My show did two laps on the KAOS Fall Pledge Drive so I skipped posting up last week’s show but trimmed this one down to the usual chatter and the music. Get it started an read on.
This show features my usual seasonal favorites by Clarence “Gatemouth” Brown (Swamp Ghost) and “Morgus the Magnificent” by Dr. John, Frankie Ford and Jerry Byrne. But I also honor those who passed to the other side tis year, including Dr. John, Spencer Bohren, Paul “Lil Buck” Sinegal, Art Neville and Dave Bartholomew. (links are to tribute shows aired earlier in the year when they died).
You’ll also hear Juli Kelen’s voice helping me on this show. Juli’s youthful voice and energy belie the fact she has been actively involved in KAOS from almost the beginning in the 70’s. You can support free-form community radio by donating online at http://www.kaosradio.org. Thank you for tuning in.
I ordered some new releases from Louisiana Music Factory and this show has at least one cut from each of my new acquisitions. Start it up.
Bamboula 2000’s “Cuba to Congo Square” starts the show. And then I quickly shift gears into a new release featuring a very entertaining number by Kid Eggplant – “I caught you slippin in. . Yea, you stink like gin. “
I won’t spoil the rest of the show for you but do expect some country, cajun, brass band, blues, rock and more R&B. Thanks for tuning in.
Three key birthdays lined up for today’s show along with two visits by premiere New Orleans brass bands. But the show starts with a rollicking bluegrass number with a sousaphone pumping out the baseline. You can listen and read on by clicking the sideways arrow below.
John Hartford most likely pulled deeply from his steamboat pilot days on the Mississippi and Tennesse rivers when he wrote the song that opens today’s show. Sadly, he was dead by the time a group of country musicians joined New Orleans musicians on the Maple Leaf stage to cover his “Miss Ferris.” In the first full set, you’ll hear another song from that project.
But the core of the show is celebrating Cyril Neville and Ed Volker’s 71st birthday and Donna Angelle’s 68th. All three were born on October 10, the date this show aired on KAOS. As the youngest of the Neville brothers, Cyril is perhaps the best known of the three birthday musicians. But this show focuses on his non-Neville performances: two solo songs and one with the Royal Southern Brotherhood.
Ed Volker is the distinctive looking keyboardist and songwriter for The Radiators, a jam band that deployed a New Orleans sensibility to rock and won a legend of fans starting in 1978 going through today. And the band has the same line-up it started with. Three Radiators are songs are played on today’s show.
Donna Angelle is a multi-instrumentalist who chose to be prominent on the accordion and lead her own band. She broke the glass ceiling for women band leaders in Zydeco and was closely followed by Rosie Ledet. You’ll hear three of her songs, including “Ladies Night” and one song by Ledet.
The Dirty Dozen and Hot 8 Brass Bands are playing the area this month so you’ll hear a couple songs each by them. The Dirty Dozen Brass Band lead the new wave of brass bands in the 70’s that reinvigorated the traditional New Orleans brass band sound. I play Feet Don’t Fail Me Now” which you can probably hear live when the Dozen perform at the Mount Baker Theater in Bellingham on October 19 and Pantages Theater the next night.
The Hot 8 Brass Band has had their struggles with car accidents and shootings that have changed their line up over the years and created heart break for the remaining members and their families. But they’ll be in Portland and Seattle October 21st and 22nd respectively. I play the short version of their “Sexual Healing” cover and “Bingo Bango.”
There’s more to the show including Doreen Ketchens and Aurora Nealand on clarinet but you should just listen to the whole thing and let me know what you think. Thanks for tuning in.
“Baby face. I’m up in heaven when I’m in your fond embrace.” Little Richard rode those lyrics to Number 2 in the United Kingdom’s pop charts in early 1959. You can hear it right now if you click the sideways arrow below.
Of the many standards that a New Orleans musician would need to know, “Baby Face” may seem like an odd choice until you hear how it so readily adapts from rock and roll, to brass band to improvisational piano. Today’s show subjects you to three versions. In addition to Little Richard who recorded his version in New Orleans in 1956, you’ll hear Mahogany Brass Band and James Booker.
On the way to those songs, you’ll hear Lillian Boutte singing “After You’ve Gone,” Irma Thomas doing the classic “Early in the Morning,” Cha Wa doing “Tootie Ma” and the Yockamo All-Stars jamming on “Blow, Blow Tenor.” It’s not all jazz though. You’ll also hear Rising Appalachia, Slim Harpo, Lee Dorsey and Earl King.
But in the second hour, I celebrate the 127th birthday anniversary of Joe “Kid” Avery, the composer of the most popular second line song of all time. It’s called “Joe Avery’s Piece” but also just “Second Line” given its close association with that activity.
I do a set of spirituals after that and many other surprises. Thanks for tuning in. Please subscribe. Cheers.
I’ve been so enjoying watching the Ken Burn’s PBS documentary on Country Music that this week features nearly an hour of country music from Louisiana. Get on the hayride by starting the show (click sideways arrow below)
It seems you can learn a lot about love from country music (which was known on the Billboard charts as “hillbilly” at the same time that R&B music was categorized as “race” music.) Exhibit A is the opening song by Rocket Morgan. Known for his rockabilly, Rocket bares his heart with the forlorn song a “Too High a Price (to Pay for Love).”
It’s been fun watching Gal Holiday’s career as she steadfastly occupies the two-step country western dance crowd in New Orleans clubs. She kicks off the first set with her refined sound. Ken Swartz kicks up the pace a bit more with his country-inflected “Smile Away the Blues.” And the set finishes with the early 20th century retro sound of the Big Dixie Swingers.
The Burns documentary drives home the importance of the clear channel powerful radio stations that blasted country music throughout the country. Most major markets had some sort of country show with the most well known coming from WSM’s Grand Ole Opry in Nashville. Hank Williams got his break in playing the Opry after being the star on the Louisiana Hayride broadcast out of Shreveport Louisiana.
Yvette Landry, who lives and performs in the Lafayette area, is an excellent example of how Swamp Pop, country, cajun and blues all come together. Her fine voice is on display with “Friday Night Special” – a song that drives home the point that country music is about the story. She is followed up nicely by The Deslondes performing “Heavenly Home.” Werly Fairburn, who grew up listening to the Grand Ole Opry, finishes that set. Later, the talented Alex McMurray channels Waylon Jennings with “Texas Again.”
The back half of the show is a mix of music including two brass band numbers and Kermit Ruffins getting serious with “West Indies Jazz Dance.”
By definition, my show of New Orleans music features a number of musicians that are not well known outside of the city or at least outside the world collective of New Orleans music lovers. But today, I make a particular point to reach into the dusty edges of my music collection. Get it started by clicking the sideways arrow in the next box and then read on.
Today’s show starts with Sam Price and his True Believers — a group that regularly plays along the Gulf Coast but isn’t well known in the Northwest where my show airs. He “has soul in his dancing shoes. . . dancing right where I want to be.”
Slim Saunders was part of the Cosimo Matassa’s studio scene but rarely sang lead. One exception is “Let’s Have Some Fun” with the usual strong J&M studio musician line up — this time Sugar Boy Crawford, Snooks Eaglin, Frank Fields and Edgar Myles. Martha Carter kept Irma Thomas company as the only female artists on the Ric and Ron Labels. She sings “I Don’t Talk Too Much.” Wallace Johnson finishes the first fll set.
Allen Toussaint showed great faith in Willie Harper, helping produce a dozen sides through his studio. None of his songs really caught fire but I like “Walk Ya Out of My Life.” Betty Harris sings “What I’d Do Wrong” and Ted Graham’s Kings of Funk finishes that set.
The show continues with a set of jazz and a set of funk and soul before I spin some cajun and country. One of the bands featured is a band that grew out of Tulane University called Smilin’ Myron. While no longer active, they had an active live performance career as an opening act during 1990’s. Stay on later in the show to hear “Astral Project.”
I hope you enjoy today’s show. Please consider subscribing and you will get a notice of when a new show is available. Cheers.
Every once and a while, I enjoy living up to the stereotypical impression of a New Orleans music show and play only jazz. So if you’re looking for my usual mix of funk, R&B, zydeco, Mardi Gras Indian, country, rock and all stuff in between. This show ain’t it. But its very listenable – get it started and you’ll hear why.
Al Hirt was a presence growing up in Uptown New Orleans in the 60’s. He was the godfather of one of the neighbor’s kids that I would play with and my parents regularly visited Hirt’s club on Bourbon Street. He starts off the show with “Jazz Me Blues.” But I mix it up in the next set with Kid Ory, the Smoking Time Jazz Club and Ingrid Lucia.
Dr. Michael White anchors the second set with his “West African Strut” supported by songs by Linnzi Zaorski and the Preservation Hall Jazz Band.
I get to play my vinyl autographed version of a Willie Humphrey’s album with Sarah Quintana and Lena Prima rounding out the next set. The show rolls on bouncing between traditional New Orleans jazz, some contemporary jazz, a bit of swing and a couple brass band numbers, including “Get a Life” by the Original Pinettes.
I hope you enjoy the show. If you subscribe, you’ll get an email announcing future shows. Thanks much.
I was in my 30’s when I finally understood that the deep depression I experienced every time I moved was related to having left New Orleans when I was a child. Hosting a radio show of New Orleans music has been cathartic. And today’s show marks five years on the air. (you can get the show started and then continue reading this post.)
Joe Lastie’s “New Orleans in Me” speaks to how when you live away from New Orleans (as happened with hundreds of thousands of residents post Hurricane Katrina) , the city stays with you. The song has always resonated for me and it opens this show as a way to honor why I’ve been doing this show for five years.
I was 10 when my family moved away and my heart stayed with the city, aided by frequent visits, until I moved out of the south after I graduated from college. The Northwest was such a good fit for me that over time, I lost touch with my New Orleans feelings — except that sense of loss that would return every time I moved into a new apartment or home.
By the time I returned to visit my sister who had moved back, it had been almost 30 years since I had visited New Orleans. I caught the New Orleans Nightcrawlers at the 2006 New Orleans Jazz and Heritage Festival which caused me to have almost a mystical experience. I just loved their sound and quickly learned that there was more to New Orleans music than Dixieland. The Nightcrawlers open the first full set of the show with “Can of Worms.”
I do a funk set with Mem Shannon, Allen Toussaint and Johnny Sketch and the Dirty Notes. I make sure New Orleans Bounce is represented with the Queen of Bounce Big Freedia doing “Lift Dat Leg Up.”
I try to hint at the diversity of New Orleans music with original songs by Leyla McCalla, Anders Osborne, Kelcy Mae and Lena Prima. I throw in a fun set of Zydeco as well since that is music I would not have learned to love if I had not been doing this show. I hope you have a chance to listen to some of my shows and appreciate the uniquely melting pot American music that emanates from New Orleans
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This year’s recognition show of Hurricane Katrina floats downriver to the disappearing wetlands of Louisiana’s coastline. Get it started and read on.
This is my fifth show recognizing the anniversary of Hurricane Katrina and this year I chose to address the existential issue of whether our country is prepared to hold on to a critical part of its ecosystem and culture – through music (of course).
Perhaps I was affected by reading recently Mike Tidwell’s book “Bayou Farewell” where he details his experiences hitching rides through the bayous of southern Louisiana, working on shrimp and crab boats along the way and basically embedding himself in the Cajun and Vietnamese communities — two refugee populations who have found a home in the delta of the fourth longest river in the world. I found his culturally sensitive approach to an environmental book appealing but also heart breaking.
Tidwell’s book was written and released a few years before Hurricane Katrina but the specter of what a large hurricane could do to the increasingly barren coast runs throughout the book basically serving as a predictor of the damage that was caused by Katrina’s storm surge. Tidwell is also the founder and director of the Chesapeake Climate Action Network.
One of the most telling stories from his book is when riding out to check crab traps with a local named Tim, he heard the story of how Tim, when he “was a kid” would land his boat by a tree on the bank of a canal dug out by Texaco. The now dead tree trunk stuck out of the water 50 feet from shore. The reference to being a kid stopped the author cold because it made the boat pilot “sound like an old man looking back on a long lifetime. In reality he’s seventeen, looking back maybe ten years. It’s happening that fast.”
Fast . . .At the cumulative rate of about 30 square miles a year. The good and sad part of this story is that unlike climate change, a solution to this problem doesn’t require worldwide buy in, but rather a commitment of resources to increase diversions of fresh water carrying much needed nutrients and sediment into the state’s coastal areas. For less than one-third of the annual cost of occupying Afghanistan, this problem could be largely licked.
The Coalition to Restore Coastal Louisiana has done the research, developed the plan, and has been advocating and actually doing things to move the issue forward. But it needs our support. Similarly, the Voice of the Wetlands, a nonprofit volunteer-based organization with the same goal, has been attempting to raise awareness, particularly through its annual music festival in October.
In telling this story, I play the music of Clarence “Gatemouth” Brown, Irma Thomas, Tab Benoit, Del Rey, Eric Lindell, Marcia Ball, Sonny Landreth, Helen Gillet, and many others. Thanks for tuning in and please consider subscribing. Cheers.
The concept for today’s show originates from our need at KAOS to periodically record the composer when we put up our play list on Spinitron. This got me thinking a bit more about how musicians are compensated for the airing of their music. Start the show and then read on.
As I understand it, the broadcast of music over a terrestrial radio station generates income for the composer but not for the performer. However, the streaming of the song on the Internet possibly generates revenue for both the performer and composer. I write “possibly” because there are a lot of “if’s” which I don’t have the brain bandwidth to understand. Also, the amount of money per spin is a small fraction of a penny.
The relevant piece of information here is that because BMI does a spot check on what we play, requiring us to list the composer, I decided to do a show that featured exclusively NOLA musicians playing their own compositions. I added an additional requirement that the musician be active — or at least still alive.
So here is what you’ll hear: Paula (Rangell) and the Pontiacs performing her original song . The prolific Alex Murray performing one of his originals. Flow Tribe doing their unique “Oh Yea.” Tin Men performing an original by band member Washboard Chaz Leary. Meschiya Lake performing a song by her sousaphone player Jason Jurzek. And on it goes. We cover jazz, blues, rock, and stuff in between.
The one exception to my self-imposed active musician rule is Leigh Harris’ wonderful “Dog Days.” Harris, known as Lil Queenie, is struggling with cancer. Here’s here fundraising site for her hospice care. All the rest of the performers heard on this show can be seen live usually playing around the New Orleans area.
I enjoyed creating this show and I bet you’ll enjoy listening to it. (did you get it started yet?) Please consider subscribing. Cheers.