Latest Gumbo Show Inspired by Spring Festivals

I’ve been a bit giddy this week. The onset of our area’s first solid gesture of  spring coinciding with the start of Jazz Fest in New Orleans and Olympia’s Arts Walk and Procession of the Species  this weekend inspired this show which aired April 26, 2018 on KAOS. The show features very little jazz but a lot of New Orleans which is fitting at a time when Olympia holds its biggest street scene of the year.

procession
Process of the Species is a unique Olympia cultural experience.

To get ready for that walking, standing and processing,  I start with some hip openers thanks to an opening number by The Meters  followed by Shamarr Allen’s trumpet boogie of Taylor Swift’s “Shake it Off.”  Art Neville comes back on with one of his Specialty Records classic rock and roll songs.  Keith Stone keeps it rocking with the title track from his latest release The Prodigal Returns.

I mellow it out later in the set,  with the help of Kelcy Mae singing an Earth Day appropriate song “Mr. Leopold.”  Elvis Costello sings a great Allen Toussaint song, with the composer’s vocal and piano assistance.  To honor Olympia’s unique cultural creation — the Procession of the Species, I played the Brassaholics “They Sew” – a song about New Orleans unique cultural creation the Black Indians of Mardi Gras. This song was two-fer cause it also honored Brassaholic’s trumpeter Tannon “Fish” Williams who celebrated his 43rd birthday that day.

I didn’t hear about the death of Charles Neville till the next morning so I’ll save his tribute for next week’s show.  Please enjoy this one and consider subscribing so you can be alerted to when new shows are posted.

Just a typical Gumbo YaYa Show

Some times I don’t have an organizing theme for the show and this is one is one of those.  That doesn’t mean it ain’t worth listening to though.

soulIn honor of the Soul Rebels’ tuba player, Damion Francois’s 46th birthday, I start the show with the band knocking out “Let Your Mind Be Free.”  The Young Tuxedo Brass Band keeps the second line moving with Little Freddie King and the Red Hot Brass Band helping out with their own songs.

Speaking of tubas (actually sousaphones), I featured a cover of The Who’s “Magic Bus” with a tuba playing the bass line.  Earl King does “Things I Used to Do,” James Booker does “Classified” and Rebirth Brass Band plays “Your Mama Don’t Dance.”

This week’s show also features “Beau Koo Jack” recorded December 5th 1928 by  Louis Armstrong and his Savoy Ballroom Five. Throw in some Pete Fountain, Marcia Ball, Papa Mali, the Radiators, and some surprises and you’ve got a typical, unthemed Sweeney’s Gumbo YaYa.  Enjoy.

A trip to French Quarter Fest and celebration of Johnny Dodds

In today’s show, we take an imaginary, real-time visit to French Quarter Festival happening right now and we celebrate the 126th anniversary of clarinetist Johnny Dodds’ birthday. Here’s the edited version of the show which you listen to while reading this.

IMG_1454Overshadowed by the older and more well-known New Orleans Jazz and Heritage Festival which starts later in April, the French Quarter Festival packs over 300 music acts (roughly 1,700 musicians) into four days starting today.  Celebrating its 35th year, this free festival is the largest showcase of Louisiana musicians with stages scattered throughout the French Quarter. Some of the more well-known acts playing this year include Cyril Neville, the Dirty Dozen Brass Band, Irma Thomas, Jon Cleary, Little Freddie King, the Lost Bayou Ramblers,  and Amanda Shaw.

And while I do play Neville and the Lost Bayou Ramblers later on the show, I start the show with a real time experience. Through the magic of radio and with a vivid imagination, I take you directly to the French Quarter to the stages and play music by musicians who are performing in real time synchronized to the airing of my show (10 a.m. to noon on Thursdays). This requires precision math on my part since I have to convert the Central Standard Time New Orleans-based schedule to the Pacific Standard Time reality of my radio show.

We start by running over to catch the last song of the Panorama Jazz Band performance on the Big River Stage in Woldenberg Park, before heading back toward the Quarter on Decatur Street to hear Tuba Skinny playing on the Jack Daniels Stage.  And because we can run fast in radio life, we can haul butt over to the Hilton Tricentennial Stage to catch the Preservation All-Stars.

After a little break with showcasing other artists featured later in the festival, we go back to real time with Gal Holiday and the Honky Tonk Revue performing at the River Stage again. And then we dash to Tropical Isle Hand Grenade Stage to catch Alex McMurray. During this imaginary real-time tour of the first day of French Quarter Fest, we also hear Banu Gibson.

johhny dodds
Johnny Dodds was born on April 12. 1892 and was part of the first generation of jazz musicians in New Orleans.

Later in my show, I honor Johnny Dodds, a first generation jazz musician who performed with Joe “King” Oliver. He and his younger brother, the drummer Warren “Baby” Dodds were part of Armstrong’s Hot Five and Hot Seven.  In honor of his birthday (April 12, 1892), this show dives into two versions of the same song that feature dual solos by Dodds.  The songs have different titles and different release dates though they were recorded back to back by Louis Armstrong and His Hot Seven.

S.O.L. Blues and Low Gully Blues feature Armstrong and Johnny Dodds at their peak, doing technically difficult and brilliant solos. S.O.L. Blues was recorded on May 13, 1927 in Chicago for Okeh records but was not released until Columbia Records got a hold of the collection 15 years later. The original release version went under the title of Gully Low Blues and was recorded the next day, May 14.  Both versions have their merits but I play them because I love the amazing tempo shift that Dodds pulls of during his solo. For more on this, check out Ricky Riccardi’s blog.  I also play a favorite, Dippermouth Blues, recorded by  King Oliver’s Creole Jazz Band in April 1923, because it contains a famous Dodds solo.

I’ve got other fun stuff on this show including Dana Abbott, Yvette Landry, the Subdudes and Eric Lindell, just to name a few.  Thank you for reading and listening. Please consider subscribing.

Danny Barker saved and challenged traditional NOLA jazz

This week’s show is about how one musician and his funeral managed to reinvigorate brass band music in New Orleans, encouraging musicians to both challenge and preserve the tradition.

Danny Barker was a little young when the first generation of New Orleans jazz musicians  started performing. Born in 1909 to a family of musicians, he grew up listening to Jelly Roll Morton, Louis Armstrong, King Oliver and the other greats.

And like they did, he moved away from New Orleans to seek his fame and fortune as a musician. Playing primarily guitar and banjo but also other instruments, Barker went to New York and then later California playing with a wide range of musicians, including Cab Calloway, Dexter Gordon, and Charlie Parker.

dannyHe partnered with his wife Blue Lu Barker and penned songs like “Don’t You Feel My Leg” and they toured and traveled the world.  But when it was time to slow down, they moved back to New Orleans where he took a post as a museum curator, He also continued to perform, often at the Palm Court Cafe immortalized by his classic “Palm Court Strut.”

But it was in fulfilling a request by his pastor and later his very own funeral that would contribute to the city’s ability to keep the jazz tradition alive.

I’ve already written about his role in reinvigorating the New Orleans brass band scene and you will hear a little bit about that and the related  music in today’s show.  But if you keep listening to the show, you will also hear how Danny Barker’s funeral helped set in motion an organization that takes great pride in the New Orleans community’s African and jazz heritage.

bmolToday’s show includes excerpts of an interview with Fred Johnson, co-founder of the Black Men of Labor telling the story about how Danny Barker’s disdain for how jazz funerals were being conducted cause him and musician Gregg Stafford to organize a proper jazz funeral for their hero.  And then how that experience then led them to create the social aid and pleasure club Black Men of Labor.

I hope you enjoy the show.