Brass Bands Make You Move Your Body

Sorry if you missed my interview of Rebirth Brass Band founder and sousaphone player Phil Frazier on the November 3 Gumbo YaYa show. Rebirth comes out to the Northwest next week, playing in Seattle on November 13 and Portland on November 14. Also, WWOZ is doing its pledge drive this week.  Here’s why its important to support community radio.

Live music has the potential to freeze time for me–particularly cool new music. Keep in mind, it doesn’t have to be unique to anyone else. Just to me.

So when I stumbled into the Jazz Tent at my first New Orleans Jazz and Heritage Fest in 2006, I was oblivious that brass bands had undergone a major makeover. I was a couple decades behind the times. Having grown up around Dixieland jazz and watching brass bands at Mardis Gras in the 60’s, I wasn’t expecting the addition of funk, rock and R&B that the New Orleans Nightcrawlers were throwing at me from the stage. The music was unexpected, danceable and down right entertaining.  I can pretty much trace my radio show and this blog to that moment in the jazz tent.

cropped-blog11.jpg
Many New Orleans brass bands blend tradition with newer styles to keep the music fresh and unique.

Returning home with their live album hot in my hand, I started learning more about this music which seems to have one toe in tradition and the rest of its toes in hip hop, bepop, funk, and rock.

When I got back to New Orleans later in the year, I made a point to catch Rebirth Brass Band at their home base, the Maple Leaf — which for this brass band band fan is the equivalent of a devout Catholic getting to meet the Pope in the Vatican.

I wish I could tell you first hand how this music has transformed over the years. But I wasn’t there. I can tell you that an important part of it was keeping the brass band tradition alive. Mentors like Danny Barker who formed the Fairview Baptist Marching Band were key. From that youth band, a new generation of musicians, schooled in the tradition, but open to other styles, rose up the ranks.

What do I like about this music? Just about everything.

Rebirth Brass Band at the Maple Leaf Bar in Uptown New Orleans every Tuesday night except when the band tours..
Rebirth Brass Band at the Maple Leaf Bar in Uptown New Orleans every Tuesday night except when the band tours..

But I’ll use Rebirth’s “What Goes Around Comes Around” from their grammy-winning CD as an example.  Vincent Broussard on tenor sax applies a simple but catchy melody. Then the drummers kick in, keeping a beat but also playing around the beat in a totally engaging way. Founding band member Phil Frazier enters with the bass line on sousaphone while the other horns add depth. Broussard then takes the melody to new territory on another solo before the harmonizing horns kick in with a full breath rendition of the original melody, and I feel it right in my chest, a total uplift. There’s a give and take between the sax and the horns with the trumpet and trombone doing their own solo turns before a sort of controlled chaos breaks loose. At around the 4:20 mark, with about minute left, the band members begin to sing or sort of chant: “What goes around comes around in its time. We’re going to dance around, smoke a bong and get on down.”

Okay, so its party music. Music that definitely works best performed live, with a favorite libation nearby and some room to boogie. In fact, brass bands are designed to move, to march in parades, lead second lines and get people dancing wherever they are.

A couple of years ago, while waiting in line to eat lunch at Casamento’s, I got into a discussion with the guy ahead of me about The Soul Rebels who had just put out “Unlock Your Mind” that year. He was quite insistent that the only way to hear a New Orleans brass band is at their home base, which for the Rebels is Les Bon Temps Roule on Thursday nights. Given that the guy talking was David Simon, creator of Treme who has filmed a number of brass bands including the Rebels in action, I took it as sound advice.  And its true. While I’ve always enjoyed catching Rebirth wherever I can (the band plays the Tractor in Ballard on November 13), I’ve had the best times with them at the Maple Leaf.

Baby Boyz at Jazz Fest. No longer the province of  old men, brass bands provide a path for young musicians to gain professional experience
Baby Boyz at Jazz Fest. No longer the province of old men, brass bands provide a path for young musicians to gain professional experience

Here’s some simple tips for catching a brass band in New Orleans. Do what Simon says, catch them on their home turf if possible. Or catch them leading a second line parade (schedule). If you catch them at a club, be ready to stay up late cause if you’re lucky, the show will start by 11 p.m. Be prepared for a crowd and know that many bars still allow indoor smoking. Finally, if you’re worried about your ears, bring some ear plugs. You’ll still be able to hear them well.

You can also hear them well on Sweeney’s Gumbo YaYa, every Monday from 10 a.m. to noon on KAOS, 89.3 FM Olympia

Morgus the Magnificent Inspires Friends of Music

Like most communities, New Orleans loves Halloween. Voodoo Music Fest, for instance, is always timed for around October 31. But this story is about Morgus the Magnificent and the music he inspired.

Morgus the Magnificent has been a New Orleans icon for half a century with his quirky experiments and good intentions.

If you ever watched horror movies on television during the last century, chances are you’re familiar with the occupation of “Horror Host” — the sometimes creepy, usually campy personality who introduced the late Friday or Saturday night movie with tongue firmly in cheek.

Pioneered by Vampira, who dressed like Morticia Addams and hosted KABC-TV late night movies in Los Angeles in the 50’s, Shock Hosts proliferated across the country after Screen Gems saw a nifty way to cash in on its aging library of horror films. Classic monster movies like Frankenstein, Dracula and The Mummy were packaged with lesser movies and sent to local stations with the suggestion they air the movies using a costumed host.

One of the stations that took up the idea was WWL-TV in New Orleans and the city hasn’t been the same since.

On a Saturday night in January 1959, Morgus the Magnificent, along with his sidekick Chopsley and a talking skull named Eric, hit the local airwaves. He immediately captured the attention of TV viewers and, six decades later, continues to be a favorite in the hearts, minds and T-shirts of NOLA residents.

Recorded at Cosimo Matassa’s studio in spring of 1959, Morgus and the 3 Ghouls featured Frankie Ford, Jerry Byrne and Mac Rebennak (aka Dr. John).

Within four months of his show’s premiere, Morgus would be memorialized in song. Frankie Ford, Jerry Byrne and Mac Rebennak (the future Dr. John) recorded Morgus and the Three Ghouls at Cosimo Matassa’s studio on Governor Nicholls Street. While never a hit, it plays locally on occasion and showed up on Dr. John’s anthology Mos’ Scocious. In 1962, Morgus became the first Horror Host to have his own movie, The Wacky World of Dr. Morgus.

Morgus wasn’t your typical monster or vampire show host. He was a benevolent, though somewhat high strung, mad scientist working out of his laboratory above the Old City Ice House in the French Quarter. Filled with superhuman self confidence in his genius, he would devise ill-conceived schemes and experiments that had good intentions but would always fail miserably.

Morgus in his laboratory over the Old City Ice House in the French Quarter.

I recollect one show I watched as kid in the 60’s where he created his own weight reduction clinic and during the commercial breaks he demonstrated weight-loss technologies straight out of a Vincent Price movie, including a swinging pendulum (lose weight or else). Needless to say, by the end of the show his clients had lost more than pounds.

Morgus was the creation of Sid Noel Rideau, a native New Orleanian with a wacky imagination. He did a brief stint of Morgus in Detroit where he apparently recorded a surf rock tune called Werewolf under the name of Morgus and the Darringers.

But my favorite song representation of him was done by the band Galactic on their 2010 release Ya-Ka-May. The CD’s first track, Friends of Science, samples a typical opening of one of Morgus’ shows. “Good evening my dear students, and of course friends of science and those of the higher order.” (See the video sampled from.) You’ll find over a dozen New Orleans artists credited in the CD’s liner notes,  including Allen Toussaint, Irma Thomas, Big Freedia and Trombone Shorty. But there’s no mention of Morgus or Rideau.

Morgus is familiar to several generations in New Orleans. Less so elsewhere.

Apparently, Galactic had a hard time getting permission from Rideau but finally did with the condition that it would be uncredited.  In promoting the album to Offbeat magazine, Galactic’s bass player Robert Mercurio pondered “how many people are going to get that one. I think maybe you’d have to be from New Orleans to really get that voice.”

Not necessarily. Not if you catch the distinctive voice of Morgus when he’s played on Sweeney’s Gumbo YaYa, this Monday (show now airs on Thursdays), starting at 10 a.m. Also, if you’ve read this far, perhaps you would like to subscribe by clinking the link in the upper right column.

Postscript: Since this post, this documentary was posted online, focusing on the original run of Morgus.

Focus on Tradition and Youth Ignites a Musical Rebirth

It’s not every retirement that results in a musical revitalization. But that’s what happened when veteran jazz performers Danny and Blue Lu Barker returned to New Orleans in 1965.

MRDannyLuBarker
Louise “Blue Lu” and Danny Barker were life partners who performed together as an act. One of their most famous numbers was Don’t You Feel My Leg

I suspect they sought a slower pace after 35 years of performing with Jelly Roll Morton, Louis Armstrong, Cab Calloway, Billie Holiday and a long list of other jazz notables. But retirement for Danny Barker didn’t mean doing nothing.

Danny went to work as an assistant curator for the New Orleans Jazz Museum– gone now but the collection resides in the Old U.S. Mint building.  He also continued his reputation for performing and writing bawdy songs like the one that made him and Blue Lu famous, Don’t You Feel My Leg.

Danny continued to perform with his guitar and banjo regularly around town, even maintaining a weekly spot with the band at the Palm Court Jazz Café until near his death in 1994.   (The gig inspired his song Palm Court Strut. See it performed at Seattle’s Fremont Solstice Parade.)

But it was volunteer work organizing a youth band for his 7th Ward neighborhood church at the request of his pastor that would leave a lasting impact on New Orleans music.

When Barker began recruiting young musicians for the Fairview Baptist Church Christian Marching Band in 1970, brass bands were the province of old men. There was some concern whether the tradition would get carried forward. Fortunately, there were plenty of young musicians developing through the public school’s music system. All they needed was some guidance.

Leroy Jones, who lived only an Archie Manning pass away from the church, was one of the first to get recruited. Danny found the future member of the New Orleans Jazz Hall of Fame practicing in his parent’s garage. Years later, Jones described his initial impressions of Barker this way to Offbeat Magazine:

“We didn’t really know who Danny was in terms of his status. I just thought he was a cool guy. He wore a nice hat and these slick, creased pants and Stacy Adams shoes. He had a cool, hip walk. He was the epitome of coolness. These guys today have nothing on Danny Barker.” (Hear Leroy Jones describe his meeting with Barker on this WWOZ podcast.)

The list of band members that Barker assembled makes it clear he had eye for talent because it reads like a “whose who” of New Orleans musicians: Wynton Marsalis, Gregg Stafford, Herlin Riley, Michael White, Lucien Barbarin, Kirk Joseph, Alton “Big Al” Carson,  and Anthony “Tuba Fats” Lacen, among others.

The Fairview Band played for about four years before Barker had to quit the project because of concerns raised by the local music union. But the band continued, evolving into the Hurricane Brass Band and then Tornado Brass Band–names suggestive of the power produced by these young lungs.

use of union issues, Danny Barker had to stop leading the church band which was renamed Hurricane Brass Band. Here the young band members are marching on St. Denis toward the church.

Three of the band members, Gregory Davis, Kirk Joseph, and Kevin Harris, would form the the Dirty Dozen Brass Band which captured the attention of music lovers all over the world by blending traditional brass sounds with funk, bepop and R&B.  The band was a major inspiration for the founding members of the Rebirth Brass Band and other brass bands that followed. Without Danny Barker’s efforts with Fairview, the brass band scene in New Orleans would not be as robust as it is today.

Also, many of the Fairview band members such as Jones, Stafford and White, would carry on the tradition of New Orleans jazz, helping to sustain and grow the city’s reputation as the birthplace of jazz.

In reading the many articles about the Fairview Brass Band and Barker’s influence (a good example), I’m struck by how a string musician could affect so dramatically brass band music. He did it by teaching these young players the history and tradition of jazz. particularly New Orleans jazz. He demonstrated the importance of showing up on time, dressing appropriately and being prepared to perform–what workforce professionals now call the “soft skills.” In short, he taught kids who had musical talent how to be professional musicians.

You’ll hear some of Danny’s proteges in this week’s edition of Sweeney’s Gumbo YaYa.  See you on the radio.

Community Stations like KAOS; WWOZ make a difference

Picture yourself at Tipitina’s in the early 80’s preparing to catch some funk by Zigaboo Modeliste and George Porter, Jr., and just as the band is about to begin, a microphone descends from the ceiling.

In the early years of WWOZ, Tipitina’s was the home of the station.

You would have been witnessing an early, glorious moment in community radio. Located in the beer storage room above the uptown New Orleans night club was the nascent community radio station, WWOZ. With that simple, low-tech approach, the station was able to broadcast a live performance–launching a 30-year tradition of supporting local music.

WWOZ has come a long way from that beer closet and now is readily recognized as the “Guardian of the Groove” in New Orleans.

While serving a smaller market, KAOS has a similar reputation for supporting the often overshadowed music scene in Olympia.

With the KAOS Fall Member Drive and the WWOZ Fall Member Drive, I thought it timely to talk about my two favorite radio stations and why financial support is essential to both.

Like many, I listen to more than one station. But I only pledge to KAOS and WWOZ.  I pledge to KAOS because its my default station that I listen to the most, providing a wide range of music and programming. I pledge to WWOZ because I love New Orleans and its music. Listening to the station connects me, albeit remotely, to the city I was born in. Without WWOZ, I would not have had the confidence to launch Sweeney’s Gumbo YaYa – a show that wouldn’t exist without KAOS.

Here are the features I like about these stations.  They both are non-commercial, community radio stations. They both invite and train members of the community to volunteer as on-air hosts (deejays). While being “volunteer powered” means they’re not as slick as some commercial radio stations, the hosts convey an authentic, honest voice, portraying Olympia and New Orleans in a way that gives me a deeper understanding. These deejays work in the same community, walk the same sidewalks,  drink at the same bars (you get the idea.).

Both stations are cheerleaders for local music, regularly announcing live music events, hosting studio performances and interviewing musicians and other performers. This boosterism can matter.  In 1987, KAOS hosted the the first radio broadcast of Nirvana and this summer, Seattle’s Vaudeville Etiquette was written up by the music tracker CMJ because of airplay it received on KAOS.

Just last week, local musician Greg Black stopped by the KAOS table at Arts Walk and offered the station his new CD, recorded two blocks away at Dub Narcotic Studio. You’ll hear it, along with other local music, on KAOS.

rampb-emperor-biography-hails-ernie-k-doe-291g96r6-x-large
Ernie K-Doe, New Orleans singer and lounge owner, was a deejay with New Orleans community radio station WWOZ.

And like WWOZ whose shows have been hosted by musicians like James Booker, David Torkanowsky and Ernie K-Doe (this blog’s patron saint), many of the KAOS on-air hosts are musicians themselves.

Both stations offer more than music. WWOZ , owned by the same folks who bring us Jazz Fest, focuses on programs that delve into the music and culture of New Orleans. KAOS has a broader mission, providing alternative perspectives such as National Native News, Counter Spin and Workers Independent News. as well as locally produced public affairs programs like Parallel University, Speaking of Wellness and the one I contribute to, Community Connections Report.

Strong listener support for these stations are crucial. The additional funding helps enrich the quality of the programming. But it also demonstrates to underwriters and funders that the station is a valued resource worthy of their support. Please take the time to pledge to KAOS and pledge to WWOZ this week or whenever you read this.

Street music can be magical if you let yourself enjoy it

There is an element of excitement when listening to a street performer–it creates an unplanned moment that forces me to choose between carrying on with whatever I was doing or allow for the aural equivalent of “stop and smell the roses.”

The moment can be magical or quite painful depending on the quality of busker. The beauty of a street performance is you can vote with your feet but if your feet don’t move, you should definitely vote with your wallet.

On Monday’s show, I’ll feature musicians who have played on the streets of New Orleans.

Artesian Rumble Arkestra creates street music magic for Olympia.

But before I go there, let me say that I’ve had many wonderful moments, listening to musicians on sidewalks and parks in Seattle and Olympia. A favorite street event is HonkFest West which has featured one of Olympia’s finest purveyors of street magic, Artesian Rumble Arkestra.

But it’s hard to compete with a 300-year-old city that gave birth to Jazz. New Orleans has a rich tradition of buskers which attracts musicians from all over the world. The city even seems to have its own apprenticeship program.

The wandering Alynda Lee Segarra had not played an instrument until she found a discarded washboard in New Orleans and settled into a routine of playing with street performers. She found her niche, learned banjo and guitar, started singing and wrote her own songs. Now with four major release albums, the singer/songwriter of Hurray for the Riff Raff is playing in venues all over the world.

Alynda Lee Segarra began her music career on the streets of New Orleans. As part of Hurray for the Riff Raff, she now plays larger venues.

Tuba Skinny, a band that plays rag time and traditional jazz, is touring Australia right now but when home, the band often plays on Royal Street.

Meschiya Lake also played with various street bands including Loose Marbles but moved to the night clubs when she formed The Little Big Horns Jazz Band.  You can usually catch her amazing act live at Chickie Wah Wah on Canal Street on Wednesday nights.

The most widely known street performers of New Orleans are the brass bands. With a long tradition of parades, second lines and musical funeral processions, the city has developed a very strong community of brass musicians and bands.  Treme Brass Band and the Rebirth Brass Bands tour the world but can still be found on occasion playing on the streets of New Orleans. The street provides a great place for budding musicians to learn their craft and over time achieve success as evidenced by the Baby Boyz Brass Band and TBC Brass Band.

Grandpa Elliott (Elliott Small) and Stony B (Michael Stone) performing at a corner on Royal Street.
Grandpa Elliott (Elliott Small) and Stony B (Michael Stone) performing at a corner on Royal Street.

One of my favorite street music moments occurred when I was walking along Royal Street in April 2006. The guitarist sounded a little like Robert Cray and the harmonica player had a deep bass voice and looked distinctive in his thick grey beard, farmer overalls, straw hat and sunglasses with one lens punched out.  I listened for several songs and talked with them between songs. I bought their CD and had them sign it—a practice I still do with street performers I enjoy.  Stoney B, the guitarist, has since moved to San Diego where he and his band play regularly at festivals and night clubs. Grandpa Elliott, the harmonica player, became famous as a regular with the Playing For Change band and recordings.

It’s easy to find street musicians while in New Orleans. But you don’t have to visit NOLA, to hear them. I’ll be featuring several sets of music from NOLA street performers, Monday, October 6, starting at 10 a.m. on KAOS, 89.3 FM.  We stream.

Cajun Throwdown raises questions about music and food

Food and music go together rather nicely. Or as Satchmo would say: “red beans and ricely.”

I bring this up because on Friday, October 3, I’ll be a tasting judge at the Cajun Throwdown at Centro (formerly Alpine Experience – 408 Olympia Ave NE) starting at 7 p.m. during the Olympia Fall Arts Walk.

Upstart Joe Hyer (left) goes up against the pro, Rodney O'Neill in Friday's Cajun Throwdown.
Upstart Joe Hyer (left) goes up against the pro, Rodney O’Neill in Friday’s Cajun Throwdown.

Rodney O’Neal, barbecue and Southern cook extraordinaire and owner of Barb’s Soul Cuisine, will be challenged by the upstart, usurper Joe Hyer who claims that because he’s visited New Orleans a few times, he can cook like a cajun.  We’ll see.  (I guess I’ll be the judge of that.) It’s all for a good cause with proceeds from food sales benefiting the charitable organization, Barb O’Neill’s Family and Friends.

While this is mostly an assignment for my taste buds, I have been preparing my ear buds. After all, this is a blog about a show called “Gumbo YaYa.”

Food about music is fairly boundless.  Jimmy Buffet’s Cheeseburger in Paradise and the Presidents of the United States’ Peaches, come to mind. But, as usual, I’ll stick to New Orleans music.

Jelly Roll Morton’s name didn’t come from a pastry

The tricky part is what might sound like food isn’t always the case. Ferdinand Joseph LaMothe didn’t take up the name Jelly Roll Morton because of a fondness for sponge cake. The moniker of the piano player who began his career performing in Storyville whorehouses has more do with a woman’s private parts than a pastry. Given that context, I’m leaving his 1923 song, Big Fat Ham, alone.

Similarly, the New Orleans jazz standard “Struttin’ with Some Barbecue”  originally recorded by Louis Armstrong and his Hot Five likely has nothing to do with ribs. According to Cab Calloway’s Jive Dictionary, “barbecue” was jive for a girlfriend or beauty.  I imagine Lil Hardin, the piano playing composer of the song and Armstrong’s wife at the time, was thinking she was the “barbecue” that Pops was strutting with.

When Satchmo and his Hot 5 recorded “Struttin with Some Barbecue,” his barbecue was likely his wife, piano player and song composer Lil Hardin.

Dan Raye, who added lyrics to the music years later, took the song at face value. “And mister waiter if you please, Another rib or two. And I’ll go strut, strut, struttin’, Struttin’ with some barbecue.”

Zydeco King Clifton Chenier was more transparent when he recorded, Hot Tamale Baby. There’s absolutely no reason to believe his song is about a starchy food wrapped in a corn husk.

But a classic Cajun song , “Jambalaya.” is about food, right? Well, true, the singer has to say goodbye to Joe (me oh my oh) so he can go see his girl (ma cher amio). But he also waxes rather poetically about “Jambalaya, and a crawfish pie and file’ gumbo.”

While I doubt Hank Williams ever poled “a pirogue down the bayou,” he did manage to capture a slice of cajun life, albeit a caricature, in this often covered song.

I think Professor Longhair got it right when he sang “Got my red beans cookin” in the aptly named song “Red Beans.” Not much to the lyrics except him cooking red beans–which can take some time to do right. I have to say, though, I’m not sure how pure his intent was when he finished with “I’m gonna have all these women, jumping for joy.”

Mac Rebennac became Dr. John with the 1968 debut album featuring “Gris Gris Gumbo YaYa.”

Not surprisingly, songs about gumbo are my favorite. Gris Gris Gumbo YaYa, the first cut off of  Dr. John’s debut album, was partly the inspiration for the name of my radio show. This creole dish is a perfect example of the melange of cultures that come together to form New Orleans cuisine and music.  In a pot of gumbo, you’ll find hints of West Africa, France, Spain, the Caribbean, Germany and Choctaw.

My favorite gumbo song is the quirky “Shrimp and Gumbo” by Dave Bartholomew. At the height of his reputation as a talent scout and R&B music producer, Bartholomew cranked out this little mambo ditty, heavy on percussion (thank you Earl Palmer) and a three saxophone melody reminiscent of the theme song of “I Dream of Jeannie.” Recorded in 1955, Shrimp and Gumbo predates the 60’s TV sitcom. The lyrics are rather limited playing off the fun of singing “mambo” and “gumbo” in tandem.

Well, I’ve given you a “taste” of what to expect on my Monday show (Sept. 29), 10 a.m. to noon (PST) on KAOS, 89.3 FM. But for a real taste, stop by Centro next Friday during Arts Walk for the Cajun Throwdown where you just might find jambalaya, a crawfish pie and file’ gumbo.

There’s more to NOLA than Bourbon Street

Even if you only know a little about New Orleans, you probably know about Bourbon Street.  And if that street is your only knowledge of the city, please keep reading.

19699918-mmmain
Bourbon Street on Mardi Gras Day – NOLA.Com

Nowadays, Bourbon Street is almost a caricature of people’s perceptions of the city.  A noisy, flashy street loaded with T-shirt and souvenir shops, bars that sell drinks called “Hand Grenades” and strip clubs. The street seems designed to allow visitors to sin without fear of discovery or retribution by their neighbors back home.

My own experience with the street dates back to the early 60’s when my parents’ idea of a fun family night was to pack us all up in our Rambler station wagon and drive slowly down the street (now restricted to pedestrians at night). My dad would stop the car when the doormen to the “dance clubs” would open the doors providing us a scandalous peak at the activities inside.  Yes, we all have undergone therapy since.

When not driving a Rambler full of kids down Bourbon Street, parents were often inside night clubs like this one with Al Hirt.
My parents with Al Hirt at his club on Bourbon Street.

Back then, locals still went down to Bourbon Street for live music at clubs such as those owned by famous home boys, Al Hirt and Pete Fountain.

The street still offers live music, mostly versatile cover bands capable of playing Rock favorites and cabaret music. The street is an important employment base for local musicians and other performers, according to Brad Rhines’s article, Pride on Bourbon Street.  Also, the restaurant Galatoire’s and Irvin Mayfield’s Jazz Playhouse are two well-regarded establishments on Bourbon that attract a local clientele.  But generally speaking, the locals leave Bourbon Street for the tourists.

Fortunately, New Orleans has another locus of live music that both locals and tourists frequent.  Downriver from the French Quarter is the end of Frenchmen Street located in the Faubourg Marigny neighborhood. Any cabby can get you there. If you’re in the French Quarter, it’s a reasonable walk– head away from downtown on either Decatur or Chartres (pronounced Charter) Streets. After you cross Esplanade, you’ll run into Frenchmen. There are roughly a dozen places offering live music in this three-block area.

If you have watched the wonderful HBO series  “Treme,” then you’ve seen a number of Frenchmen Street clubs featured as settings for the show, including the Spotted Cat, The Blue Nile, and the venerable Snug Harbor. There are music clubs literally next door to each other. In one scene in Treme, band leaders in adjacent clubs go back and forth stealing the other’s audience, illustrating just how easy it is for you to bounce from one music venue to another.

One of my most recent experiences on Frenchmen was almost magical. Kim and I landed on the street one afternoon after a long day of slogging through torrential rains. We walked into The Three Muses tired, wet and hungry. We were just looking for a place to sit and maybe eat.  We ordered a couple of small food plates and there on the tiny stage next to us was a cellist using a digital delay, a loop pedal and other electronic wizardry to create a roomful of haunting music.

In the dozen years that Helen Gillet has lived in New Orleans, she has established herself as an original artist, capable of integrating New Orleans sounds and heritage into her music.  And here she was doing an intimate performance for us as we refreshed ourselves with excellent food and drink.

Cellist Helen Gillet

On your next trip to New Orleans, visit Frenchmen Street. Meanwhile, you can hear Helen Gillet, Al Hirt and Pete Fountain on my next show, Sweeney’s Gumbo YaYa, starting at 10 a.m., Monday, on KAOS, www.kaosradio.org, 89.3 FM.

Larger than Life K-Doe is patron saint of this blog

Meet Ernie K-Doe, a New Orleans performer and a character in a city of characters. He is now officially designated: Patron Saint of this Blog.

I have no idea what the criterion is to be a blog’s patron saint or even if this is a good idea. I suspect for someone who called himself Emperor of the World, Ernie might consider this gig slumming.  Then again, from what I’ve read, he was a generous and warm fellow despite his boastful swagger.

Ernie K-Doe’s claim to fame is the song Mother-in-Law (written by Allen Toussaint) which became the best-selling record in America in May 1961, topping the pop chart for one week and the R&B chart for five weeks.  No other New Orleans artist has ever reached the top with a song recorded in New Orleans. Fats Domino sold a mountain of records but never had a number one hit.

And Ernie K-Doe never let you forget his claim to fame. Not in his performances nor in his outrageous stints as a volunteer deejay for community radio stations WWOZ and WTUL–where his code phrase was “Burn K-Doe Burn.” He would say there are only two songs that will stand the test of time: Star Spangled Banner and Mother-in-Law.

But its not his R&B career that qualifies him as patron saint though it is an essential part of his resume. It has more to do with his stint as a community radio deejay given that this blog supports my radio show Sweeney’s Gumbo YaYa.  But what puts him over the top for patron canonization is what the Times-Picayune describes as “a robust and unexpected second act as an eccentric, only-in-New Orleans icon.”

Ernie’s turning point was meeting Antoinette Dorsey Fox–a woman with many talents including her ability to sew outlandish outfits to match his personality and to provide love and focus to a man who had taken the textbook life crash of a one-hit wonder.

Ernie in full Emperor regalia outside Mother-in-Law Lounge

Antoinette opened the Mother-in-Law Lounge at 1500 N. Claiborne Street in the shadow of Interstate 10 where K-Doe could perform as well as tend bar.  The lounge became a kitschy memorial to his career, including outsized murals of K-Doe and a jukebox that played his hit every 20 minutes — sometimes accompanied by the real-time K-Doe who kept a wired microphone nearby.

Despite being renovated after Katrina, the lounge closed after Antoinette died in 2009. Kermit Ruffins later bought it and reopened it this year with many of the murals restored.

I recommend reading Ernie K-Doe: The R&B Emperor of New Orleans by Ben Sandmel. The New Orleans writer/folklorist makes it easy to feel a connection to Ernie even though we’ve missed our chance to meet or see him perform. He died in 2001.

Not that death stopped him. A local sculptor was able to adapt a mannequin into a life-size and lifelike rendition of Ernie. For a few years after his death, Antoinette dressed and brought the statute to gatherings around town, including a fundraiser for the benefit of New Orleans cemeteries.  In 2002, the benefit was held at Saint Alphonsus Catholic Church where I once subbed as an altar boy in the 60’s. Apparently the church was also used by Anne Rice as a setting in her novel The Witching Hour.

Antoinette with the Ernie K-Doe statue

Sandmel takes the story from here:   

“Although decommissioned as a place of worship and then reinvented as an arts center, Saint Alphonsus kept its full array of Catholic statuary in place. This holy horde looked on as the Madame Tussaud-esque K-Doe was plunked down in its sacred midst. A bodyguard named Cisco accompanied Ernie’s effigy. He stood stock-still by his charge’s side lest anyone should feel prone to K-Doe kleptomania. But almost everyone else at the church was in frenetic motion.  A zydeco band set up in front of the altar and cranked out upbeat two-steps and slow, low-down blues. This irresistibly danceable blend inspired the cemeteries’ more extroverted friends to twirl, bump and grind by the baptismal font, with their Lestat costumes and Goth garb all a-flutter.  At evening’s end Antoinette disassembled and packed up the statue like all mannequins, it is sectional–with the disarming comment, ‘I’m working poor Ernie to death!’”

Ernie and Antoinette

Poor Ernie. Now you gotta be my patron saint as well. I’ll be playing Ernie’s Certain Girl — a New Orleans favorite on the September 15th show on KAOS starting at 10 a.m.

POST SCRIPT: And I’ll honor his birthday on the February 23rd show.

You needn’t be from New Orleans to say it right

I like to think that I come from the Gershwin school of pronunciations, as in “You like ‘to-may-toes’ and I like ‘to-mah-toes’.” But I have to admit I did ask my daughter-in-law to stop saying New Or-leens. For me, it’s the equivalent of fingernails on the chalkboard.

I couldn’t really blame her. “New Or-leens” is what most people say because its most often sung that way. Probably because it has better rhyming capability as in “Do You Know What It Means to Miss New Orleans.”

Pronunciations in New Orleans can be tricky. Take street names, for instance.

It's easier to pronounce if you do the first syllable as
It’s easier to pronounce if you do the first syllable as “Chop”

Tchoupitoulas Street, home of the legendary Tipitina’s club, looks daunting until you know to start it by saying “chop.” Other streets are harder than they look. Carondelet is pronounced with an “et” at the end. Chartres is “Charters.” Even the seemingly easy Burgundy Street ain’t said right unless you accent the “gun.” Here’s a short video on street pronunciations, featuring Soul Rebel drummers Derrick Moss and Lumar Leblanc.

But back to saying “New Orleans”, even natives will say it differently because of the variety of accents that reside in the city. In the 60’s when I was an altar boy for an itinerant priest, we had a gig at St. Alphonsus Church on Constance Street in the Irish Channel. Having never been in the neighborhood before, I remember how shocked I was to hear the other altar boys sound like Bobby Kennedy. And I lived only three miles away.

The expression
The expression “Where Y’at” also is the title of New Orleans entertainment guide magazine.

Then there is “Yat” — considered a unique New Orleans dialect and accent, popularized in the novel, Confederacy of Dunces by John Kennedy Toole. The accent “is hard to distinguish from the accent of Hoboken, Jersey City, and Astoria, Long Island” according to A.J. Liebling author of “The Earl of Louisiana” and quoted in Confederacy of Dunces.

Ray Blount, Jr. in his ode to New Orleans (Feet on the Street) notes that the typical New Orleans accent is particularly noticeable with the word “quarter” as in “French Quarter” (or two bits). “It comes closer to rhyming with ‘porter’ than with ‘garter,’ but it’s more ‘Quo-tah,’ with an ‘o’ sound that’s semi-extended, as if you’re saying ‘oar’ or ‘o’er’ more like it, but not finishing off the ‘r’ sound.”

What were we talking about, oh yea, how to pronounce New Orleans. Oh hell say it, or sing it, the way you want. For me, I prefer extending the “w” into the second syllable as in “Nu-Wah-Lens the way Lil Queenie does it when she sings “My Darlin’ New Orleans.”

Just don’t say “Nawlins” unless you and your companions have downed too many Abitas.

HEAR ME MISPRONOUNCE ALL SORTS OF NEW ORLEANS WORDS ON SWEENEY’S GUMBO YAYA, MONDAY, 10 A.M. TO NOON (PST) ON KAOS, 89.3 FM

What makes New Orleans drummers and drumming unique?

There’s something special about New Orleans drummers.  A statement I read and hear regularly and while my untrained ear suggests that is true, I cannot in my own words explain why.

Drum Magazine has made it easy for me though by interviewing four of New Orleans top drummers. The magazine pulled together musicians who have handled the beat for The Meters, Professor Longhair, Wynton Marsalis, Papa Grows Funk, Galactic and countless other projects.  Some of the conversation gets a little beyond my understanding but if you’re a drummer, I recommend you read the interview.  Here’s a lay summary of it:

While New Orleans wasn’t much different as other Southern locales for discouraging the continuation of African culture, the city was unique in that it did allow for New Orleans slaves and people of color to congregate at a central location, known as Congo Square, on Sundays to share, among other things, music.  From this setting, Caribbean and African rhythms and syncopation met European harmonies and melodies.

The key distinction of New Orleans drumming is an emphasis on the bass drum which in the New Orleans parade tradition is the heart and soul of the show.  The bass “is the main voice; and the snare drum is the polish.” Interestingly, in the marching band, second line tradition, the bass drummer and snare drummer are two separate musicians.

“Bottom line is it has to be a pelvic thing. . . What makes me unconsciously decide whether it’s good or bad is when I’m having a conversation [at a gig] far away from the music with someone who’s totally distracting me, and in the meantime I’m moving my butt. Then I know it’s the science of true, organic swing.”

Drumming that gets your butt moving.  Yea, that’s what I’m talking about.