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University of New Orleans ScholarWorks@UNO Wavelength Midlo Center for New Orleans Studies 2-1985 Wavelength (February 1985) Connie Atkinson University of New Orleans Follow this and additional works at: https://scholarworks.uno.edu/wavelength Recommended Citation Wavelength (February 1985) 52 https://scholarworks.uno.edu/wavelength/52 This Book is brought to you for free and open access by the Midlo Center for New Orleans Studies at ScholarWorks@UNO. It has been accepted for inclusion in Wavelength by an authorized administrator of ScholarWorks@UNO. For more information, please contact [email protected]. NEW ' ORLEANS MUSIC MAGAZINE $1.50 / UNIVERSI COSSO EARL K LONG LIBRARY UNIV OF N. O. ACQUISITIONS DEPT N . O. I LA , . BULK RATE U. S. POST AGE ' PAID I ,,i I WAVELENGTH ISSUE NO. 52 e FEBRUARY 1985 I ... ~f;S., WE.'Vl NL !IEIIPP /111 I'M~ foN · Aeovr Pllfll106, t:J0t1J (($_ 11's ~~l,l.. KINH!tk.ES ANP 1Ht SYf501f AlAIN) AW A5 "I'm not sure, but I'm almost positive, /..JI<lJ 81J1' IJ/tN( OF VotJ that all mu#c came f rom New Orleans." 1'H6 Sta-S1Vt.W lUX 4? tteof.PS ~ttY 11or !Wit Ernie K-Doe, 1979 I ~El!i- ~U(yCJ) 1</bJ/N (ffJ(JIJ1 ' 1o1cu, rov A-No7'HFJ!. R&IJ(J//{) MOvr SEJ/6Ul- CARNIV/H, 1/iW)mON -r Features 1RIEP·~~ ChRNWM.- tHE-~ Dionysus . .............. 15 1f!J1011ia/S.... CF f(JUJIUJU.l Mardi Gtas Cowboys . .. .. 22 John Mooney . ........ .. ... .. 27 Danny White . .. .. ... .. .. .. 29 Band Guide Additions . .. .. .. 36 Departments . Februa~ 1Vews . ... .... .. .. .. 4 Golden Moments . .. .. ........... 7 Books .... ...... .. ......• .... •.•. 7 Caribbean .. .... .... .. .. ~ . 8 Rare Record . .. ........ .. ... .. 10 Dinette Set . .. ... .. .. ..... .... 10 It's Music . .. .. .. .. 13 Listings . .... .... .... : .. ... .. ... 33 Classifieds . .. ..... .. ..... ... 37 I ' Last Page ..... .. .. .......... .. 38 Cover by Bunny Matthews Member of NeiWCSfk I ......... Nauman S. Sco11. Ei:litor , Connie Atkinson. Se-nior Editor , Bunny Manhtws. 0111« Manaatr , Diana R,osenbtrg. TyptStttina. Sandra Alciatore, .lao Ntwlin. Advortlslna Salts, Jamy Fuge. Dislribullon . Gene Scaramuzzo, Joe Toraon. Contributo"' . Mark Bingham, Carlos Boll, Allison Brandin, uke Fishhtad, Jon Foose. Carol Gniady, Tad Jones, Arthur Nead, Jon Newlin, Ric Olivi<r, Diana Rosenbtrg, Kalamu ya Salaam, Shepard Samuels, Gene Scara­ IIIWO, Hammond Scott. Almost Slim, Keith Twitchell, Nancy Weldon, les Whitt. William D. White. W11~1t11~1h is published monthly in New Orleans. Telephone (504) 895-2342. Mail lubscriptions, address changes to Wo•·•ltn!llh, P.O. Box 15667, New Or· IoiilS, LA 70175. Subscription rate is $12 per year. Foreign S20 per year (surface). /Rif£01<[) f<UJ'_j F'IBI class subscriptions. S28 per year (domestic and Canada). AO airmail rate at $40 per year (overseas). The en! ire contents of Wa,·ele11n1h are copyrighted OcCA/f/1'<.. STr<CEI 1985 WO\'tll'll,l!.lh. 11Z9 lad issues are available by writing to Back Issues, P.O. Box 15667, New OPeN IIA- M ~ 1 f M PA!vY Orltans, LA. 70175. Because or a limited supply: back issues are available for S4 lldt. Please allow a few weeks for processing and delivery or orders. New ~~t"" t...rl./.,t-WJ.s tf(t..tftd s.bsalbtrs: Plea.st allow up to six weeks for receipt of first issue due to our ..U, non-computerized subscription depart menI. /3lJY·f£tL; 1'1<HJE. _,Z4 -94. 4 Fora&• customers may pay by I.M.O. or check drawn on a U.S. bank. Because of ~orbitanl bank processing charges, we canno1 accept checks in Canadian ti1an or other foreign currency, or checks drawn on a foreign bank. Soblcribers must notify us immediatoly of any change or address. If notification 111101 rtttived, magazines sent to incorrect old.addresses will not be replaced. U.S. customers must include zip code. CORNER OF ROBERT E. LEE at FRANKLIN After the Parade ... PETER'S PIZZA Monday: 25e Draft and Italian Restaurant Tuesday: 2 f or 1 Highballs Wednesday: Ladies Night featuring N.Y. Pizza by the slice and Italian Specialties Thursday: $5.00 all yo u can drink 9·12 Friday: Ladies Night free de!ii'CI~\· e ji·ce de!ii'CI~\' e ji·cc de!il·cry Saturday: Live Bands Sunday: $1 .00 Shots 6 t 04 MAGAZINE • t 03 t PLEASANT FINALLY A PLACE UNO CAN CALL HOME! 899-9994 895-5551 288·5550 December 19841Wavelength 3 FEBRUARY NEWS Storyville: Miles vs. Wynton: Birthplace of Round One Jazzercise? Amongst jazz trumpeters, there Microwave ovens, disposable is only one Mr. Cool. Miles diapers, bad private detective TV Davis, right? Wait a second-Mr. shows, Handi-Wipes, Jazzercise, Cool? That's gotta be New these are all elements and products Orleans' own Wynton Marsalis. of our modern culture that we Yeah, Wynton's so cool he wears assume were developed within the a mink coat when he goes for a past quarter century, if only be­ hike through the Sahara. Or was cause their instantaneous and that Miles wearing the ankle- - temporal nature reflects the way length chinchilla Chesterfield as our popular society seems to em­ he strolled through Death Valley? brace all things disposable ... Who's cool? See for yourself Whoa! Wait a minute. Handi­ on Friday, April 26, when Miles Wipes? Maybe. MTV? Definitely. Davis meets Wynton Marsalis for But Jazzercise? No way, according the frrst time in modern history at to Mark Bingham and Steve Sweet, the 16th annual New Orleans Jazz whose History Of Jazzacise stage and Heritage Festival's opening production will debut at the Con­ concert, scheduled at the Theatre temporary Arts Center on March 1 for the Performing Arts Oocated and will prove beyond a shadow of within blowing distance of the a doubt that the history of" Jazz­ park dedicated to this city's most acise" (the" Jazzercise" name is a illustrious hornman). The concert copyrighted brand of aerobics will commence at 7:30 p.m. and program and doesn't have quite the tickets ($17.50 and $19.50) are local and generic ring of ''Jazz­ available now through Ticket­ acise' ') extends all the way back to Master in New Orleans. ancient Egypt, Sparta, possibly as Quint Davis, who is back this far back as early Paleolithic year as the Jazz Festival's pro­ culture. It also paradoxically ducer (and who remains one of contends that Storyville was the the coolest white men in the true birthplace of Jazzacise and hemisphere), can barely corttrol that "jazz was actually started by his enthusiasm concerning the women, but that's a whole 'notlier Miles/Wynton bout: "It's the on­ story." ly place in the world where you "We were sitting in the Saturn can hear them both on the same Bar one night last year trying to night. They've never done this think of a good proposal for a before, and the two acts have National Endowment grant,'' says never been booked together Sweet, "and the History of Can ma~kind find enlightenment through musical movement? anywhere before. This is the hip­ Jazzacise was one of about five pest jazz concert in the world and good ideas that popped up. It came whole wide world Mike Smith. He thinks hisJazz­ this is just the tip of the iceberg. up almost as a one-liner.'' Sweet See them all at once standing in acise music "is all different It's a big tip-but it's a big and Bingham worked up the idea a row because it goes through history. So iceberg!" and applied for the NEA grant, Imagine your hand is a ball of the instrumentation changes a lot The Jazz Festival will be held which they later won. Sweet is light throughout, but it uses the same April 26th through May 5, with responsible for the look of the Imagine your hand is a ripe musical structure for each the Heritage Fair, as usual, slated show, the set design, lighting, tomato segment, sort of hidden within the for the Fair Grounds on April 26 props, Bingham writes all the All of the people in the world overall form of the play. The through 28, continuing on May 4 music, much of the dialogue, and Are lined up with their shopping opening parts are heavily and 5. The performers will in­ dancer Maxine Snow handles the carts produced, aerobics class-type clude James Brown, the Staples choreography. Paying with checks the cashier is music, then it goes to some upright Singers, Sarah Vaughan, Spyro Sweet is a visual artist known slow piano Storyville stuff, then to a Gyra, Allen Toussaint, Stevie Ray best for his offbeat figurative Wave you hand make the light 1922-style horn part, a Louis Vaughan (wouldn't it be sweet if Xerox assemblages. For Jazzacise brighter" Armstrong-type of thing. The he did a duet with his Aunt he has modified a set of shopping "Even if you're poor," observes Egypt piece sounds like Egypt and Sarah?), Doug Kershaw (still carts (donated by Canal Villere) Bingham, "as all of the people the set change music sounds like giving Cajuns a bad name-sorry, that will serve both as props and as involved in this production are 1950s,Piayhouse 90, TV psycho­ Doug), Third World, Ry Cooder, the actual set. "It was one of those basically 'poor, • we're not your drama music. Towards the end it's the Neville Brothers, Albert King ideas that just comes to you out of typical Yuppie types, by the very the music of the future which is a and a zillion others. ' the blue," he said, "it was very nature of living in this country pure Zimbabwe thing. The future A deluxe brochure with a com­ intuitive.
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    University of New Orleans ScholarWorks@UNO Wavelength Midlo Center for New Orleans Studies 2-1983 Wavelength (February 1983) Connie Atkinson University of New Orleans Follow this and additional works at: https://scholarworks.uno.edu/wavelength Recommended Citation Wavelength (February 1983) 28 https://scholarworks.uno.edu/wavelength/28 This Book is brought to you for free and open access by the Midlo Center for New Orleans Studies at ScholarWorks@UNO. It has been accepted for inclusion in Wavelength by an authorized administrator of ScholarWorks@UNO. For more information, please contact [email protected]. ... ,.. i .,. #pf r f~ ~ I ~ t J t .. ~ • '~ -- •-- .. I ' I . r : • 1 ,, ' ,,. .t, '~'. • .·' f I .. ""' - • ,, ' ' 4. ,I • , /rl. • 4 . • .•, .' ./j ·. ~ f/ I. • t • New Orleans is a live! A day and night kaleido­ scope of the gaud y, raucous, erotic and exotic­ Mardi Gras, Steamboats, Parades, Seafood, Jazz and the French Quarter. Discover it all in the award-winning books Mardi Gras! A Celebration and New Orleans: The Passing Parade. Brilliant color photographs by Mitchel L. Osborne are complimented by delightful and informative texts. A vail able in fine bookstores or order directly from Picayune Press, Ltd .: Mardi Gras!: A C!oth $29.95, Paper$15.95 · New Orleans: The Passing Parade: 326 Picayune Place # 200 New Orleans, LA 70130 Paper $14.95 Postage and Handhng $1.50 • LA res1dents add 3% tax • V1sa & Mastercharge accepted. ' ISSUE NO. 28 • FEBRUARY 1983 "I'm not sure, but I'm almost positive, rhar all music came from New Orleans. " Ernie K-Doe, 1979 Available in American Oak, American Walnut, Teak, Mahogany and White Features Melamine at no change In cost.
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    E a R L Y I N F L U E N C

    ProfessorEARLY INFLUENCES Longhair “The Bach of Rock,” New Orleans composer Allen Tous- In the period 1953-64, Professor Longhair waxed sides for a saint called him . The cornerstone of New Orleans rhythm & number of labels, but their popularity was limited to the New blues piano, Professor Longhair’s astounding music influenced Orleans area at least in part because of the artist’s unwilling­ the work of Fats Domino, Dr. John, James Booker, Huey “Pi­ ness to travel. In 1964, Longhair created the Mardi Gras an­ ano ’ Smith, Art Neville, and Allen Toussaint himself. Long­ them “Big Chief’ for Watch. But he soon sank into obscurity, hair’s unique appeal lay in his offbeat songs, his warbling and by the end of the decade was sweeping out a record shop voice and the infectiously syncopated piano style which he and playing cards for his meager living. once described as a blend of “rhumba, mambo and calypso.” Unbeknownst to ‘Fess* he had become a mysterious legend He was born Henry Roeland Byrd on December 19, 1918 in among blues record collectors on both sides of the AtlantltS Bogalusa, Louisiana and moved to New Orleans with his He was eventually tracked down by Quint Davis and Allison mother two years later. As a youth he tap-danced for tips on Minor, organizers of the first New Orleans Jazz & Heritage Bourbon Street, and later beat on lard cans and orange crates Festival. “He wasn’t playing at all then,” Davis later recalled. with a “spasm band.” By the early Thirties, young Henry was “He was in a totally depreciated state physically, along with frequenting the South Rampart Street honky tonks to hear bar­ poverty and rejection.
  • Wouldn't It Be Nice

    Wouldn't It Be Nice

    wouldn’t it be nice by lewis shiner hat if? It’s not just science fiction and fantasy that asks this w question, it’s all of fiction. What if a young student murdered his landlady to prove his moral superiority? What if a woman survived the Civil War and three marriages only to find true love too late? It’s also the question by which we transform ourselves. What if I quit my job and moved to the desert? What if I turned myself loose to create “a teenage symphony to God?” The Icarus who attempted that teenage symphony in 1966 is now 53. For Brian Wilson it’s been thirty years of struggle: with drugs and diet, with people who want to run his life for him, with the intensity of his own feelings. The good news is that Wilson’s life is finally his own again. He is newly married to a woman named Melinda, who is calm and sweet and loving with him. He has a new house in the safety of a gated community high above the city. And he is back in the public eye with two new albums and a movie on the Disney channel. The film is I Just Wasn’t Made For These Times, directed by producer-of-the- moment Don Was. The soundtrack is a kind of Best of Brian Wilson, live in the studio with crack session players like Jim Keltner, Benmont Tench, and Waddy Wachtel. This is not only a wonderful album in its own right, it represents a healing of other wounds.