NUCLEAR DISARMAMENT LUNCH AT KILLER BEES BLIND DATES QUINTET PRESENTS HOLLY NEAR MON-FRI, DAILY SPECIALS DEC 7: THE PERSUASIONS CALL FOR INFO DEC 16: JOHNNY COPELAND opened for Steel bring your own high energy design 899-9114 Pulse and Black Uhuru

501 Napoleon Ave, corner-Tchoupitoulas- Phone 899-9114 ost Wavelength readers are familiar with WTUL, the public radio station oper·ated by Tulane Univ­ ersity, but if you're just a semi-regular listener,· you may not be familiar with the regularly scheduled specialty shows that entertain the station's listeners from the early morning classical shows to the late night soul music and smooth talking on Bimbo's show. Within its regular framework, WTUL (91.5 FM) has a number of specialty shows, all described in some detail below, that range from Broadway to new wave to country to what-have-you; we've also included pictures of what the people running these shows look like when they're not disc­ jockeying. The station is non­ profit and run by students and volunteers (although many of the specialty show disc-jockeys are not Tulane students). This survey of what's-playing-when and who's-playing-it is the first in a Wavelength series on local radio stations.

THE NEW ORLEANS SHOW (Monday, 7-8 p.m.) Shepard Samuels kicks off Monday evenings with the New Orleans Show. Shepard features local artists and music of all types, from R&B and jazz to funk and new wave. He tries to expose listeners to as many local artists as possible on the show and has in­ terviewed such local luminaries as Huey "Piano" Smith, Professor Longhair, Aaron Neville, Irma Thomas, Lee Dorsey and Dr. John on the air.

REGGAE (Monday, 8-11 p.m.) After The New Orleans Show, Shepard hosts the Reggae Show. Shepard says this show has grown

t

Shepard Samuels Bimbo Nathan Schwam New Orleans Show & Reggae Show Bimbo's Rock & Soul-Searching Show Nathan's New Music PHOTOS BY RICO 24 WAVELENGTH/NOVEMBER 1982 tremendously in popularity in the you mother or roommate or her films can be rather obnoxious new album they're thinking about six years he's hosted it and he girlfriend. The jock spotlights a stuff, but she's seriously in­ buying on his show before they sometimes receives more than a piano rag every four weeks by ar­ terest~d in video. spend their money. With the price hundred request calls during a tists like Scott Joplin or the New of records nowadays, it's a nice show. Leviathan. service. And how can you find out To keep his show diversified, Exclusive to the Jock's show is NEW WAVE what he's going to play? Call him Samuels plays a wide variety of the Mortimer Latimer News (Tuesday, 7-11 p.m.) at the station, 865-5885. Jamaican music, including reggae, Report. Mortimer sounds a lot Nathan is a senior Theatre ma­ ska, rock steady, mento, soca and like the Jock on the air, but the Richard McCarthy hosts the jor at Tulane. other Caribbean music. "I do Jock says he's an investigative New Wave Show every Tuesday get a lot of calls asking me to play reporter, a kind of combination and plays a wide variety of the Bob Marley and lot of other well­ Andy Rooney and Paul Harvey. latest youth music from England, known artists, but I try to keep as well as American (including TECHNO 2000 from playing them too much local) new wave artists. Most of (Wednesday.11 a.m.-2p.m.) the quality cuts he plays are im­ because there's so much good reg­ BIMBO'S ROCK gae I'd like them to hear." At AND ports, he says, because much bet­ Techno 2000 was originally a 10:00 each week, he spotlights a SOUL-SEARCHING ter new wave music is coming summer program but response newly-released reggae album. SHOW from Europe today than America. from listeners was so good that it Samuels received his (Tuesday, 2-6 a.m.) You can hear groups like Zounds, earned a permanent spot. Hosts undergraduate degree in Carib­ Echo and the Bunnymen, Throbb­ Mark Townsend (a.k.a. Martin) bean History from Tulane and Very early on Tuesday morn­ ing Gristle and Secret Affair, but and John Wallace (better known became so fascinated with ings-2 a.m., to be exact- Bimbo you probably won't hear much as John Thomas) created the show Jamaica that he has returned there brings you her Rock and Soul­ "pop" new wave on his show. early this summer: "Computers again and again. Searching Show. For the next two After McCarthy has played sets are getting into everything in Samuels is one of those people hours she plays soul oldies of "Mod" or Sixties psychedelic, society," says Martin, so he and who wears many hats; by day, he (1960-75) by the likes of Wilson futuristic, electronic, punk and friend Thomas put their skills is a practicing attorney, and by Pickett and James Brown; then at artsy music, the album hour rolls together to educate their audience night he manages the Rockabyes. 4 a.m., she takes requests on The .around at 10:00 and he features a about electronic music. He is also a contributor to All Nighters' All Night Long Re­ recently released import. "People have a flimsy idea of Wavelength. quest Hour; and at 5:30 a.m., McCarthy is the youngest jock electronic music and its Bimbo winds her show down by at WTUL-he's a senior in high capabilities," Martin said. Ap­ playing a Moody Blues album side school-but he's by no means the parently, the pair sees few creative THE JOCK OF or something equivalent. least accomplished. Since he limitations. Between songs, they NEW ORLEANS Bimbo has many loyal male began doing the show this sum­ talk with the computer, which is (Monday. 11 p.m.-2 a.m.) fans. Apparently her seductive mer, he has done live interviews developing a personality of its voice and sense of humor really with the English Beat, the Lo(ds own. The computer's voice is real­ The Jock, a 'mysterious fellow, have the boys coming back for of the New Church, and Chelsea, ly that of Canadian-born Nikki puts on programs like the Annual more, because Bimbo says the re­ as well as playing bass in his own Kalverda (Martin's girlfriend), Christmas Show which features quest lines don't stop ringing and' mod new wave band, The Scene. third member of the Techno crew. every rock and pop Christmas the program director says she gets Her voice is used and distorted to song you ever/or never wanted to more fan mail than any other create a computerized effect. The hear, plus old traditional favorites jock. The response, Bimbo says, is computer introduces the album and a smattering of Christmas 990Jo male, but women will like NATHAN'S NEW MUSIC hour. announces the weather, and comedy, a special called Religion her too. (Tuesday. 11 p.m.-2 a.m.) responds sort of like those talking In Rock (a few hours of rock and The Rock and Soul-Searching Coke machines would if they real­ pop music with religious in­ Show is not Bimbo's first radio Following the New Wave Show ly carried on a conversation with fluences), and one called The New gig.;...she worked at WNOE-AM is Nathan's New Music, also you. Disco, which introduces a lot of and FM. Right now she's working known as Nathan's Newies. "New Martin and John are aiming for genuinely well-respected (in on a studio art degree at Tulane music does not necessarily mean the same goal with their show: musical circles) electronic dance which she'll add to her Com­ new wave," says host Nathan they both say they'd like to help disco by groups like Kraftwerk, munications and Art History Schwam, "But I end up playing a change the structured, predictable SoftCell and Yellow Magic Or­ degrees. lot of it because that's what is and non-creative aspects of com­ chestra, for people who always Bimbo says one of her favorite coming out these days." He plays mercial radio into something bet­ thought they hated disco and hobbies is-yes, you guessed everything-all the new albums ter. "We want to let them would never admit to listening to it-making animated 8mm porno that come to the station-from (listeners,) know there is something it. movies ("Piaydoh Porno"). Bim­ country fiddling to piano im­ else out there," Martin said. " I'd Then there's the Rag Of The bo calls her operation Pachyderm provisations. As Nathan pointed like them to see our show as more Month, and no, you can't enter Productions, and she says some of out, listeners can hear cuts from a than just background."

Mark Townsend Techno ]()(}() Best of Frere/

WAVELENGTH/NOVEMBER 1982 25 Orleans and is a freelanc~ com­ describe the music that he plays. "And it's one of the only format~ COUNTRY mercial artist. "I'm very rock 'n' "I've always thought of Sunday for Broadway in the city." Herb is (Saturday, 1-4 p.m.) roll oriented, even in my art," he morning as a magical time, a senior Psychology major at said. Steve has done illustrations, because it's the only day of the Tulane, and a vice-president of Country host Dennis says he t-shirt designs, and record jackets week when you're not supPosed to Tulane University Center Produc­ tries to do with country music for record companies in New do anything," John Thomas tions (TUCP); he also possesses what the station does with all its York, worked for an alternative a.k.a. John Wallace, said, "I hidden talents as a juggler and programming: provide an alter­ press in Miami, his hometown, want to enhance it for magician. native to the Billboard charts type and drawn comic strips, people ...The kind of music I play Scher has trained sophomore of country music that's played on won't knock you out of bed or Ann Starer about the intricacies of many country stations. Dennis make you pour coffee on your Broadway disc-jockeydom, and likes to play songs by gui.ar and lap." they now co-host the show. Like fiddle players you can't hear BEST OF FRERET The music is easy to listen to, Herb, she's a big Broadway fan. anywhere else, and he· includes old (Sunday, 6-8 a.m.) but not insignificant: Leonard StaFer . is from Philadelphia, stu­ traditional country music to his Cohen, Jonathan Edwards, dying biology and illustration at country rock and bluegrass reper­ Music at 6 a.m. on a Sunday Steven Whynott, George Harrison Tulane in hopes of going into toire. morning should be celestial but and Eric Clapton are typical medical illustration. Dennis and Country Kate (Katie not so celestial that it puts you Cheezmuzik sounds. Caraway) have both hosted the back to sleep. So says Best of Music isn't the only thing you'll country Show on and off for the Frere! host M.ark Townsend. The hear, though. At 10 a.m., John ACE'S GLOBAL past few years, and Dennis pretty show has evolved over the past presents Little-Known News, FOLK SHOW much took over when Katie four years Mark has had it, but if about ten minutes of unusual' (Sunday, 1-4 p.m.) graduated from Tulane and went you listen to it these days, you'll news ~tories that are interesting to work for WTIX Radio's Morn­ hear a mellow medium between departures from routine and often Ace is the only disc-jockey in ing News. But good news-Coun­ electronics and progressive depressing daily news. For exam­ the city who regularly broadcasts try Kate is coming back this fall to acoustics. ple, John throws out such tidbits live acts in the studio. Since 1980, do the show once a month, "The show was originally as "Did you know ... that the word Ace (Mark Eckerle) has extended More good news: country music started in order to bridge the gap · 'Coca Cola' in Chinese means an open invitation to local musi­ scholar Bill Malone will be spinn­ between Bizarre Radio (Saturday 'Bite the wax tadpole?' "Then he cians to play on the radio-and ing country music one Saturday a late night hard rock and elec­ plays fifteen minutes of comedy it's an ideal opportunity for. musi- month also. Malone is the author tronics) and Cheezmuzik (Sunday from his own collection that per­ 1cians to gain exposure. His show of Country Music U.S.A., and morning mellow music)," Mark tains to the last new~ item. has featured live performances by last spring he completed. the com­ said. He wants to avoid "loud or During the day, John repairs John Rankin, Lenny Zenith, Lloyd pilation and annotation of the obnoxious music," so he plays the optical instruments, but much of Price, John Chapin and Joe Bar­ Smithsonian Institute's Collection most suitable cuts on import his free time is spent in musical bara. Between live acts, Ace spins of Classic Country Music. albums by artists like Logic endeavors, if not with his wife. records, usually playing folk, · Malone, a history professor at System, Tangerine Dream, Kraft­ He's been doing Cheezmuzik for country rock, bluegrass and that Tulane, will be a welcome addi­ werk, Japan and the Buggies. six years, began co-producing sort of thing. But, he says, "I tion to the country show. Mark is fascinated by music and Techno 2000 this summer, and has don't confine it to folk music ... radio and has been a musician for just produced a three-hour it's folks' music. Music for 18 years-he sings, plays drums, Vangelis radio special. OLDIES folks." bass, guitar and keyboards. He's Twice a year Ace and a few live (Saturday, 7-11 p.m.) had quite a bit of recording ex­ bands and musicians are out on perience and also throws himself ''Alternative oldies for BEST OF BROADWAY the Tulane quad for Recycling into producing Techno 2000 (see Day, broadcasting part of the moderns" is how deejay Steve (Sunday, 11 a.m.-1 p.m.) Taylor describes WTUL's Oldies above); he has a daytime job at an show outdoors, encouraging peo­ Show. The station plays so much optical survey instrument com­ ple to donate their recyclables. old (as opposed to just-released) pany. Best of Broadway, as the name Ace has played musical in­ music regularly that Steve says suggests, is two hours of Broad­ struments since he was 12; piano "it's almost irrelevant to have an way show soundtracks. Hosts and then, self-taught, the guitar. oldies show"; so Steve keeps his CHEEZMUZIK Herb Scher and Ann Starer play Now, he also plays mandolin, bass listeners alert with a more· un­ (Sunday, 8-11 a.m.) individual songs, not entire 'guitar and glass washboard. When • conventional oldies format that musicals, so if you don't like a he was a Tulane student, Ace sometimes includes rather bizarre Someone once said the only Pirates of Penzance song, hang in played bass (that's how he got his selections. thing that's mellow is cheese. there and your all-time favorite nickname) with a band called Steve has been on the WTUL John Thomas liked the thought from Guys & Dolls may be next. Hopalong·Casually, later known air staff more than three of the and named his show after it, and "There's nothing like a Broad­ as Sunshiny Daze. These days he four years he's lived in New the name does appropriately way production," Herb said, plays mandolin with the Bad

Ann Starer Mark Eckerle Best of Broadway Ace's Global Folk Show 26 WAVELENGTH/NOVEMBER 1982 Oyster Band. Mark is a petroleum Dan, a senior psychology major geologist at Gulf Oil. at Tulane, has been playing the piano for the past five years and is -·······················-···························· studying music. For pleasure, he WORLD OF JAZZ sails on Lake Pontchartrain and (Monday-Sunday, 4-7 p.m.) competes regularly in regattas. WTUL also broadcasts classical World of Jazz airs more hours music every morning from 6 to 8 than any other specialty show on a.m. Hosts Andrew Lambert, WTUL. Jazz jocks try to present a Stewart Lob, Catherine Zucker­ variety of jazz at a consistently man, Doug Caffarel and Dan high level every day. Wellens play cuts from a variety "The most exciting thing is that of classical albums and make wak­ we're presenting a daily jazz pro­ ing up a pleasant experience. gram in the city where jazz was born," said Sunday jazz host Robin McCartt, "And up to just a LATE NIGHT JAZZ while ago, no other station of­ (Sunday, 11. p.m.-2 a.m.) fered that," On the show, you'll hear tradi­ For the more sophisticated, tional, contemporary and experi­ Late Night Jazz offers a gourmet mental jazz. Robin, who is the selection of jazz cuts to expand resident long-term jazz host, says your musical horizons. WTUL she wants to teach listeners as manager Glem Schulman, host of much about what's going on in Late Night Jazz, calls the show jazz as possible. The other six "environmental music for your hosts are jazz director Michael extended outlook." He said he Hotz, Doug Grills, Margaret wants to treat his listeners to Towne, Clay Mp.rkham ~ John obscure music by familiar artists Rodwig and Errol Demesme. and familiar music by obscure art­ ists, with heavy emphasis on im­ provisational music. CLASSICAL When you listen to the show, be (Sunday, 7-11 p.m.) comforted by the fact that you're in the hands of a real connoisseur: Sunday night is a perfect time Schulman has been learning about for working people and students jazz since he was 13, w)len his jazz to get some rest or study before musician big brother's influence the week begins and The Classical began to rub off on him. Show is a perfect accompaniment Schulman got involved with for both activities. Host Dan WTUL when he came to Tulane Wellens educates his listeners and became a deejay, being ap­ about not-so-famous classical pointed jazz director of the station music but without a lot of talk last year. In that position, between movements. Schulman used the resources of "I don't want to treat classical the William Ransom Hogan Jazz music in the depth that WWNO Archives on the air to spotlight radio does," Dan said. "Instead, different eras and artists during I want to appeal to the middle-of­ Jazz Awareness Month-the first the-road listener. .. to come to the time WTUL had ever broadcast layman's level." He usually plays any of the Archives' holdings. one or two movements from one Aside from WTUL, he also en­ album at a time, then features and joys taking weekend canoe trips in discusses an entire album at 10 Louisiana and Mississippi (he was p.m. What listeners hear is a little president of Tulane's canoe club explanatory dialogue and a lot of last year) and cooking. He is a beautiful music from the Baroque junior Psychology major at through the modern period. Tulane.

WAVELENGTH/NOVEMBER 1982 27

SERIALS Df_,.,,.,nt,;• \) EARL K. LONG Ltr3P.,., '(Y UNIV£RS 'ft' _NEW OD'IEATY ~F Nf:W ORLEAN.d . .. 'It N::;, LA. :ZOl~ By Joe Sasfy

was only twelve years old when I first heard Phil Phillips and the Twilights' "Sea of Love." Even at that age, when I devoured an rock 'n' ron with the indiscriminate vor­ acity of a kid reaching into his candy bag on Hanoween, the record seemed dif· ferent-its lover's plea floating in such an eerie, incantatory atmosphere that it was almost ghostly. The bubbling and swirling mix of forlorn voices and muted in­ strumentation could never have risen from a studio in New York or Los Angeles, or even Memphis or New Orleans. In fact, its magic seemed hardly the product of a record studio at an. Years later I got the facts; none of them have demystified the record one note. John Phillip Baptiste (Phil Phillips) was an 18-year old beJlhop from Lake Charles, Louisiana, when he brought a love song, written for his girlfriend, to local record entrepreneur George Khoury. Khoury, duly impressed, took Phillips and his song to Eddie Shuler, whose Goldband Studio (a converted Holiness church) and Records were enjoying con­ siderable success with Cajun releases. Shuler, duly impressed, spent three mon­ ths developing the sound of "Sea of Love," which was finally released on the Khoury label. It sold so wen that it was leased to Mercury, thus beginning its as­ cent to number two nationally. The gold record still hangs on the wall of Khoury's record store on Railroad A venue in Lake Charles. Like aJI the records made in bayou country in this period, "Sea of Love" was made by local musicians in a primitive local studio and was released on a local label for consumption by the largely French-speaking population of South Louisiana and East Texas. A number of these records, aJI imbued with a distinc­ tive regional sound, were leased to larger labels and made the national charts. They remain the most visible successes of a large body of pop records, all endearingly romantic, made in South Louisiana in the late 1950s and early 1960s known collec­ tively as swamp pop. Cookie and the Cupcakes, led by the rich vocalese of Hugh Thierry (Cookie) and Shelton Dunaway and horn-driven New Orleans rhythms, had hits .with "Mathilda" (1959) and "Got You On My Mind" (1963). Rod Bernard was only 17 when he heard Guitar Gable's band per­ forming an original called "This Should

Joe Sasfy is a free-lance writer for one of our favorite music publications, Unicorn Times, Washington D.C. 29 Go On Forever." Bernard and his band Lyric, Mantel, Lanor, Hallway and The Twisters recorded it for Floyd Tribe. The man most responsible for Soileau's Jin label and it became a na­ pushing local talent into the national tional smash when leased to Argo in 1959. spotlight was Huey Meaux, the legendary Joe Barry, from Cut Off, Louisiana, Cajun best known for bringing fame to recorded two records for Jin, "I'm A the Sir Douglas Quintet in the mid-1960s Fool To Care" and "Teardrops In My and Freddy Fender in the mid-1970s. Heart," that thanks to a Huey Meaux Meaux not only produced swamp pop deal with Smash Records, made the na­ style hits for Jivin' Gene, Joe Barry and tional charts in 1959. Meaux, the Crazy sultry Barbara Lynn, but he made na­ Cajun himself, recorded the mush­ tional deals for Rod Bernard and Dale mouthed Jivin' Gene (Bourgeoise) in the and Grace, among others. With Sunny back of a barber shop in Port Arthur, and the Sunliners and Fender, he created Texas, and his Fats Domino-sounding a Tex-Mex variant of the Louisiana "Breaking Up Is Hard To Do" also ballad, and his contemporary labels, charted in 1959. Starnite and Crazy Cajun, have released There were a few other songs that lots of R&B, C&W and swamp pop from brought the lachrymose bayou beat to na­ Louisiana and Texas. In 1977, he got tional ears: Warren Storm's "Prisoner's ABC to release a fine collection of bayou Song" (1958), Elton Anderson's "Secret music by Joe Barry and followed it in N.O. Booking Agency Love" (I 960), Dale and Grace's "I'm 1978 with Swamp Gold, a collection of 4830 Chestnut (Upstairs) Leaving It Up To You" (1963) and "Stop Gulf Coast standards sung with wailing N.O., La 70115 and Think It Over" (1964), and 504 (899-0654) Tommy and sobbing perfection by freddy Fender. McLain's gloriously pained reading of Right now Meaux is trying to revive the 111111111111111111111111111111111111111111111111111111111111111 Don Gibson's "Sweet Dreams" (1966). careers of Warren Storm and Tommy While the national breakthroughs were McLain, two of South Louisiana's best NOVEMBER rare (only a few were big hits), it's surpris­ singers. ing, given the unaffected soulful charm of One of the artists Meaux produced in Fri 5- Tipitina's oR~~'ZNs the singers and the primitive recordings, the early 1960s was Jimmy Donley, an ex­ Fri 19 - Maple Leaf oR~~'ZNs that any were hits. In the bayou region, cellent Louisiana-style singer and Fri 26 - Antler's LAFAvene however, these singers and a number of songwriter whose brief life has a tragic Sat 27 - Trinity's ~W~~ others-T.K. Hulin, Johnny Allan, Clint resonance with the fatalistic quality of Every Wednesday West, Jimmy Donley-dominated the air­ swamp pop. Donley, a heavy drinker with Hamilton's Place LAFAvme waves with a brand of mournful a gloomy, depressive personality, called balladeering that remains as moving, in­ Meaux one night in 1963 and told him, timate and romantically sincere as a "Huey, I can't carry the load another · teenager's secret diary. night.'' Donley was found dead in his car The sound of swamp pop developed a short while later on a road outside of ---- - from the confluence of the local cajun Gulfport. He had asphyxiated himself ------~--- ···--·------·-·-·------­--- folk music with, first, hillbilly music, and with the exhaust fumes from his DeSoto. ------·-· - second, the rock 'n' roll that made its way On the album Meaux later released by from New Orleans (especially Fats Donley, frankly titled Born To Be A Domino's style) and Memphis · Loser, there is a song called "I'm To II Ill _ (especially's Presley's ballads) via radio. Blame" which Donley ends: after a difficult time trying to Most of the songs were standard rock ballads that gained a hypnotic, languid Goodbye, so long, my will to ·live left feel through the mournful singing of the with you artists who, whether they were white or I must go now, I think I hear my train. black, were almost all French-speaking. It With me I take my Bible and your pic­ was the French 'soul' of these records that ture. transformed them. into some of the most Oh how it hurts me for I know I'm to romantically fatalistiC pop ballads ever. blame. They all sang in what Huey Meaux aptly called "the heartbreak key." When the police found Donley, there To my ears, none of these artists was was a white Bible next to him and, in it, a better at taking a love song and creating pictu-re of his wife, Lillie Mae. 0 an air of suicidal depression than T.K. Hulin, who supposedly cut his first record for the local LK label at age eight with his Discography: band, the Lonely Knights. While Hulin's ~he records listed below (rncl taxi weary heartbroken persona is captured in available introductions t are the best his regional hits, "Graduation Night" can write to Goldband ~swamp pop. You Color: and "I'm Not A Fool Anymore," it is 1485, Lake Charles LA ec;~ (P.O. Box Classrc Ivory, nakedly paraded in his perfectly titled Records (P.O Bo ' . l) and Jin red prrnt. "How Far To The End," and, even bet- 70586) for exte~sive ~a;a~6, Ville Platte, LA siana music. ogues of South Loui- r-Piease------ter, "That's Why The End Must Begin." send me· A Rockin' Date With S ____ "BIG EZ" T-Shrrtis) Srze(s) ____ When he begins the latter, achingly sobb­ (Jin LP 4002) outh Louisiana Stars Enclosed rs my payment of ing, "So you've evened up the score," s Check or Money Order only you know exactly 'Golden Dozen (lin LP 9001) what the "heartbreak Golden Dozen. v. l Please add S I .00 for postage/ handlrng. key" is all about. Name ______Cookie and .theo u;,e Four (lin LP 9020) The swamp pop sound was mostly the Rockers (lin LP 9003)pcakes: Three Great Address------­ product of a few studios- Jay Miller's The Other Song of th Crty State Zip---- studio in Crowley, Goldband and Bill 6463 086) e South (Mercury import EZ LINES Hall's studio in Beaumont- and a few B_ayou Beat: The Legenda . l 828 Royal. Suite 531 New Orleans. LA 70 I 16 1 local labels-Goldband, Jin, Khoury, s1ons-Volume 26 (FI . '?' Jay Miller Ses­ 1------Yrtght Import FLy 581) 30 WAVELENGTH/NOVEMBER 1982 MEDIA

LOVE US, LOVE.US NOT

There's been a Jot written about New Orleans music in the national and international music press lately, but if you didn't know ahead of time, you might not recognize your hometown.

ew Orleans music has been my Ladnier dead these forty years) and, Nreceiving a good deal of outside possibly, the most knowledgeable. Cover­ press in the last few months, but it isn't ing the 1982 Tulane Hot Jazz Classic, the usual laudatory sort of semi-panegyric some of the J&H Festival, and a selection that might be transferred intact to Tom­ of traditional groups around town, Joly is my Griffin's column or a Chamber of scrupulous about listing personnel, Commerce brochure. The three articles doesn't bite his tongue (at the Fair under consideration oome from a highly Grounds, "the Onward Brass Band's per­ divergent trio (you wouldn't want to see formance was ruined by the most them onstage at the Blackhawk) and the atrocious sound balance I ever heard. titles give some of the show away: Marcel Some of these technicians (are they real­ Joly's "New Orleans 1982" in the British­ ly?] are genuine sadists," while of the based Footnotes magazine, Brian Dirty Dozen, J oly notes of their President Cullman's "Letter from New Orleans" in performance, "If this is the new direction the current issue of Musician and Robert brass band music is going to take I'll stick A. Hull's "Love You, New Orleans" in with the old sounds") and his approach is the Washington, D.C., music-zine, frankly Inside. Unicorn Times. Joly obviously knows and loves New I don't know anything biographically Orleans-he tips his readers off early on NEW ORLEANS pertinent about M. Joly, but there are a that the streetcar to Tulane is a few parallels between Hull and Cullman. "beautiful" ride but that the Freret bus is PREMIERE JAZZ CLUB Both of them went to Brown, which also quicker and not without interest ("Look spawned Wendy Carlos, Ted Turner (who out for the Brown Derby at the crossing never graduated), New Yorker cartoonist of Freret and Louisiana Avenue at your Ed Koren, S.J. Perelman, Thomas Wat­ left. This name will ring a bell for most son (Chairman of the Board at IBM), readers of this magazine.") and he also Nathanael West (who transferred from understands the totality of local music, Tufts on the strength of forged records)-, without disdain and without sacrificing the author of The Preppy Handbook his own primary interests: "It's amazing (whose name mercifully escapes me) and how many musicians of the rhythm 'n' Talking Heads-actually a product of the blues world end up playing traditional Rhode Island School of Design, regarded jazz (or do these different 'worlds' exist by Brown alumni as a mere annex of only in historians' brains?)." Brown's Art Department-and both Hull Cullman and Hull, writing about R&B and Cullman wrote for Creem in that as exclusively as Joly concentrates on magazine's formative years (its halcyon traditional jazz, present a night-and-day Lester Bangs/Dave Marsh period). Hull, contrast: .C ullman is acerbic and who still does his Creem writing under the cranky- he combines the bleak, whiny b.k.a. of Robot A. Hull, is from Ten­ contentiousness of Joan Didion with nessee and from less-than-affluent sur­ George M. Cohan's sharkish showman­ roundings and his daddy is a minister, ship (at least verbally-" Any time I can't while Cullman is a rich New York City kid fool those babies out there I'm quittin' " whose mother invests in Broadway shows, was Cohan's proverbial pre-performance a fact that may make locals wish that Lib­ peep-through-the-curtains crack); while by Holman was still around, and Cullman Hull is frankly dithyrambic-he's a man also makes as-often-recondite-as­ head over heels trying to compose a mash­ entertaining records which not too many note to his inamorata, and (as in mash­ people have ever heard. notes) sometimes embarrassing exaggera­ M. Joly's article is the longest and the tions get in the way of objectivity. He's as most objective (the magazine, Footnotes, bent on rhapsody as Cullman is on cur­ in which it appears is "dedicated to New mudgeonishness. Orleans music"-what variety can be sur­ Cullman tells us that local music is mised by the fact that the other lead arti­ "dumb" (citing ~mittedly excellent ex­ cle is devoted to the great trumpeter Tom- amples by Huey Smith, Fats Domino, Ed- WAVELENGTH/NOVEMBER 1982 31 die Bo) and that New Orleans is an in­ sular, echt-provincial big-small-town (true, but is it bad?) where everyone and everything is for sale (also true but is it Leisure Landing's bad?) and the music of quality that exists here is all-get ready...:....Accidental. "The music doesn't travel well," says Cullman th ~N~I~E~~!~! ~!~E after comparing it to certain Bordeaux Sun ay ov. wines and certain New York cheesecakes, 5 all, it lives "Hell, it doesn't travel at New Orleans' most complete record store vicariously through its reputation and through all the old records." off all regularly Thus, James Booker plays "like an in­ 0/ spired lounge pianist in a Holiday Inn," /0 priced records & tapes* Toussaint is "a lousy performer who shows serious lapses in taste," and Aaron 10 Neville "looks like someone who, if en­ countered in a dark alley, might kiss you (regardless of gender), stab you (regardless of gender) or advise you on your shampoo (again, regardless of gender)." The Jazz and Heritage Fair (Cullman's description of same is mainly devoted to an Earl Wilson-ish roundup of what Celebrities were there) is "a way of checking to see that all the performers are still alive." Cullman might be New Orleans' most vocally vitriolic visitor since Mrs. Trollope in 1832 who.remarked "New Orleans presents very little that can gratify the eye of taste ... (but does) afford that species of amusement which proceeds from looking at what we never saw before." Robot Hull, on the other hand, just loves us: "Musicians-great musicians stalk the night. .. the most unmolested music in America ... to hear (it) in (its) rich setting is a shock, a jolt of knowledge that makes you realize how pretentious and pathetic are the modern sounds coming out-of New York and Los Angeles." Hull is so busy bein' fulsome that he makes a few errors-Fats Domino's 9th Ward home is hardly "inconspicuous, modest" -at least in contrast to the other houses near Caffin and Marais; WWOZ doesn't play "only New Orleans tradi­ tional music," and I wouldn't exactly describe Irma Thomas as "uncompromis­ ing." (But then I didn't write the article.) Hull, perhaps because (unlike Cullman) he is from the South, has a more open and less canny view of things, and perhaps he doesn't exaggerate much more than Cullman does-Johnny Adams just might be "possibly the most underrated soul singer of all time" and "Never have I known a city to feel so strongly about its musical traditions, "(except for Vienna or Salzburg one hopes not!) and of course all of the nice things he says about Wavelength couldn't be truer. His article ends with the quote-above-the-masthead of each Wavelength and Hull adds, "After a wonderful but all-too-brief vaca­ tion there, I'm almost positive, too." Cullman hedges, but only slightly, in his conclusion: "If some of the best and most beautiful and strange and heartfelt music in the world comes from here, it's an acci~ dent. It just happened that way while God wasn't looking." 0 -Jon Newlin

32 WAVELENGTH/NOVEMBER 1982 CHRISTGAU

CONSUMER GUIDE TO EP'S

Our favorite rock critic takes us on a whirlwind tour Marc Bolan's "You Scare Me To Death" of the many singles that have (Cherry Red import), overdubbed · on demo tapes by Simon Napier-Bell, has an , lately crossed his turntable. off-center infectiousness pop postmoder­ nists would give their M.F.A.s for. As for A.A., note this hook: "You scare me to onsidered "the dean of American death/ With your awful breath." C rock critics," Robert Christgau is The Roentgens' "Atomic War" I familiar to readers of The Village Voice, "Chatter" (Austown, Box 12396, Austin Creem, Newsday, Esquire (where he Tx 78711 ), combines an unusually began his career as a rock critic at a coherent punk protest song ("I may not precocious age) for his trenchant and all­ know what I'm livin' for/But I know I encompassing "Consumer Guides. " His don't Wllnt that")with a nice piece of earlier pieces have been collected as Any garagey Farfisa that is fast, punky and Old Way You Choose It. A long-time fan much too rock 'n' roll for hardcore. of New Orleans music, this marks The Dead Kennedys' "Nazi Punks Fuck . Christgau 's first appearance in Off" /"Moral Majority" (Subterranean, Wavelength. · 912 Bimcroft Way, Berkeley, California 94710) are yowling bullseyes that are The most exciting single I've heard all much too hardcore for rock 'n' roll. Per­ year is The Fearless Four's "Rockin' It" manently unconquered by Willie Alex­ (Enjoy), a staggered-rhythm beat-box ander's permanent crusade (just made with synth rap-chant that finally made me sure by checking out two current LPs, of hear what they're doing at the Kraftwerk which the live double was actually better), uptown, so much so that for two weeks I took two years to play "Gin"/"Close I'v~ also been playing Afrika Bam­ Enough" (Varulven, Box 2392, Woburn, baataa's "Planet Rock" (Tommy Boy), Massachusetts 01888), thereby missing now a major black hit nationally and one of those soft-edged lyrical ballads he potentially as influential as "Rapper's pulls off every year or two b/w a tune Delight." whose absolutely accurate title continues Two other 12-inchers that have me dan­ with the line "For rock and roll." The cing and singing are Eddy Grant's "Time Crackers' "Be Smart"I "Tired of You" To Let Go" /"California Style" (Ice im­ (no iabel, no address) are two deceptively port), two-sided Caribbean disco by the gentle (and simple) sounding love songs Guyanese veteran with lyrics that show a about boredom, struggle and reciprocity surprising ironic edge, and (who could recommended to fans of Jonathan escape?) Stacy Lattislaw's "Attack of the Richman, Gilbert O'Sullivan and the first Name Game" (Cotillion) in which Shirley Shoes album. The B-Minors' "Prom Ellis, Frankie Smith and Steve Spielberg Night" (Ikon, 137 Grimm Heights, conspire to drive adults crazy. Struthers, Ohio 44471) is an ironic tale of The most impressive seven-inch indie adolescent deceit and lost virginity that's I've heard all year is Mefungo's "El rueful rather than snide, which together Salvador" (Rough Trade import). It and with the tune is what gets it across. The half the" two-song B-side ("Just The Beautiful Americans' "The Beautiful Way" and "Gimme A Sarsaparilla") are Americans" (Compact Organization im­ drawn from the End of the World port) is a Brit novelty that states its cassett~, which will cos_t you more than parodic animus clearly for once, and the 45, but the clear, powerful, tortured what's more, you can't dance to sound, as well as the convenience, might it-unless the fox-trot is coming back, well be worth it. Runner-up is Husker which no doubt it is. And Portsmouth Du's "In A Free Land" / "What Do I Sinfonia's "Classical Muddly" (Spr­ Want?" / "M.l.C." (New Alliance, Box ingtime import) is a crass attempt to cash 21, San Pedro, California 90733), best in on "Hooked On Classics." proof yet that this Minneapolis hardcore Don't say I didn't warn you about EPs. band ranks with Black Flag and Minor For the majors they've turned into a dan­ Threat and probably has more sense than dy way to test-market less than half an either (though not a lot more). The late album of dubious music at more than half WAVELENGTH/NOVEMBER 1982 33 the price, from pop metal (Radio's Hellcats) to pop funk (Capitol's Space People) to pop schlock (Columbia's Scan­ dal) to, cripes, pop new wave (Liberty's Talk Talk) as well as to take fliers on putatively worthy crap (Bowie Sings Brecht, Tonio K. Has Been). On the indie side the problem is the same as with singles only bigger-there are few enough bands with one song sharp enough to break out of a coterie, much less four. In descending order, and with reprieves for the Neats, the Brains and R.E.M., here's damn near a year's worth of what caught my ear. The Replacements Stink (Twin/ Tone, 445 Oliver Avenue South, Minneapqlis, Minn. 5~405) showcases a young, snotty rock 'n' roll band that thinks fast and short but plays it too loose for hardcore and manages to make getting THE MAN·KNOWS HIS KNOBS pissed off sound both funny and fun, During his six ~ as a professional recording engineer, James Griffin has twirled Ills knobS for some of the best which is always the trick. Meat Puppets In the busineSS. englneerillg two dozen chart I'ICOI'ds In the process. (SST, Box I, Lawndale, California 90260) Mow begll,1nlng • new phase of his caret1, James Griffin Is wortChuck Berry is back in print. The Great . Tempt You! Twenty-Eight (Chess) is recommended unequivocally to the young, the un­ cree cultured and the divorced-in short, Bountiful Breakfasts Luscious Lunches Open Tues-Sat. 7am-10:30pm anyone so unfortunate as not to own the Delectable Dinners Sunday, 8am-9pm . Golden Decades compilations. I can't say Sensational Daily Spec1als Closed Monday that the mono sound is much brighter as Superb Soups and Salads 437 Esplanade to warrant purchase by the already Ber­ Very Happy Hours, 4-7 pm 944-0793 ried, however. 0 - Robert Christgau

34 WAVELENGTH/NOVEMBER 1982 REVIEWS

Kevin Rowland & Dexys Midnight Runners TOO-RYE-AY Phonogram Mers 5

I first heard this group on a local radio sta­ tion while driving across the Greater New Orleans Bridge. It was as close to a religious experience as I've had since discovering chocolate. The cut I heard that day, "Until I Believe In My Soul," is . one of those tunes that makes you wear the grooves out on a record: an anomalous blend of Celtic folk, jazz, whistl­ ing, whispering, and even a touch of soul. 363Q Magazine St. Another track that stands out is "All In New Orleans All," a slower, romantic ballad with superb backup vocals and harmony. The entire album 455-2168 At The Blue Room definitely leans toward the romantic, but in a JAMES BROWN very alluring style: just enough cynicism and October 13, 1982 humor to keep it from sounding too sentimen­ tal. Early one Sunday morning, when I read that Too-Rye-Ay was number one in England, James Brown would be appearing at the Blue the group's home turf, shortly after its release. Room of the Fairmont, I literally choked on Kevin Rowland is a name new to me but one my Quaker Oats. Surely this was a misprint. that I suspect I'll be hearing a lot more often. But there he was.:_live! and lowdown!-in With so many bands currently being classified the poshest musical venue in New Orleans. as "new music," it's really great to discover Complete with his crack band, the J .B. Inter­ that this one actually fits into the category. nationals, Brown worked just as hard for the -Tanya Coyle Blue Room audience as he ever did at the Auditorium. The intimacy of the room only amplified that fact. Amade Ardoin After a rousing version of "Honky Tonk," HIS ORIGINAL RECORDINGS 1928-1938 Soul Brother Number One hit the stage Old Timey 124 5050 W. Esplanade resplendent in a peach-colored .tux and Suite J ironically launched into "Too Funky In This one should be greeted with much fan­ Metairie Here." Even the ladies on the bus tours got ex­ fare from Cajun and zydeco enthusiasts 455-2168 cited as James tore into "Prisoner Of Love," everywhere. This is the first collection by the "Get On The Good Foot," "It's A Man's original zydeco recording artist, and is pro­ World," and "Try Me." His bluesy version of bably one of the most important reissues of the "Georgia" nearly brought the house down. past year. Brown closed as always with "Please, Musically, Ardoin set the standards for Ca­ Please, Please," after a smattering of 25 years jun music in the 1920s. His influence iS'Still felt of hits, amid applause and a series of colorful today as one listening to this collection will capes. Hope this becomes an annual affair. testify. Ardoin is accompanied by Dennis MOTHER'S -Almost Slim McGee on side I, adding his wailing fiddle to the chanky-chank. Sound quality is excellent, even though this T~VERN Buckwheat Zydeco disc was dubbed off of old 78s. Amade is in ••••••••••••••••••••••••••••••• PEOPLE'S CHOICE top form throughout, working through an • Blues Unlimited 5017 entertaining, if not varied, repertoire with his • MONDAY • NIGHT nasal vocals and lovely accordion accompani­ • FOOTBALL Ten years ago if you wanted to purchase a ment. • zydeco record you had to buy a Clifton A real labor of love for "producer" Chris • $2.50 Pitchers Chenier disc and that was all there was to it. Strachwitz and his "assistant" Michael • during the game Since then the zydeco bin at the record store Doucet. This one's a must for Cajunaholics­ • has been filled out by the likes of Rock in' Dop­ Cajun/zydeco music at its finest. : LADIES NIGHT sie, Queen Ida, The Sam Brothers and Fernest -Almost Slim : Tuesday & Thursday and the Thunders. For the most part though, there has beeq little originality; mimicking :WEDNESDAY NIGHT Clifton seems to be the trend. Woodenhead Double Shot Bar Liquor Of these second generation zydeco players, WOODEN HEAD $1.00 Stanley Buckwheat Durel's name stands out Inner City 1156 boldest. A one-time member of Clifton's Red MONDAY-FRIDAY Hot Louisiana Band, Buckwheat's II Sont Par­ It is a delicate matter taking progressive Happy Hour: 4:30-6:30 tis Band rivals his mentor's in South Louisiana. rock, altering it with the compositional integri­ Hi-Balls $1.00 On this third LP Buckwheat lives up to his ty and syncopation associated with jazz, and Draft Beer 50¢ motto "I'll try anything one time.;; infusing into it New Orleans rhythm and blues. • Buckwheat flaunts his keyboard virtuosity on • This challenge has been answered by SUNDAY the after-hours-type title track and "B.W. Woodenhead on their debut album Open at Noon Zydeco Blues," alternating lilting accordion Wooden head. with up-to-date organ. It is only natural that the music of guitarist $2. 50 Pitchers Buckwheat really gets down to the nitty grit­ Jimmy Robinson and Woodenhead has been $1.00 ty on the bluesy "Baby Do Right," and both compared to John McLaughlin. McLaughlin is All Guitar Slim anthems "Done Got Over," and one of Robinson's early influences and this the chilling "Bad Luck." "Rockin' Tonight" shows on these tracks. But the McLaughlin in­ and "Fannie Mae" also translate well with the fluence is more apparent in live performances corner of aid of Buckwheat's boisterous accordion of Woodenhead. On Woodenhead, the Carrollton & Maple. breaks. Best is saved for last, however, on musical approach is more closely related to the "B. W. Special," where the sparks really fly on AI DiMeola style of fusing jazz and rock. Like '"A step off a scorching instrumental. Recommended. DiMeola, Robinson and Woodenhead have the trolley ·' -Almost Slim distinct rhythmic characteristics. The rhythm WAVELENGTH/NOVEMBER 1982 35 here is never neglected in pursuit of experimen­ tation and virtuosity. The use of elements from different musical idioms varies from one tune to the next. "Mar­ di Gras" and "Happy Birthday Calypso Style" have R&B roots. My favorite, "Heathens On The Beach," is a straight-ahead rock cruncher. "Tribute To The Greeks" could be called a Meditteranean rock number. And so on. The strongest characteristic of Woodenhead is the compositional skilL All but two tunes were written by Jimmy Robinson. Attention given by Woodenhead to this fundamental ele­ TAVE~ ment must be applauded. The talent of these musicians and production skill of Sea-Saint Studios would not mask poor material. What was left wanting after listening to this record was longer selections. The group is too restricted. This is one instance where a little thursday, nov .4 more self-indulgence on the musicians' part would be welcome. 1HE FRONT plus the return of the Woodenhead was produced by Musicians BALLISTICS featuring No Wave for Music with production assistance by Allen Toussaint. It is a testimonial to the diversity Spencer Livingston- Multi Media and high creative quality of music in New Extravaganza Orleans. -Brad Palmer friday, nov. 5 North Louisiana String Band RICHARD HELL AND THE VOIDOIDS THE NORTH LOUISIANA STRING BAND Louisiana Folklife Center LFRS LP-002

saturday, nov. 6 Rural string band music was at one time as R.E.M., plus AN ISLAND common as pig tracks throughout the southern U.S. The fiddle music and ballad singing tradi­ tions that gave rise to this music spread throughout the south (including Louisiana) during the 19th Century. The North Louisiana String Band is a loose­ ly, and specially, assembled group of older friday, nov.12 country musicians, with fiddler Ray Beebe (who died shortly after the album was JASON and the NASHVILLE SCORCHERS recorded) particularly prominent among them. Trash Masher Rockabilly The accompanying booklet suggests that the record is really an affectionate tribute to --~~~~~------· Beebe, ~~P~oov.t9_.~ ~~--~-.-. for many years one of the most promi­ .. nent musicians in North Louisiana. THE B.OC9.1L\~lJBl"Q'·;· The record has its technical weak spots-premature fadeouts, uneve~ tape-deck speed, abrupt cut-offs, some awkwardness in the live portions-and the tunes are mostly traditional fiddle tunes and gospel songs, with the loose ensemble singing typic~lly represen­ tative of old-time string bands (and should be regarded as such: the tight vocal harmonies of bluegrass came much later). I wish I could recommend it for the casual listener, but unless you've a sympathetic ear, you'll be disap­ pointed by the above-mentioned technical pro­ blems and the none-too-snappy look of the friday, nov.26 record and the booklet inside. To me, though, this shows that the record is a labor of love by APT.B ordinary people close to the music and not a slick mass-market production. Keeping that in saturda.yt nov.27 mind, you might find it fascinating. 1HE RED ROCKERS -Patrick Flory Exuma UNIVERSAL CAUFORRmTirnRDETARS Cat Island 123 "The Obeahman is a storyteller singing tales of the things I've seen using all the musical in­ 866--9494 866--3658 fluences I've experienced.'' With this introduc­ tion from Exuma, Universal, his eighth album to date and the second on his own Cat Island label, takes on its proper perspective. Univer­ 8301 OAK STREET sal presents musical pictures of Exuma's growth, moving from the Bahamian child making music in the street in "Cat Island Rake

36 WAVELENGTH/NOVEMBER 1982 and Scrape Band" to the introspective and angered artist in "Fame Is The Name Of The Game." Along with assistant producer and percus­ sionist Josiah Kinlock, Exuma assembled an impressive array of musicians, including "Weasel" MacDonald on lead guitar, Ricky Sebastian and Gene Scaramuzzo on drums. Jimmy Hymel on keyboards plus the Aubry Brothers on background vocals, using each to full effect in this recording from Studio In The Country. A majority of the cuts are uptempo tunes done with a mixture of Bahamian junkanoo, calypso and reggae. Exuma even manages to mix down Dance Marathon favorite "Roller Reggae" from its usual 18 minutes to just over four without missing a beat. There are a few surprising departures here, too; as in "Rose Mary Smith," a fine dose of blues with a hint of gospel provided by keyboard player Eugene Foster. Although the rocker "Maasai" sounds ill-conceived, "Get It" is a strong exploration into New Orleans funk rock that doesn't take a wrong turn. Ex­ uma says he uses the album's reception in his native Bahamas as his barometer. If the airplay Universal is receiving on Radio Bahamas is any indication, we'll be hearing a lot more from Exuma. -Shepard H. Samuels

The Blasters OVER THERE A(] AM Slash/Warner Brothers 1-23735 ANT Recorded in England this past spring, the FRIEND Blasters' · Over There-a live six--song EP OR FOE lnciLKIIng: (seven song cassette)-is not only an outstan­ Hello.ll.dvt! You ding mini-document of a Blasters gig. It's one Desperate But Not ser.ous of the best live recordings I've ever heard. Friend Or Foe Apart from the British accent introducing the Goody Two Shoes band, it's those rootsy L.A. boys sounding ex­ Something Gons actly like they sound over here-as alive and vibrant as heard from the dance floor at Jim­ my's. The disc opens in tribute to Jerry Lee Lewis with a marvelous rendition of Lewis' "High School Confidential." As expected, Phil THE FURS Alvin's singing immediately takes command, FiOREVER NOW yet his vocals never overshadow the group's in­ including: strumentation, particularly Gene Taylor's roll­ Love My Way/ Danger/Only You And I Sleep Comes Down/President Gas ing keyboards and Dave Alvin's sharp guitar which together accent this eternal teen anthem. The next cut, "Rock Boppin' Baby," is an example of the kind of song that ninety-nine percent of us would never hear were it not for Alvin Archeology. Unearthed in a thrift store in Whittier, C'alifornia, or so. the legend goes, this once-neglected gem has found new life in the Blasters' stable. Few of us will ever know Edwin Bruce's original Sun label recording, but it's hard to find fault with this sultry ver­ sion, played here with finger-poppin' preci­ sion. Another, perhaps more familiar "resurrec­ tion" is their remake of "I Don't Want To," a Blasters original first heard on their now out of print Rolling Rock American Music LP. Highlighted by Davis' electric guitar twang and Phil's on-the-money vocals, this jitterbugger is as fresh and timeless as ·any classic under the Sun. Going_beyond the original and obscure, the band demonstrates its true fortitude by diving into Little Richard territory. It's to their credit that they know the impossibility of measuring up to the infamous screaming madman himself; instead they simply recognize Richard's "Keep A-Knockin' " for being the terrific song that it is, and play their hand Blasters style. Nobody's fools, they're also

WAVELENGTH/NOVEMBER 1982 37 smart enough to know they're holding a pair of aces-resident saxophonist Lee Allen and Wed, Nov 3 Steve Berlin, to whom this arrangement owes its big sound. Here the spotlight's on Allen's The Sheiks sexy tenor, blowing the original sax recipe he The Ult1rnate once pioneered at Rampart and Dumaine. AUTOSOUND Thurs, Nov 4 The combined Allen-Berlin virtuosity shines Savage White even brighter on the band's rousing version of Big Joe Turner's "Roll 'Em Pete." Given CUSTOMIZED room to move beyond the usual two to three Sound Systems Fri, Nov 5 minute song format, the horns let loose with Up to 1,000 watt Systems! Chrome back to back solos guaranteed to shake your socks. Again, pianist Taylor glides across the ivories in the most delicious fashion, while Phil EQUALIZERS/AMPS So( Nov 6 Allen bellows the blues with heart and soul. SUNROOFS 24-K If there's one cut on Over There which stands out over repeated listenings, it's Roy CRUISE CONTROLS "Go Go Go," a dynamic song to be Orbison's ALARMS Wed, Nov 10 sure, but on this version the Blasters pump it The ~Sheiks up with incredible ferocity. Driven by Dave Alvin's blistering guitar, the sound is paradox­ Sales • Repairs Thurs, Nov 11 ically crazy and wild yet at the same time Installations skillfully controlled. Certainly credit is due in Lillian Axe no small part to the Blasters' rocksteady Terms Available rhythm section, with John Bazz on bass and Fri, Nov 12 Phil Bateman on drums propelling this rocker with jackhammer locomotion. I can't think of Explorer any other selection that better exemplifies why I find this record so exciting. Indeed, this is the Sot, Nov 13 archetypal Highway Sound in its most Persia magnetic incarnation updated by five poetic lumberjack types whose music extols the ex­ Wed, Nov 17 hilaration of working up a sweat on a Saturday night. The Sheiks Over here, over there, over anywhere, this new Blasters EP showcases the best in Thurs, Nov 1 8 American rock 'n' roll. - Richard Braverman· Strait Face

Fri, Nov 19 Cypress Sot, Nov 20 SONGWRITERS, Melange PUBLISHERS AND Wed, Nov 24 SINGERS ... NO B.s.• The Sheiks Unique a-track master demos and Thurs, Nov 25 Instrumental tracks arranged, produced Closed and recorded by our pro music - production team. Specify rock, pop, funk, new wave, MOR, R&B, Fri, Nov 26 country and gospel. Chrome Each master demo Is of radio broadcast quality Sot, Nov 27 Various Artists and contains the following: Lillian .Axe LIFE IN THE EUROPEAN THEATRE Male or female lead vocal, two guitars, grand Elektra 60179 piano, electric piano, bass, drums, real strings and horns (not synthesized!), and background Life in the European Theatre is a compila­ harmony vocals. tion of songs by various artists. The musicians are predominantly British and all advocate Your investment:$150 per song Weds-Sat nuclear disarmament. Most of the songs are Extra copies of your song: $5.00 open 6 PM successful U.K. singles expressing great con­ Co-writing, song evaluation and publishing bands 10:30 PM cern about the proliferation of nuclear consideration at NO EXTRA CHARGE weapons and music here does it better than any Studio master 7112 reel-to-reel plus FREE .Wednesdays number of speeches. cassette copies on ALL orders Prompt 1O ·day WINO NIGHT Besides the political aspect of the album, it is service (with money order). highly recommended to anyone who wants to become familiar with some of the best new Send lead sheet and/or rough tape, check or M.O. (please ldd $2.50 for lnsureil first-class postage) to: Thundays wave, ska/2-tone bands. Some of the bands SPECIAL DRINK and singles included are The Clash's hard­ - EXPRESSION MUSIC GROUP NIGHT hitting "London Calling," The Beat's "I Am ~ Your Flag" ("specifically aimed at Americans Free & Show Music (ASCAP) who still think that war is a glorious affair"), 652 Hilary Drive Tiburon, CA 94920 XTC's "Living Through Another Cuba," The (415) 435•5223 Jam's "Little Boy Soldiers," about the waste •sAD SOUNDS of lives in war, the Stranglers' "Nuclear 38 WAVELENGTH/NOVEMBER 1982 Device," and The Au Pair's "Diet" which at­ tacks domestic bliss and sexual oppression. Overall, this is a superb compilation album, full of real strength and feeling. -Bonnie Canitelli

Shell Shock "YOUR WAY" /"MY BRAIN IS JELLY" & "EXECUTION TIME"

This is the' latest opus from Vinyl Solution, the home of New Orleans hardcore. Shell 8316 Oak Street Shock, featuring the inimitable (we hope) 866-9359 Hatch Boy on guitar, has come up with a batch of songs fairly representative of the form-distorted guitars, shouted vocals with singalong choruses, dead-end humor-albeit taken at slower than usual tempos. The record comes with an insett showing pictures of the band but also the recording studio track sheet, which reveals the addition of some extra guitars by producer Larry The Punk. This Sundays -John Rankin single is definitely as good as the seemingly in­ numerable hardcore singles finding their way Bach to blues here from the West Coast and elsewhere. The only problem is that side one is pressed so that Mondays- Wabash Company it is rejected before the song is over. Is this my bluegrass design, or is my turntable trying to teiJ me something? ' -Steve Alleman Tuesdays - .James Booker rh.ythm & blues, contemporary iazz The Rockabyes "BLUE LOVE" /"OTHER NEIGHBORS" Wednesdays - La. Repertory Nite Shade Records NR-003 Jazz Ensemble · This record, the Rockabyes' first single, was made obsolete almost before it came out by Thursdays - Bourre Cajun Band their recent personnel shakeup and subsequent change of musical direction from mostly two steps & waltzes rockabilly to a more mainstream hard pop ap­ proach. But this record is interesting as much Fri. Nov. 5 - Radiators for what it doesn't do (present an accurate pic­ ture of the band) as for what it does (show off Are you tired of their musicianship). The A side, "Blue Love," Sat. Nov. 6 - Anson Funderburgh is a fairly straight rockabilly number written by & the Rockets bassist David Clements, saved from or­ your P.A. System dinariness by clever arranging. But one can "Talk to you b.Y Hand" already hear Cranston Clements, certainly one of the best guitarists in town, straining at the Fri. Nov. 12 - Oliver Morgan sounding like this? He gets a more ap­ strictures of the form. "Who Shot the La-La?" propriate setting for his talents on the B side, "Other Neighbors." This song, oddly enough, is a jazzy instrumental with an airy acoustic Sat. Nov. 13 - Beausoleil feel which features the voice of Angelle traditional Caiun featurinl!, Trosclair. Neither the old nor the new Rockabyes sound like this, which is refreshing Michael Doucet when you think about it. Most groups issue singles to clarify their image or further their Fri. Nov. 19 - L'il Queenie & careers, but this one seems to have been con­ ceived in purely musical terms. Nice. It · re­ Back talk mains to be seen whether this sound will be in­ corporated into the new line-up. Sat, Nov. 20 - Rockin' Dopsie -Steve Alleman Then it's time to call the & his Cajun Twisters Colin Escott & Marlin Hawkins Fri. Nov. 26 - Deacon John's fll HEARD THAT l\ SUN RECORDS Quick Fox Publishing, $8.95 New Orleans Blues Revue ~ SOUND CO. tJ1 with special guest Earl King This is an unparalleled study of a record Complete P.A. systems company, and none was more interesting than Sat, Nov. 27 - Cush-Cush Sam Phillips' Sun Record Company. starting at $150./night Sun Records is profusely illustrated, and traditional Caiun Music traced the entire history of perhaps the most No Job Is Too Big influential recording company in early rock 'n' • roll from its beginnings to date. The text is easy . . Or Too Small! to read, while still presenting hard facts, mak­ . ing it both a valuable reference and a great pic­ . ture book. Extremely well researched, I just ~-455·9495----4 read and learned. Any rock 'n' roll or R&B enthusiast will find • WAVELENGTH/NOVEMBER 1982 39 this book fascinating, since so many great singers and instrumentalists recorded for Sam Phillips. Of course, there are obligatory chapters on Presley and Perkins and Jerry Lee, but Escott and Hawkins also shed light on many obscure Sun artists like Doug Poindex­ ter, Hardrock Gunter, Roscoe Gordon and Joe Hill Louis, to name but a few. Anyone who DREAMER wants detailed information on how Sun helped E.L.S. change the face of American popular music EXOTIC PLAYERS should reach for his wallet now. LAKE FRONT I only wish that they might have dug just a bit deeper into some of the blues artists that NATURAL HIGH Sam Phillips recorded before he formed Sun, WEDNESDAYS SPARKLE but I know rock 'n' rollers don't generally pay DRAFT BEER NIGHT THE SHOES much attention to that era. I really can't com­ plain. There's enough here to keep a budding 25¢ a Glass $2.00 Pitshers UNIQUE PIERRE musicologist quiet for days. UNKNOWN FUNK BAND -Aimosl Slim and many FREE OYSTERS more 25¢ DRAFT BEER Fridays 5:00-8:00 PM Agents: . . New Orleans: Pool, Patio, Pinball and Barbara Coppersmith One Helluva Jukebo:~: plus . .. Bill Kearney Charlie " Doc" Stansbury Baton Rouge: c~}~ Jimmy Burland (504) 891 -0614 ~ 5622-B Perrier St. New Orleans. La. 70118 504) 346-8256 Sanelwich .Shop Hyacinth, Suite 105 Serving Daily Rouge. La. 70808 Hot Lunch Specials Assorted Hot & Cold Sandwiches ·.·:·:·:-::-:-:-:-:-:-:-:·:-:-:·:·:·:<·>:-:-:-:·:-:·:-:·:-:-:-:-:-:-:-:-:·:·:·:·:·:·:- C 0 1-1 E N 1 0 - ~2. and Snacks

The Monsters "CALLING DR. HOWARD-DR. FINE­ DR. HOWARD" /"ELMO THE EEL" The Monsters have come up with a first for Whiskey, local bands. They have decided to issue their single on a flexi-disc, 33 and one-third RPM, both songs on one side. This apparently cuts Women, down on the pressing costs, but it sounds like money saved in manufacturing went into the recording process, because the instrumental And ... sound on this record is remarkably clear. The tunes are pleasant, nothing special structurally, and the singing is in that nervy, overbearing "new wave" style. I guess this is appropriate since these are basically novelty songs, a genre I've never been too fond of but which seems to .PRESENTS have a definite audience. The Monsters are to be commended for taking a new approach to the "single syndrome," and it will be in­ WEDNESDAY, NOVEMBER 3 terestin~ to see if other bands follow their lead. THE NIGHTRIDERS -Steve Alleman

WEDNESDAY,NOVEMBER10 Various Artists BAYOU BEAT THE NIGHTRIDERS Flyrixht _581

Mmmm. Don't really know just what to say WEDNESDAY, NOVEMBER 17 about this one. Covering the 1958-1963 period, THE NIGHTRIDERS it's quite a fascinating mixture of rock 'n' roll, doo wop, ballads and Cajun. J.D. Miller was really trying to broadc;m his product at the WEDNESDAY, NOVEMBER 24 time, releasing both hits and misses, as this album illustrates. If you treat Miller's releases THE NIGHTRIDERS · with the kind of awe usually reserved for early Imperial and Sun records, you better have it. NO COVER Once again, Flyright notes and packaging are of high quality. The Legendary Jay Miller Sessions remain a superior collector's an- 10:30 P.M. WEDNESDAYS thology. . -Almost Slim 40 WAVELENGTH/NOVEMBER 1982 CLASSIFIEDS

HARD TO FIND RECORDS CLASSIC NEW ORLEANS R&B We have the finest selection in the world-and a mail-order service to match. Send two 20¢ stamps for list of records and sample newsletter. DOWN New Orleans Music­ HOME MUSIC, 10341 San Pablo Ave., El Cerrito CA 94530 USA. FOR SALE We'll help you find it... Beautiful mahogany Guild acoustic guitar with pickup. Valued at over $500. Will sacrifice-$275 or best offer. 282-5303 nights. THE RECORD ONE-STOP OLDIE-BUT­ GOODIE QUESTION OF THE MONTH · Go ahead on and subscribe. Do you know the name of the artist .from New Orleans who did the original version of "The Things T Used To Do"? 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 ner, the Record One-Stop, P.O. Box 547, Kenner LA 70063. The answer to last month's question is Fats Domino had the hit of "Blueberry Hill" on Im­ perial Records. For Sale: 1920 Weber grand piano, completely rebuilt and refinished with 14K gold leaf paint. Call VELENGTH New Orleans Music Magazine, at Tom 737-5512 or 464-6335. Yes enter my subscription to WA f I $10 ($a off the newsstand price). Mall to the spJclal rate of 121ssues (one Y~~) o;so~~ 70175. REDDELL'S RECORD WORLD Wavelength, P.O. Box 15667, New rea ' . OLDIE BUT GOODIE SALE \ o Three Years- $25 The Following artists greatest hits album are $3.99 i o Two Years - $18 ($35 foreign) each or 3 for $11, Elvis Presley, Lloyd Price, Fats 0 10 ($28 foreign) Domino, Bobby Bee, the Big Bopper, the Qeatles, Dale Hawkins, and many others. We also have a \ Name ~~ ;;,~:[~.~ 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 i World at 2225 Veterans Blvd. Kenner, LA 469-8597. Zip ··: ,:_~~City, State, . ! i D Check here If this Is a renewal order...... : !...... _...... ~ Shepard H. Samuels

Attorney at Law OVER 50,000 RECORDS Juris Doctor-LouisilLM FOR SALE ...- Civil and Entertainment EVERV MONTH!! Law Practice Each monthly issue of Goldmine Magazine includes our special Auction & Set Sale Section where collectors & dealers worldwide buy, sell and trade 899-3524 rare (and not-so-rare) records of every kind imaginable! If you're looking for the hard-to-find and the unusual, -- domestic and imported, you're sure to NEW ORLEANS ROCK 'N' ROLL Those Oldies But Goodies! .Jf you're looking for find it in Goldmine, 'The Record Col­ those special records that you can't find anywhere lector's Marketplace.' Plus, each issue else, send us your want list of 45s, LP's or tapes. Or if you would like one of our catalogues, send $2 (to .... is filled with detailed discographies, in- cover postage and handling), refundable from first ·t~:~~::~~:.,~:· depth interviews and enJ'oyable enter· order, to The Record One-Stop, P.O. Box 547, Ken­ ..... t•·-···· T ..~'~!:,::... tainment... the kind .of reading tliat has ner LA 70063. We have one of the largest stocks of ...... ·····-·'" oldie-but-goodie records in the South. ~~~~~~~~~~~~~~~~~ field.made Subscribe our publication today! the leader in the RENT A PARTY Dream Palace and Cafe Marigny are available for Call 943-1694 for information. • private parties. VISA& M/C ,-.------,GOLDMINE, STONEE'S MULTITRAC STUDIO Customers: I BOX W-187, FRASER, Ml 48026 USA I Amps, drums and piano included. $15 an hour for your SUBSCRIPTION RA1E - ONE YEAR - 12 ISSUES: the first 3 hrs. and $10 thereafter. 467-3655. Call order I I in anytime: USA - $20.00; Canada - $23.00; Ai""ail Europe - $75.00 GUITAR chord patterns. Unique sounds. Seven (313) 776-0542 1 Ai""ail Japan, Auttraia, NZ. A.ia - $100.00 (in US Fund•) I progressions chart #1. Send $1.50 to Superior Music Payment: 0 Checll 0 M.O. 0 VJSA* 0 Maatercard* Suite 53 Box M.H. Fair Oaks, CA 95628. Give complete I *Encloae credit card number and expiration date on I name &addreu, aeparate •heet of paper. LIVING BLUES. America's leading blues phone number, magazine; sample copy $2, subscription (4 issues) credit card I Name I $8. Living Blues, 2615 N. Wilton, Chicago IL 60614. number and e:r­ piration date when I Addreu I BED AND BREAKFAST, INC. Overnight lodging in private homes. Singles $20 up. ordering. Ple~u .______I City, State, Zip I Doubles $30 up. Information 1236 Decatur St. New • peal! plainly! Orleans, LA 70116. 504/ 525-4640

WAVELENGTH/NOVEMBER 1982 41 LAST PAGE

Hey Local Groops! A new NYC-based magazine, has buried amidst all the lists cassette mag called BangZoom needs a and lists and lists of oldies for sale, a list tape of your group to break up the of items for sale from a gentleman in monotony of that "whiny suburban Baton Rouge named John F. Gourrier, stuff" that they have to put up with up who is of course none other than John there above the cotton curtain. Give these Fred late of The Playboy Band. Among poor deprived Yankees a break: send your the items offered are such obvious cfassics tape, especially if it's good ole down as Professor Longhair's "Go To The home funk/soul/R&B, or influenced by Mardi Gras," K-Doe's "Hello My same, to Gary Sperrazza, Box 1603, Buf­ Lover," Dee Clark's "Hey Little Girl," falo, New York 14216 ... Crawford Vin­ and The Miracles' "Shop Around," as cent, a new subscriber and original well as obscurities like Fats Domino's member of the Hackberry Ramblers, "You Can Pack Your Suitcase," Lloyd writes us from Lake Charles: "I been Price's "Forgive Me, Clawdy," and John playing the music for a long time, 41 years Fred's own "Keep It Hid" (on the Sugar- of Country and Cajun" ... The Royal . cane label), modestly listed as "rare." Street Association, a new organization The Sound Doctor, a.k.a. Robert Ver­ representing the merchants and non, sends along his new single, "I've Got shopkeepers of the rue Royale, will throw A Disease" b/ w "Tonight's Just Right" an inaugural shindig aptly titled "Royal David Clements immortalized on Rockabyes' video. on the Zoo York Records label. In addi­ Welcome," on the weekend of Nov.13 tion, Mr. Vernon enclosed a membership and 14, with plenty of bands, street per­ Cuisine, in glamorous old Algiers Point at form for the "They All Asked For Ewe formers, parading and promenading and 325 Verret. It's just a ferryboat ride away, '83 Club," which is an organization to aid an array of food described as "sump­ and there's both New Orleans and Carib­ in the election of Edwin Washington Ed­ tuous" .. . The Dirty Dozen Brass Band bean music on the jukebox .. . wards as next governor or the Dream and the Wynton Marsalis Quintet are On Oct.l6, The Raffeys hosted a world State... both prominently featured in the San premiere screening of their new video, The Kool Jazz Festival in City Park was Francisco Kool Jazz Festival, the Dozens The Mystery, at the home of Paul Yacich. a coming-home for trumpet player Ter­ making no less than three separate ap­ Raff Raffey said the inspiration for the rance Blanchard and saxophonist Donald pearances, the first of which is an alfresco living-dead-themed production was to Harrison, now both members of Art Union Square entertainment, "San Fran­ surpass local competition: "Doing the Blakey's Jazz Messengers. Both are from cisco Greets New Orleans." Likewise I'm Raffey means keepin' ahead ... in order to New Orleans and are graduates of the sure ... complete this vampire video, we had to do New Orleans Center for the Creative Arts. The New Leviathan Oriental Fox-Trot the Raffey with a big sharp stake in one Blanchard has worked with Lionel Hamp­ Orchestra recently played- for, of all hand and a large wooden mallet in the ton and Harrison has recently played with things, the 75th anniversary, or Diamond other" ... The Submarine Attendants, who Roy Haynes ... Jubilee, of the opening of Neiman­ debuted the evening of Oct.l5 at Jimmy Fats Domino's new album is finally Marcus. Posh is apparently barely the Anselmo's swank Willow Street boite de finished up.. :King Floyd is just back from word for the supper dance at the Dallas nuite, are a welcome case of old wine in a month-long tour of Africa ... Mathilda Fairmont where guests included Beverly new bottles: the members are poker-faced Jones is working steadily now thanks to Sills, Douglas Fairbanks Jr., and Lady Bert Smith, formerly of The Cold, two ex­ the playing of her new single, "I Need Bird Johnson; Art Buchwald made an Monsters, George Neyrey and Brent Somebody'' by Ernie K-Doe on his Thurs­ after-dinner speech, before the patriarch Roser, and drummer Joey Torres, late of day night radio show on WWOZ. Burn, of Neiman's, Stanley Marcus, sang aver­ The Raffeys. Their Liverpool/Echo and K-Doe burn! Bumbershoot Productions sion of "My Way"-no foolin'-incor­ the Bunnymen-inspired sound may soon was in town recently to do some porating Neiman-Marcus' history with become a staple in local clubs ... preliminary work for A Confederacy of "new lyrics by my friend Sammy Cahn." David Byrne was not in Lafayette, but Dunces. New Leviathan members were as impress­ according to our highly-placed infor­ Caronna's, the oldest continually ed by the fact that they played for three mants, he might have been in Cecilia, operating bar in the Irish Channel has hours and used only half of their reper­ visiting with Dickie Landry, sax player recently been restored and will soon have toire as they were by the Diamond Jim and mixed-media artist and a Cecilia live music. Established in 1923, Caron­ Brady atmosphere of servility, ostentation native. Landry, who toured and recorded na's was the home turf of Nick LaRocca and very conspicuous consumption ... with the Philip Glass Ensemble for years, and The Original Dixieland Jazz Band. The Limit has just wrapped up a four­ spent time roaming the French Quarter LaRocca claimed to have been the song EP at BB Recording Studio, entitled with Byrne, discussing Landry's role on originator of jazz music .... The Fountain New Music, which should be hitting the the next Talking Heads album; friends for Of Youth Lounge, 3129 St. Roch, is a new bins at Christmas ... Baton Rouge's hottest a decade, Landry's participation with TH club that has the patrons reminded of the pop/wave band is Scooter and the is a result of chiding Byrne over the years Dew Drop Inn. In recent days, Smokey Mopeds, while another group to watch about a lack of sax on their previous Johnson's band has played there, along for is The Young Hawaiians, with drum­ albums ... with Fred Kemp, David Lastie, Richard ' mer Kerry Blackmon, bassist Doug Le Roux recently at Studio In The Knox, Dave Bartholomew, Edward Johnson, guitarist Jeff Johnson and Country in Bogalusa recording their fifth Frank, and Reggie Hall sitting in ....The guitarist/organist Mike Armshaw ... also album and second for RCA. This will be Rockabyes are working on a film short in the Red Stick City, Li'l Queenie and . the first for new lead singer Dennis directed by David Guzman, to be aired on Backtalk drew more than 400 people for Frederiksen (replacing Jeff Pollard, who local television soon. The tune to be per­ their debut gig at Trinity's-without any Little Richard-like, announced that Chris­ formed is "Blue Love" featuring the new significant promotion (as opposed, we tianity and rock 'n' roll just don't mix and members of the band, Chris Luckette and guess, to reams of the insignificant he was opting for the former) and Frank Assunto, along with the erstwhile kind) ... guitarist Jim Odom. Le Roux's future Clements Brothers, Cranston and David. Hazel Eugene, former maitresse de direction will be more mainstream (read: The segment features a mysterious female cuisine at the restaurant atop the Dream radio-oriented) than in the past, accor­ passerby attempting (quite successfully) Palace' and proprietress of her own place ding to the record's producer, bassist to ward off the attentions of the hopeless on Dumaine Street, has moved it all into a Leon Medica ... romantic David Clements. We'll have to new restaurant, Hazel's Creole Caribbean Goldmine (#76), a record collectors' wait for the show to find out the result.

42 WAVELENGTH/NOVEMBER 1982 THE LAST STOP IN SOUND

GUITAR PLAYER SEEKS WORKING BAND INTO KEYBOARDIST AVAILABLE FOR WORK . PREFER EXPERIENCED FEMALE VOCALIST SEEKS NW MUSICIANS WANTED BLUES. JAZZ. OR POP WILL CONSIDER BAND JAZZ OR ROCK . STEADY OR WEEKEND WORK. BANO CALL BARBEE AT 833-8115 RZA · ORIGINAL WORKING BAND LOOKING FOR JUST FORMING IF SITUATION IS RIGHT CALL CALL JEFF AT 486-4903 AFTER 6:00P.M. OR GUITAR PLAYER · SERIOUS ONLY WITH ALL WILLIE AT 241 3948 ANYTIME DIA NE AT 561-6038. SOME STYLES. CALL JIMMY AT 488-0257 OR LENNY ROCK SINGER LOOKING FOR A GIG. HAVE WANTED: SERIOUS MINDED KEYBOARD EQUIPMENT. CALL FELIX AT 277-3863 AT 897-0837 PM GUITARIST INTO ALL STYLES. ROCK TO COUN ANYTIME . TRY WITH BACKGROUND SINGING ABILITY PLAYER INTO ORIGIN ALS ANO SOME COPY SEEKS BAND. CALL WAYNE AT 362 8633 MUSIC. ABLE TO DO BACKGROUN D VOCALS. BAND SEEKING BASS. KEYS. AND VOCALISTS CALL VIC AT 347 -1755. ROCK GROUP SEEKS MALE VOCALIST ABLE TO TO PERFORM STEVIE WONDER. GEORGE DUKE. HANDLE ROCK ORIGINALS FOR RECORDING AND LEAD GUITARIST SEEKS SERIOUS BAND INTO PERFORMING . MU ST BE SERIOUS. CONTACT 0. QUINCY JONES. ETC. CALL SHANNON AT ESTABLISHED ROCK GROUP IN DESPERATE HEAVY METAL CALL LENNY AT 865 0622 BITNER AT 1·649-6525. 682 -2628. SEARCH FOR KEYBOARD PLAYER AND/OR VOCALIST INTO GRANO FUNK. ZZ TOP. BLUE TWO LEAD GUITARISTS SEEKING BASS AND SERIOUS GUITARIST LOOKING FOR ROCK . NEW OYSTER CULT. CALL MARK AT 242-1937 . GUITAR PLAYERS DRUMS TO FORM ROCK-NEW WAVE BAND. WAVE GROUP I PLAY RHYTHM & 00 BACK UP CALL ELLIOT AT 279·7068 OR DARRYL AT VOCALS . 1 YEAR BAND EXP 17 YEARS PLAY LEAD GUITARIST SEEKING GROUP. LOOKING TO 822-0590 lNG CALL 454 7808 OR 454 2478 ASK FOR DRUMMERS WORK WITH ROCK. R&B. OR TOP 40 ROCK JEREL GROUPS HAVE TRANSPORTATION AND EQUIP­ EXPERIENCED DRUMMER LOOKING FOR WORK ­ MENT CALL ELLIOT AT 279-7068 GUITARIST AND DRUMMER SEEKS ING BAND. INTO GOSPEL. R&B. BLUES. ROCK . VOCALIST/KEYBOAROIST OR POSSIBLY AND TOP FORTY. CALL MILTON AT 897-6946 ANOTHER GUITARIST WITH SOME VOCAL BASS PLAYERS MUSICIAN SEEKS WORKING GROUP. I PLAY GUITAR. ORUMS. OR BASS AND SING. I HAVE ABILITY TO FORM BAND INTO ROCK AND EXPERIENCED DRUMMER LOOKING FOR WORK­ BASS PLAYER LOOKING FOR WORK STEADY EQUIPMENT ANO TRANSPORTATION. CALL HEAVY METAL. CALL OON AT 277-1529 OR . JAZZ. COUNTRY AT 271 -5832 GIG IF POSSIBLE CALL DANNY AT 1·252·9234 ING GROUP. PREFER ROCK DARRYL AT 347-9258 6 PM TO 10 PM STEPHEN CALL STEVE AT 834·0446. BASS PLAYER WITH TRANSPORTATION INTO DRUMMER AND BASS PLAYER WANTED TO SCHOOLED DRUMMER SEEKING ANY WORKING PROGRESSIVE COUNTRY GUITAR/FIDDLE/BAN· RUSH- MUST BE SERIOUS NO FLAKES FOR HEAVY METAL GROUP. I HAVE PA AND SITUATION. CALL GLENN AT 833-1445 J0 PLAYER WITH VOCAL ABILITY SEEKS PLACE TO REHEARSE. CALL JOE AT 242-1631 PLEASE. MUST HAVE EQUIPMENT CALL RON· WOR KING BAND CAN TRAVEL. CALL RUDY AT NIE AT 945-4331 OR 456 -6464 AFTER 5 PM ON WEEKENDS HEAVY METAL DRUMMER INTO ZEP. RUSH. 713·424-8019 or 713-946-3817. ANYTIME ACIOC . OZZIE. WANTS JOB IN HEAVY METAL BASS PLAYER INTO ALL STYLES AND WILLING ROCK BAND. MUST HAVE GIGS - MANAGE­ TO TRAVEL SEEKS GROUP. CALL BUTCH AT GUITARIST/COMPOSERJL YRICIST LOOKING FOR SOUND AND LIGHT MAN NEEDED TO DO ROADIE MENT CONTROL RECOMMENDED. CALL 340-1648. MUSICIANS TO RECORD AND PERFORM MY WORK. CONTACT TRISHA AT 738-6860. EXP. RAYNARD AT 835-6554 AFTER 6:00P.M. ORIGIN AL SONGS. WRITING AND VOCAL ONLY CAN PLAY ALL ABILITIES OESIRO. NEED DRUMS. BASS AND NEED A BASS PLAYER WHO EXPERIENCED DUMMER LOOKING FOR WORK­ STYLES? CALL DON AT 822·2400: PAGE 542. KEYBOARDS . FOR MORE INFORMATION CALL WANTED· LEAD GUITARIST ABLE TO DO LEAD ING BAND. INTO GOSPEL. R&B. BLUES. ROCK LYNN AT 366-6890. VOCALS IN WORKING TOP 40 DANCE TRIO AND TOP FORTY. CALL MILTON AT 897·6946. CALL WAYNE AT 361 4628 AFTER 12 NOON. GROUP SEEKS BASS ROCK AND ROLL ORIGINAL WHO WRITES SEAR· PLAYER WITH VOCAL CAPABILITIES FOR VOCALISTS HEAVY LEAD GUITARIST CHING FOR MUSICIANS INTO BROAD STYLES WANTED: BASS PLAYER ABLE TO DO LEAD RECORDING AND PERFORMING. SERIOUS ONLY . CONTACT 0. BITNER AT 1-649·6525. EXPERIENCED FEMALE VOCALIST SEEKS SUCH AS ASIA . AL OIMEOLA. JEAN LUC PON· VOCALS IN WORKING TOP 40 BAND. CALL TV, JUDAS PRIEST. MARINO AND THE LIKE TO WAYNE AT 361 ·4628 PM. WORKING GROUP INTO R&B. SOUL. NO TYPE BLUES. WILL CONSIDER WORKING WITH FORM GROUP WITH TASTE AND POTENTIAL. I WANTED: GEOOY LEE , OR HIS TWIN. VICTORIA KEYBOARD PLAYER FOR DUET. I AM REAOY HAVE STAGE AND RECORDING EXP. ALSO ARE YOU TIRED OF THE SOS? LErs GET CROSS AUDITIONING BASS PLAYERS. AND WILLING TO WORK . CALL 482-0072 SOUND EOUIP. CALL MIKE AT 368-6452. . GUITARIST, BASS PLAYERS. DRUM­ 340 -3948 CREATIVE AFTER 5 PM. MERS EXPOSE YOURSELF. IF YOU ARE READY GUITARIST INTO ST JUNIOR. ALABAMA. GET OOWN TO SERIOUS BUSINESS CALL TO FEMALE SINGER LOOKING FOR POSITION AS WILLIE AND WAYLON. ETC LOOKING FOR OON AT 524-7894 AFTER 7 PM. BRASS-WOODWINDS VOCALIST - LEAD OR BACKGROUND. PREFER NEWLY FORMING OR ESTABLISHED GROUP SAX-CLAIRNET PLAYER LOOKING FOR BAND POP. ROCK. COUNTRY. BALLADS. CALL DEPENDABLE WITH GOOD TRANSPORTATION. EOU IPMENT.CLUB BAN O BASS GUITARIST AND DRUMMER NEEDED TO TO PLAY WITH. CALL CHRISTINE AT PHYLLIS AT 347-2080 ANYTIME. WITH NICE LLING TO PLAY RHYTHM OR FORM TOP 40 ROCK BAND. VOCAL 865-3505 EXPERIENCE WI CAPABILITIES PREFERRED BUT NOT FEMALE VOCALIST/RHYTHM GUITARIST SEEKS LEAD CALL BILL AT 394 21 08 AFTER 5 P M NECESSARY. CALL JOE AT 347-1911 AFTER 5 WORKING C&W BANO WITH TRAOITIONAU KEYBOARD PLAYERS SWINGIPROGRESSIVEIR&B LEANINGS. MORE HOT LEAD GUITARIST/LEAD VOCALIST FROM YOUNG GUITARIST INTO ZZ TOP. RUSH AND LIKE MARCIA BALL TH AN SYLVIA. REAOY TO PITISBURGH SEEKS WORKING ROCK GROUP. BLUES SEEKS PEOPLE WILLING TO FORM PIANIST/KEYBOARD PLAYER AVAILABLE FOR BUST MY BUTI. I ALSO HAVE ORIGINAL SERIOUS INQUIRIES ONLY. I HAVE EQUIPMENT BAND CALL FRED AT 282·6712 AFTER 5·00 ALL STYLES. CALL AL AT 469-2427 AM AND MATERIAL. CALL KATHY AT 888-4520 AND TR ANSPORTATION. CALL JERRY AT PM EARLY PM . ANYTIME. 392-1795. LEAVE MESSAGE. BAR AND MUSIC tree cUfferenee RESTA~eatsine street rrenehaen~ 534 the drea1ll abofe Mondays Plloae MS-t&M•Cloeecland reeenatlo1lB Call for bdoraatlon