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 While no longer active, they had an active live performance career as an opening act during 1990’s. Stay on later in the show to hear “Astral Project.”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.
With this week’s show, I try to capture in music the place in rock and roll history of Dave Bartholomew, who passed away recently. You can get the show started now and then read on.
Born on Christmas Eve in 1918, Dave Bartholomew was already a bandleader by the time he entered the Army during World War II. As a member of the 196th Army Ground Forces Band, he gained experience in writing and arranging music. By the end of the 40’s with the war over and with folks ready to dance, he led one of the hottest bands in New Orleans becoming part of the evolution of swing into R&B.
The pivotal year for him was 1950 when he released his first big hit “Country Boy “(which starts the first full set of the show) and he met, recruited into the studio and recorded Fats Domino, scoring a big hit right out of the box with “The Fat Man” (also featured in the first set). His 14-year work relationship with Domino became one of the most celebrated collaborations in rock and roll. Bartholomew wrote and co-wrote many of Domino’s songs, arranged the horns, performed on his records and basically managed the musicians both in the studio and on tour.
During this time, he worked with many other New Orleans artists through his relationship with Lew Chudd and Imperial Records. One of of these talents was Smiley Lewis who you’ll hear singing the original recording of “Blue Monday.” Other artists were Pee Wee Crayton, Shirley and Lee, Snooks Eaglin and Lloyd Price (for Specialty Records). You’ll hear them all performing songs written or arranged by Bartholomew.
A fine musician (trumpet) and singer, Bartholomew was inducted into the Rock Hall of Fame as a non-performer in 1991 — largely because of his deep involvement with Cosimo Matassa’s J&M studio in New Orleans and, according to his Hall of Fame bio, his ability to shape “the rhythmic orientation of that city into a sound everyone would come to know and love as rock and roll.”
I finish out my Bartholomew segment with covers of Bartholomew/Domino songs by Galactic, George Porter Jr., the Roamin’ Jasmine and Allen Toussaint. Federal streaming rules limit how many songs I can play of one artists so I didn’t play “My Ding-a-Ling” a Bartholomew song made famous by Chuck Berry. In prepping for the show, I noticed a fairly significant difference between Berry’s version and Bartholomew’s. While Berry caught some controversy over the suggestive lyrics of his version, he probably would have gotten in even more trouble had he used the lyrics sung by Bartholomew in the original recording.
The rest of the show focuses on the music of Louisiana acts that will be performing in the Northwest this summer. I hope you have the chance to see one of these artists live. Here’s the schedule. Thanks for tuning in.
This week’s show is about the one-handed piano player you have likely heard but not heard of. Edward Frank played on scores of R&B hits created in the Cosimo Matassa cauldron in the 50’s and early 60’s. But there’s more to the story so go ahead and get this week’s show started, kicked off by BeauSoleil’s “Bon Temps Rouler.”
This show celebrates Edward Frank’s birth anniversary. He was born June 14, 1932 and died in February 1997. Despite his early R&B history, he spent his later years playing more contemporary jazz at venues such as the Palm Court Cafe and Preservation Hall. He was a talented horn arranger and keyboardist, involved with Dr. John’s “Goin’ Back to New Orleans,” the Dirty Dozen Brass Band’s”Jelly,” Snooks Eaglin’s “Soul’s Edge,” Tommy Ridgley’s “Since the Blues Began”and Chuck Carbo’s “Drawers Trouble” and “The Barber’s Blues.”
Frank was born and attended high school in New Orleans. Except for a stint at college and some time in Houston working Bobby Blue Bland, he mostly made his home in New Orleans. He also played in Europe with Lillian Boutte. His performances were made more remarkable because of a disability that rendered his left arm paralyzed. This show features Frank playing piano on songs by Lloyd Price, Bobby Charles and Shirley and Lee (backing them up on their hit, “Let the Good Times Roll.”)
But first you’ll be treated to a set that includes Carlo Ditta’s “Tell It Like It Is,” the New Orleans Jazz Vipers’ “Swing that Music” and Professor Longhair recorded live in Chicago.
Stay with the show after the Edward Frank set because Davis Rogan, another New Orleans piano player, calls into the show to talk about how he was given a valuable life lesson by Ed Frank after losing a spot in Kermit Ruffin’s band. This show also has songs by Dirty Dozen Brass Band, the Hot 8 Brass Band (doing a long cover of “Sexual Healing”), Chocolate Milk, Corey Henry, Big Sam’s Funky Nation and a new song by Gal Holiday and her Honky Tonk Revue.
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Dr. John turns 75 this Saturday (November 21, 2015). Still active as a performer (nine shows last month) and recording artist (releasing Ske-Dat-De-Dat last year), Malcolm John “Mac” Rebennack’s career goes back to the late 1950’s when as a guitarist he worked with Earl King, James Booker, Professor Longhair and other denizens of the J& M studio.
Like Earl Palmer who laid down the beats to the New Orleans R&B sound before migrating to Los Angeles to become part of the fabled “Wrecking Crew,” Rebennak was a well regarded studio musician both in New Orleans (before having to leave the state) and California.
However, unlike Palmer, Rebennak stepped out in front of a band when he created the spiritually-infused persona, Dr. John Creaux the Night Tripper, based on a New Orleans hoodoo practitioner. This new character debuted on the “Gris Gris” album released in 1968.
To hear Harold Battiste tell the story, the whole thing was just a lark. Another New Orleans musician who migrated to California, Battiste was a record producer and Sonny and Cher’s musical director in the 60’s. He approached Rebennak who had played on tour with Sonny and Cher to see if he had any concepts for a new album.
“Mac told me that he had been reading up on this character called Dr. John from the New Orleans voodoo tradition and wanted to work something around that.” Actually, the character was a “hoodoo” practitioner which I understand is different than voodoo — kind of like a competitive alternative to voodoo.
“This was not to be a proper production with music arrangements and everything by the numbers. We would have to create a vibe in the studio where the spirit led the way,” wrote Battiste in his autobiography “Unfinished Blues: Memoirs of a New Orleans Music Man.”
Rebennak had created the concept for singer Ronnie Barron but according to Battiste, Barron’s agent nixed it. So Mac took the role. Battiste wrote that he envisioned the “the whole concept as a tongue-in-cheek thing.”
The album included a cast of New Orleans musicians working in southern California such as John Boudreaux, Ronnie Barron on keyboards, Jessie Hill and Shirley Goodman.
“The studio was like a Mardi Gras reunion, everybody laughing and talking, telling stories all at the same time. But once we got settled, the vibe was there and the music just flowed.”
For the album cover, Mac needed an outfit and Battiste arranged for Cher’s seamstress to arrange “odd pieces of animal skins tacked onto colorful clothes. She made him a snakeskin crown, and he found various trinkets and accessories to validate his voodoo status.”
The album’s release was delayed by about a year while record company executives tried to figure out what to do with it. But it received strong reviews upon release, creating a new problem. Now Mac really had to become Dr. John and perform as him.
His first live performance as Dr. John was at the Filmore West with Thelonious Monk. That’s right! Mac and Monk. Almost three dozen albums later, “Dr. John” (Mac Rebennak) is still going strong.
You can catch Dr. John’s music and much more in my next show (recorded here).
Perhaps its a stretch to compare the Dew Drop Inn to Congo Square. But I see similarities between the two. (You can listen to the show while reading this post)
Just as Congo Square served as a gathering place for African American commerce and cultural exchange up through the mid-19th Century, the Dew Drop Inn in New Orleans provided a safe and comfortable place for New Orleans musicians of the mid-20th Century to gather, support each other and play music.
One served as the genesis for Jazz and the other was an incubator for New Orleans R&B and early rock and roll. The Dew Drop Inn was not just a nightclub and bar, it was a vital regional center for African Americans, particularly musicians, at a time when the South and New Orleans enforced apartheid.
I’m not sure if those thoughts initially entered Frank Painia’s head when he decided to expand his barbershop on LaSalle Street to include a restaurant and bar. Most likely, he just saw a business opportunity across the street from where one of the largest housing projects in New Orleans was being built (the Magnolia Projects). By expanding his business, he provided employment for his brothers and eventually other relatives. He christened it the Dew Drop Inn in 1939.
With America mobilizing for the war effort, Painia added a hotel next door so African Americans on the move would have a place to stay when visiting or passing through New Orleans. The combination of barbershop, restaurant, lounge and hotel made the Dew Drop Inn a convenient stop for travelers.
But it was Painia’s venture into booking performers that would put the Dew Drop solidly into music history. He started by producing shows at a nearby boxing arena and high school auditorium. Since he had the Dew Drop, he could house and feed the touring musicians, who in turn would jam in the lounge after the official performance. It wasn’t long though before he started booking local acts to perform at the Dew Drop.
Then in 1945, just in time to entertain returning soldiers and their dates, Painia built the “Groove Room.” Located behind the Dew Drop, this two-story music and dance hall with a balcony and elevated band stage established an upscale ambiance with top-flight performers of the day, including Billie Holiday, Big Joe Turner, Clarence “Gatemouth” Brown, and Amos Milburn. Later Ray Charles, James Brown, Solomon Burke, and Bobby “Blue” Bland would grace the stage. Many homegrown performers including Earl King, Huey “Piano” Smith, and Allen Toussaint launched their careers from the Dew Drop.
The Dew Drop was home for many musicians, whether passing through or getting their act together. It was a 24-hour operation where musicians could eat, meet, clean up with a haircut, shoeshine and shower, and plan their next step. They would play for white audiences downtown then head back to the Dew Drop and jam with the house band or whoever was performing until daylight.
The nightclub show included an emcee, comedians, magicians, dancers and, of course, the bands. It was not uncommon for the emcee or some of the dancers to be female impersonators (to use the term of that day). Bobby Marchan, who would sing with Huey Smith and the Clowns, got his start in New Orleans as part of a drag show called the Powder Box Revue.
Most New Orleans musicians of that period have stories about the Dew Drop. Grandpa Elliot Small of Playing for Change remembers watching his uncle play the harmonica there. Deacon John tells of how he broke into the recording business when he was approached by Allen Toussaint while playing guitar at the Dew Drop. “My head just popped open at the opportunity . . .the very next day we were in Cosimo’s studio recording with the great Ernie K-Doe. “
But my favorite story is how Richard Penniman got his mojo at the Dew Drop Inn. Things weren’t popping in J&M studio that September day in 1955. Producer Robert “Bumps” Blackwell, a native of Seattle, called for a break and took his young protege for a drink. It was a slow day at the Dew Drop until Richard discovered the upright piano in the corner and banged out a tune so bawdy that Blackwell had to hire a writer to clean up the lyrics. Little Richard’s Tutti Frutti was a crossover hit that propelled him to national fame.
While the Dew Drop Inn was established, owned and frequented by African Americans, white patrons were allowed in. But this meant that Painia was arrested at times when police raided his business and charged him with “racial mixing.” Eventually, he successfully sued the city, establishing the right for businesses to serve any customer they wanted.
By the end of the 60’s, changing musical trends, desegregation and Painia’s declining health brought an end to Dew Drop Inn’s musical performances. The business carried on mostly as a hotel until Hurricane Katrina caused so much damage, it could not reopen.
I’ll have that story in next week’s post (available now). Here’s the podcast of the show featuring musicians who played at the Dew Drop Inn and we’ll hear in Mr. Jackson’s own words about the Dew Drop’s glory days.
In New Orleans, the show must go on unless you can’t keep the musicians dry or if lightning threatens the audience. Over the course of the 2015 French Quarter Festival in New Orleans, we had a good bit of rain and a few lightning bolts.
So periodically, stages have been closed, including Tricia Boutte’s show right as she was beginning. Bummer!
The highlight for me today was indoors though when Allen Toussaint and Deacon John sat down with author John Broven. The one-hour program started with Toussaint going right to the Steinway and banging out his hit originally done by Irma Thomas, “It’s Raining.” This time, Deacon John sang it, with a few appropriate ad libs.
The stated purpose of the program was to reminisce about Cosimo Matassa and the heyday of New Orleans R&B and early Rock n’ Roll–a period of time that launched the careers of both Allen Toussaint and Deacon John. More on Mr. Toussaint and more on Mr. Matassa.
Of Cosimo and his studio, Toussaint said “It was our doorway and window to the world . . .He and Dave Bartholomew put us on the map. . .He (Cosimo) saw the big picture long before we did cause we were just having fun. “
Deacon John described getting discovered by Toussaint at the Dew Drop Inn one night and the next day going into Matassa’s studio to help Ernie K-Doe record “There’s a will, there’s a way.”
As I mentioned in my previous post, I won’t be hosting this Monday’s show. Anch of Sundrenched will handle affairs and I plan to call in during the show. Consider subscribing to this blog so you can be alerted the next time I post. (see upper right hand of page)
Allen Toussaint was a teenager when he first sat in on Earl King’s band and regularly scored gigs at the legendary Dew Drop Inn.
It wasn’t long before he found his way to the center of the known Rock n’ Roll universe at the time, Cosimo Matassa’s studio, where he laid down piano tracks on recordings by Fats Domino, Huey “Piano” Smith, and Aaron Neville. But it was when he joined Minit Records that his creativity became apparent to the world. Using his parent’s living room as rehearsal space and testing ground for new material, he assembled a parade of hit singles by Jessie Hill, Irma Thomas, Lee Dorsey and this blog’s patron saint, Ernie K-Doe.
As a keyboard savant, Toussaint could accurately reproduce and synthesize the city’s revered legacy of piano professors, especially the style of Professor Longhair. But as a songwriter and arranger, he was able to weave the full panoply of New Orleans rhythms, vocal traditions and spirit into a clean appealing style for the pop market. In fact, he, along with K-Doe, were responsible for the sole number 1 pop chart hit recorded in New Orleans, “Mother-in-Law.” (A song written before Toussaint was married and had one.)
Later, he started his own record labels providing a platform for local and national musicians to access the New Orleans sound. With The Meters as his studio house band, Toussaint was a key force behind the New Orleans funk sound that developed in the 70’s. A prolific songwriter, his music has been performed by The Rolling Stones (“Ruler of My Heart”), The Who (“Fortune Teller”), Bonnie Raitt (“What Do You Want the Boy To Do”), Devo (“Working in the Coal Mine”), Al Hirt (“Java”), The Doors (“Get Out of My Life Woman”), Jerry Garcia (“I’ll Take a Melody”), Glen Campbell (“Southern Nights”), Robert Palmer (“Sneaky Sally through the Alley”), The Pointer Sisters (“Yes, We Can Can”) and many more.
In 1973, Toussaint had a big hand in producing and performing on Dr. John’s album “In The Right Place.” Two years later, Linda and Paul McCartney moved their entourage to New Orleans to collaborate with Toussaint in his New Orleans studio on their album “Venus and Mars.”
He was inducted into the Rock and Roll Hall of Fame in 1998, the Louisiana Music Hall of Fame in 2009, and the Blues Hall of Fame in 2011. If there’s any question of whether being a senior statesman of New Orleans music has diminished his chops, you need only look as far as his grammy-nominated, post-Katrina collaboration with Elvis Costello, “The River in Reverse,” for evidence that at 77, he still has it.
In addition to being a producer, bandleader, arranger and songwriter, Toussaint is an accomplished pianist and stands with the great New Orleans piano “professors.” Toussaint will take the stage at the French Quarter Festival on April 9 at 3:45 p.m. but you will be able to catch his music on my next show this Monday. (Here’s the recorded show)
In 1945 at the tender age of 19, Cosimo opened an appliance store with a partner in New Orleans, hoping to take advantage of the pent up demand for home conveniences and the many new households that were forming after the war. The store also sold records.
His partner suggested they make recordings for their customers. Cosimo, being the more technical of the two, took on the task of getting that business going. As a former Tulane chemistry major, he was your classic nerd. But having spent a few years working with his Dad’s jukebox business, repairing the equipment and swapping out 78 rpm records, he was a nerd with an ear for music.
The J&M Music Shop was at the right place at the right time on the corner of Dumaine and Rampart, sitting between the French Quarter and the Fauberg Treme’ neighborhood – a center of African-American and Creole culture and home to many New Orleans musicians.
After World War II, people were ready to have fun. And the music, particularly from a new generation of black New Orleans musicians raised on jazz, swing and big band music, was ready to make the party happen.
The studio’s success started with Roy Brown, who had just returned to New Orleans with his Gospel-trained voice and was performing at the famous Dew Drop Inn. It was in the back of the J&M in 1947 that Brown recorded the jump blues song, Good Rockin’ Tonight, a hit that can arguably be considered one of the first Rock and Roll songs. Just ask Elvis.
Things really took off when horn player and band leader Dave Bartholomew started using the studio for his work as a musician, arranger and talent scout for Imperial Records. Through Bartholomew, early R&B greats like Smiley Lewis, Frankie Ford and Tommy Ridgley would record at the studio. But the star who solidifies the studio’s listing as a Rock and Roll Hall of Fame landmark is Antoine “Fats” Domino. Through a good chunk of the 50’s, Domino, with able assistance from Bartholomew and Matassa, released a series of R&B hits, finally crossing over into the pop charts with “Ain’t That a Shame” in 1955. All of the Fats’ recordings as well as hundreds of other R&B and early rock and roll gems were recorded in that little studio.
By 1956, Matassa was no longer selling appliances and had moved his studio to larger digs on Governor Nicholls Street in the French Quarter. Like many successful studios, Matassa’s operation benefitted from a talented group of studio musicians, usually organized by Bartholomew but also by the emerging talent, Allen Toussaint. These musicians included Earl Palmer on drums, Alvin “Red” Tyler and Lee Allen on sax, Frank Fields on bass, Huey Smith on piano and a large rotating cast of others. The studio sound was so synonymous with success that labels, like Ace, Atlantic, Chess, Savoy, RCA Victor, Imperial and Specialty would send their artists to New Orleans to capture the magic.
One of the more legendary stories is how Richard Penniman found his mojo at the Dew Drop Inn during a recording break, which led to his breakout hit, Tutti Frutti backed up by the J&M musicians and recorded by Matassa. It’s almost wearying to list the musicians that recorded there, but I’ll add Mac Rebennak (before he became known as Dr. John), Art and Aaron Neville, Professor Longhair, Irma Thomas and Lee Dorsey to this amazing list.
Cosimo Matassa died in September (2014) at 88. He was generous with his time, so it’s easy to find interviews of him, including one of my favorites. He modestly takes little credit for the sounds he recorded. But he maintains that the limitations of the early technology were a benefit, requiring musicians to play a song all together from beginning to end, just like a live performance. His job, he would say, was to get out of the way and let them do their thing.
Obviously, there was more to it than that because all the musicians who worked with him loved this unassuming nerdy son of Sicilian immigrants. His elegance was in his simplicity. He took care of the technical part, creating an environment where craftsmanship and creativity could merge.
“To have a job where you can listen to music all day. Great way to make a living. Lot of great New Orleans musicians made me look good.”
Needless to say, I’ll be hammering my collection of Matassa recordings on my next show this Monday, 10 a.m. to noon, KAOS, 89.3 FM. Streaming at www.kaosradio.org.
Professor Longhair may have memorialized the corner of Rampart and Dumaine in “Mardi Gras in New Orleans” but his memory and spirit live on at a different street corner, Napoleon and Tchoupitoulas, in a music venue that bears the name of another of his classics, “Tipitina.”
Tipitina’s, on the other hand, is a great example of how cool stuff can happen out of love for music and doing the right thing. Just as Preservation Hall is dedicated to keeping New Orleans jazz alive, Tipitina’s was conceived with the notion of honoring the city’s early R&B and Rock ‘n Roll legacy.
When the venue opened in 1977, it’s goal was to provide a public performance space for aging and almost forgotten R&B and Blues artists like Fess (Henry Roeland Byrd), Jessie Hill, Snooks Eaglin, Earl King and others. Tips was born from an act of love by a group of investors who collectively and affectionately became known as the “fabulous fo’teen.”
The venue also provided a platform for other local musicians, such as the Radiators, Little Queenie and the Percolators, the Dirty Dozen Brass Band, the Continental Drifters and the Neville Brothers.
Tipitina’s in those earlier years was quite a bit different than it is today. Music author Jay Mazza described a summer show this way: “Sometimes it was so humid in the place that the clouds of smoke seemed to be seeded with water. The smoke hung low in the room. Both bands and patrons alike were soaked to the bone within minutes. A trick learned early on was to bring extra shirts for changing between sets. . . Still everyone loved the place . . there always has been an amazing vibe associated with Tipitina’s.”
While the venue provided many great musical moments in the late 70s and early 80s, it struggled financially and eventually shuttered for about a year and a half. When it reopened in 1986, a major renovation made it far more attractive for musicians and their patrons. The warehouse-like building was opened up, creating a balcony level with higher ceilings, better circulation, improved bathrooms, and air conditioning.
This is a nice example of how some key changes could make an Olympia venue more attractive.
Tipitina’s also kicked up their bookings, continuing to stage local artists but adding national and international acts to the mix, building a worldwide reputation.
To get an idea of the artists who have performed at Tipitina’s, check out its index of musicians, some of whom are honored with additional recognition on the sidewalk outside: the New Orleans Walk of Fame.
Another cool feature of Tipitina’s is its Foundation. It’s not every place where you can rock out to amazing music, with the understanding that profits go to support the very music scene you’re enjoying. The Foundation purchases instruments for Louisiana schools, provides ongoing youth music workshops, offers an after school jazz and digital recording program under the artistic direction of Donald Harrison, Jr. and provides a a statewide network of workforce development and job skills training centers for musicians, filmmakers and other media professionals.
And you never know what you’ll find at Tips. An Olympia friend told me about how she and her partner on a NOLA visit wandered into the uptown bar on a late Sunday afternoon, ordered a beer and found themselves drawn into a Cajun Fais Do Do.
So next trip to NOLA, put Tips on your list. Until then, you can catch many of the musicians who perform there on Sweeney’s Gumbo YaYa, every Monday from 10 a.m. to noon on your community radio station, KAOS.