This week’s show starts with the Young Tuxedo Brass Band in honor of Walter Payton, father of trumpeter Nicholas Payton and the sousaphone player for that storied New Orleans band.
I then take a twist toward more contemporary music with Quintron and Miss Pussycat, Sneaky Pete, Jello Biafra and the New Orleans Raunch and Soul All Stars, Helen Gillet and the Dirty Bourbon River Show. I then head back into R&B, including playing High Blood Pressure from the Huey “Piano” Smith album I bought in Ballard last weekend and another round of brass bands. I mixed tracks from new releases by Benny Turner, Naughty Professor and Stanton Moore. The show, as edited below, finishes with Cowboy Mouth’s relationship dirge “Broken Up.” Enjoy!
If you’re a sucker for a good mystery like I am, then you might appreciate the story of Kid Stormy Weather. That is, what little of the story we know. (Here’s the podcast of my radio show that goes with this story or click the player below.)
We know that Edmond Joseph, recorded two songs on October 17, 1935 with Vocalion records, apparently at a mobile recording unit in Jackson Mississippi. Those two songs are the only tangible evidence of Kid Stormy Weather’s musical career. The rest is more legend than record.
Professor Longhair apparently cited the barrelhouse pianist as an influence. Henry Roeland Boyd was 17 years old in 1935, just the right impressionable age to be sneaking into the South Rampart honky-tonks that Kid Stormy Weather allegedly inhabited. But we just don’t know where the “Kid” came from, when he died or how he became an influence on the unique, fluid piano style of Professor Longhair.
In the two sides he recorded, “Short Hair Blues” and “Bread and Water Blues,” his quick hands are on display but its also apparent that the recording unit only captured a taste of his talent. Unless there is an oral history out there not available on the Internet, Edmond “Kid Stormy Weather” Joseph’s story may very well be lost to history.
We know more about other New Orleans blues artists though. Two that I’ll be focusing on with this week’s show (along with Kid Stormy Weather) are performers who performed early in their careers in minstrel shows.
While Lizzie Miles, born Elizabeth Mary Landreaux, didn’t think of herself as a blues singer, her early recordings were most definitely in that genre. Born in the Marigny neighborhood of New Orleans in 1895, she initially worked with jazz pioneers King Oliver, Kid Ory and Bunk Johnson before they had migrated to Chicago. She then toured with minstrel shows through the south eventually performing in Chicago, and Europe and recording with Jelly Roll Morton in New York. And like many New Orleans musicians, she found her way home near the end of her life, dying in 1963. I’ll be playing “I Hate a Man Like You” on this week’s show.
Creole George Guesnon played banjo and guitar and was prolific song writer. . He got his first big break playing with Celestin’s Original Tuxedo Jazz Orchestra. The next year, he replaced Danny Barker in Willie Pajaud’s orchestra. He performed with the Rabbit Foot Minstrels and found his way to New York, recording with Decca and living briefly with Jelly Roll Morton. He served with the Merchant Marines during World War II and then returned to New Orleans performing with Kid Thomas and showing up regularly at the new performance space at the time, Preservation Hall. He died in 1968 and was buried in St. Louis Cemetery No. 2. I’ll be playing his “Graveyard Love Blues” on this week’s show. Hope you can join me.
The pain isn’t over for Baton Rouge and surrounding communities. Even after this once-in-a-millennium flood, the region continues to be hammered by thunderous afternoon storms dumping inches of water followed by the usual tropical heat blast that Louisiana is famous for in late summer.
It’s not as if this area needs any more grist (or precipitation) to sing the blues.
The Great Mississippi Flood of 1927 affected over a half million people, displacing 200,000 African Americans along the lower Mississippi River — many of whom joined the Great Migration that carried jazz and blues to Chicago and other northern cities (and ultimately the world.)
The devastation inspired a great many songs, perhaps most notably When the Levee Breaks by Memphis Minnie who was born in Algiers across the river from New Orleans. She wrote and performed the song with her husband Kansas Joe McCoy but you might be more familiar with the Led Zeppelin adaptation of the song.
And of course, there’s Randy Newman’s seminal Louisiana 1927 which became closely associated with the New Orleans flood following Hurricane Katrina — another song-inspiring catastrophe.
Of the many Katrina songs, I think Marva Wright whose eastern New Orleans home was destroyed under eight feet of water best captures the frustration of being stranded in a city surrounded by deep poisonous water and no relief available. Though she was able to leave the city before Katrina, she puts you right up on a baking rooftop waving towels at the helicopters as they fly by in her song The Levee is Breaking Down. She follows that song up on her album “When the Levees Broke,” with a heart crushing lament called Katrina Blues.
This is the 11th anniversary of Hurricane Katrina with the city mostly recovered. But now with the Louisiana Flood of 2016, there’s a new recovery effort that is underway and new music being written to chronicle the struggles.
Check my show out this Thursday, I’ll be playing Memphis Minnie, Marva Wright, Zachary Richard and John Boutte’s version of Louisiana 1927. I’m also expecting to get on the phone with Roddie Romero who fronts the Lafayette-based band, Roddie Romero & the Hub City All-Stars to hear about how things are going over there and to talk about his band’s soon-to-be-released album, “Gulfstream.”