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University of New Orleans ScholarWorks@UNO Wavelength Midlo Center for New Orleans Studies 12-1980 Wavelength (December 1980) Connie Atkinson University of New Orleans Follow this and additional works at: https://scholarworks.uno.edu/wavelength Recommended Citation Wavelength (December 1980) 2 https://scholarworks.uno.edu/wavelength/2 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]. WORLEANSMUS I REc $~~ ~ ~(. .,~(' $0~· ~ ~.9 ~ ~~lo, ~ '· ~~~~~ \ .wy 0 Johnny · Vidacovich Fess's Drummer Is a J z Master Also- Bruce Springsteen Albert Collips Huey 'Pia~ ' Smith B.B. King . ,--- \ DECEMBER 1 980 VOLUME 1 NUMBER 2 - Headphone be heard a not felt. Everyone familiar with headphones represents an advance in high fidelity stereos knows t he advantages of headphone reproduction of considerable magnitude. It's listening. They can be listened to at loud volumes mtroduction has created a sensation in the audio and you won't disturb other people in the room, world. Reviewers around the world are reporting Jet alone your neighbors. You can get great astonishment at the size, performance, comfort headphones with quality sound for alot less than and price of these new Sony headphones. quality speaker systems. You can get great stereo The key to these headphones is the new MDR separation, and, when listening to recordings in driver diaphragm. It is only 12 microns thick, only "binaural" sound, headphones will let you think half the thickness of Koss and Sennheiser "you are there ... ". lightweight headphone diaphragms. This means But, headphones should be heard, and not felt. better transient response. Special samarium cobalt To set good bass, most headphones use as large a magnets over three times more powerful than diaphragm as possible. This needs to be sealed conventional types. are employed. This results in against the ear, so low frequency sounds don't high sound pressure level and excellent damping cancel out. Large, heavy, and with lots of pressure for accurate response to input signals across the on your ear, headphones like these become entire audible frequency spectrum. uncomfortable quickly . They hurt you and you The new MDR-3 weighs only 1.8 ounces. It has can't enjoy the music. less than 70 grams of pressure against your ear. Sony is a leader in the world of miniaturized It's weight and ear pressure is less than a third of electronics. Sony engineers are always looking for that of other so called lightweight headphones. It a new and better way, using new technology. Sony sounds fantastic! engineers set out to design super lightweight If you never liked headphones before, or if you headphones, with good bass, that could be worn are looking for the finest phones you can buy, be with extreme comfort for a long time. sure and sound out these new Sony MDR The result of this research is tpe new MICRO headphones, simply one of the most astonishing DYNAMIC RECEIVER.The MDR line of Sony new high fidelity products in years. 7323 fUilet 32 13 17fk Stwt UtJhuml 'BeJWul..Calwide 866-3579 834-7772 11- 7 lf(-..flli. 10-9:30. Ht-.-Sot 01* Sot tiff 6 p .Itt. DECEMBER 1 980 Features Johnny Vidacovich, Jazz Master 4 James Booker, Piano Prince of New Orleans 7 Departments Rock 9 Travel II Rhythm and Blues ---------­ 15 Pop 17 Reviews 19 The Last Page 22 Cover photo by Owen Murphy l·' uhlt ~ ht'r , Parr~o,J. Btrr\ t.dilur, C<'HliUc Atl..m .. un Prudul·lit)R llt.,lgnrr, to...uhk· ..~n Pl'fl\ ( un l nll~ l l\d,t'rh,ll1'( 'alt.. " .uhlc:t.•n UJ,hOJl. \h.'\t.; GuturJ. kruuh:r Ktlbcrh Cu nrnbutinW; A rh''' · "~ 'I' Uuk'l. lull.a ' "'"'d ConrribuiOr'\, <.. JrJo, Uoll. Jcrn Brlh:L. till! ( .u. ) orlo.~ Corbm. Knn Cu~.:..1J. '\ll'\t.' f unnm~h.un, ~lt.'H' (ir,lt.l.'.,, Christmas (uiOc:o fll'thcnq,,;l.,, Cnnl J0\4..'f'lh, ~\ nth 1\. •.t"-i\m, f11n I 1.man. llunn' \1 ,mhc'"· II.H1111ltntd , .. ,Ht Inn ~.. :hl.'un~o!h. •\ hnlhl Shm. Rhndc' ~fl\·dale Cards that are \\ a,,•lt>n.:ch h puhh.. h ..·d rnunthl~ m ' "' " Orlt.\Uh fdephonc t~1 >4 ) ~~") 5962 \ t a1l \Uth..;riptu.uh, addn:,.., ~h,lnl!!C'' to \\ ~t , t! ll· n~th Bo\ lliiM..,, \1~" Orlt.•an ... 1.1 "'g~ .. \ ..,nt"'"''~''"'n r.ltl.' )~ per \I.'J.I I n"l.'l~'ll S!O J'X'f \l'.H , lhl'l'lltlrc ..:\'llh.'lll..,lll \\ ';1\ (' k> nJ,tlh .1n: ~\'l'l'fl~nt 1""1\0 \\.a,t•ltnt.tlh Naughty Christmas Cards that are Nice THE REDSTAR co. 4020 Magazine St. 899-4010 Open Mon.-Sat. 11-6 WAVELENGTH I DECEMBER 1980 3 ~===========~'I WmP-len?,1hF-0 JL~=== =====~ BY YORKE CORBIN Johnny Vidacovich is one of the become so serious and maybe that way. I'm not patting myself on brightest people I've met. His musical frighten one's expression. If you're the back; I just think that it's a good intelligence is obvious, of course, to intimidated by the seriousness of test. If you can get some of the people anyone who's heard him play--and in another performer on the stand, in Tyler's to listen to you, then, hey, this town plenty of people have. sometimes that might freeze you up. you're doing all right. Vidacovich is a virtuoso jazz drum­ It's hip to use a good percentage of By the third set, you usually separate mer who works, one of the few pro­ humor so you can communicate with the men from the boys, when it comes gressive jazz musicians in New the other musicians more readily, and to li stening. It 's the listeners who Orleans who always has a gig. Along make the music happen easier. come in. Either that or the really with bass-man James Singleton, he's Humor's very important in any kind outrageous drunks--but it tends to be the driving force behind most of the of art, especially an art where it's go­ more listeners in the latter part of the ensembles that play at Tyler's; on ing to take more than one person to evening. Saturdays he's sometimes sitting in do it. What did Mose Allison think of with Ramsey McLean and the Lifers I don't know a lot about music, but playing at Tyler's? at Faubourg. In the ten days before I there are other elements that you can He seemed to be happy the whole talked with him, he'd played dates respond to, that you can key yourself time he was playing. He doesn't say with Joe Henderson, the tenor sax toward. Humor works that way for much, you have to just get the feel­ player f rom San Francisco, and with me. There are nonmusical things that ings from him, and the feelings I got Mose Allison, whom Tyler's had you can pick up on ... were on the bandstand. He had brought in fora three-night stand. An Right, definitely. Communication is momentum, so I guess he was com­ album he played on last year, Pro­ the secret word. Anytime you can res­ fortable. He didn't like all the fessor Longhair's Crawfish Fiesta, pond to anything, communication cigarette smoke. recently won the W.C. Handy A ward has been made. That's the first thing We'd never worked together as a as the best blues album of the year, you're supposed to do in playing band, we were just backing him up, and Vidacovich has just wrapped up music, is communicate. so he had to help us a little bit too. He work on Ron Cuccia's new album, It's hard. The audience has to com­ a lways had a smile on his face. He which is due out in January. At municate back. You're putting in a always sounded really good to me, so thirty-one, this bantam rooster of a hell of a lot of input, and if the au­ I would im agine that he was liking it. drummer, John Vidacovich, doesn't dience doesn't respond, it's like piss­ Do you work with him through need to crow; his accomplishments ing in the wind. humor? testify eloquently to his ability. Do you feel that way a lot? Mose's material is very humorous; it But the man can talk. "Just toss Well, barrooms can make you feel has that primitive kind of beat, basic your coat on a drum," he told me like that. Sometimes you feel that the beat, but then Mose doesn't approach genially when I showed up at his audience isn't really listening. But I it that way. He wants you to break house on one of his few nights off. don't feel like that a lot. Usually the things up; he wants it to sound Breaking out a boule of wine, there's people out there listening to like maybe just a tune in two, but Vidacovich held forth for a couple of you. I've been lucky enough to play he'll say, "Well, it's in two, but play hours, kept on after my tape had run good gigs. Lately I've felt that people like three on high hat, and maybe out. He had a good deal to say about li sten when we play.
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