I know I’m buying into the whole commercial thing of doing songs about love on Valentine’s Day. So what! Once you start the show with the Tin Men’s cover of “I’m in Love Again,” you won’t care either.
I mean, you can’t go wrong with a song about love where the besotted one (in this case Fats Domino who originally sang the song) suggests to his new lover “Baby, don’t you let your dog bite me.”
Earl King takes it up a notch with his “Love is a Way of Life” from his Sexual Telepathy album. Teedy Boutte follows that up with a cover of “Piece of My Heart.” But really it was all a set up for me to play “Ten Commandments of Love.” Yea, if you’re still with me by then, you are a softy.
Eric Lindell provides a more contemporary original rhythm and blues tune called “You Look So Good in Love,” followed by The Iguanas edgy “Nervous.” Kelcy Mae rocks out the end of the set with “(Don’t Be Stupid with) My Love.”
Yvette Landry & the Jukes do the hit off her new album, “I Need Somebody Bad,” (“because I just lost somebody good.”) The Write Brothers follow that up with another lost love song “Losin’ You” and Snooks Eaglin takes on the classic “Careless Love” to finish that set of frustrated love songs.
The next set features some great jazz with Kid Thomas, Preservation Hall Jazz Band, and Shotgun Jazz Band, finishing with Maria Muldaur’s version of the Blu Lu Barker number “Loan Me Your Husband.”
I take a short Mardi Gras music break – yes, its still Mardi Gras season — before finishing with one last love song set with Lynn Drury, Walter “Wolfman” Washington and Big Al and the Heavyweights. If you hang in there for this set, you’ll get a treat of Lenny Kravitz singing “Whole Lotta Loving” with Rebirth Brass Band and Trombone Shorty backing him up .
I’m a little late in posting last Thursday’s show but I’m hoping its worth the wait, featuring music written by and in some cases performed by Earl Silas Johnson – aka Earl King.
Born in the Irish Channel district of New Orleans on February 7, 1934, Earl Silas Johnson is behind one of the more covered Mardi Gras standards, “Big Chief.” So in today’s show (which you should have playing by now – click the arrow above) I dive into Earl King’s music as well as other Mardi Gras numbers — including perhaps the most covered “Mardi Gras in New Orleans” song written by Professor Longhair.
This weekend, the 2019 Mardi Gras parade season ramped up with the quirky, Sci-Fi parade “Krewe of Chewbacchus.” The 900-member, self-described satirical space cult, walks, pedals, pushes but does not drive its contraptions down its parade route. Only three rules: No unicorns unless with rocket thrusters; no elves unless cyborgs; and no whinebots.
Earl King kicks the show off with one of my favorites: “No City Like New Orleans.” Later I play an early recording of his called “Til I Say Well Done” and an example of him funking it up with “Do the Grind.” Covers of King songs by The Roamin’ Jasmine and Dr. John round out my tribute to what would have been his 85th birthday if we hadn’t lost him in 2003. I finish the Earl King segment with The Radiator’s tribute song “King Earl.”
The fun continues though with new music by Walter “Wolfman” Washington, Lena Prima. Benny Turner, Big Al and the Heavyweights and Yvette Landry and the Jukes.
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Nothing like putting up a new calendar to feel the passage of time. Was 2018 a good year? What about 2019? Welcome to my musical reflection of this new year (first show of 2019) with amazing music from New Orleans. You can play it now while you finish reading
No matter how good my life is, it all seems hollow with our growing unhoused population, a gridlock country and a world that requires solutions built from collaboration rather than conflict. These thoughts guided my selections of songs.
Earl King kicks off the show with his “Make a Better World” followed by Lee Dorsey singing “Why Wait Until Tomorrow.” Later, Colin Lake performs his original song “The World Alive” followed by Tom Hambone’s “Faith” from his NOLA Sessions’ recording
The Radiators exhort us to “Never Let Your Fire Go Out” aided by The Neville Brothers “Wake Up” and Galactic’s “Action Speaks Louder than Words.”
“Who’s Gonna Help Brother Get Further” written and sung by Allen Toussaint with help from Elvis Costello seemed to fit right in at this point, along with “Street Symphony” by the Subdudes and an encore by Toussaint with “We’re All Connected.”
Carlo Ditto and Louie Ludwig songs take on complacency when it comes to war and Irma Thomas and James Booker close it off with “River is Waiting” and “Amen” respectively.
In between the above are appropriate songs by Dr. John, Helen Gillet, Paul Sanchez, the Iguanas, John Mooney, Mem Shannon, Marcia Ball and Ever More Nest.
I wish you a happy and fulfilling year. Stay engaged!
To me, the Thanksgiving holiday is about being at home with loved ones. And so this show is about getting home and being home.
After Earl King sings about “Eating and Sleeping” (a succinct description of the typical Thanksgiving Day), I move on to this show’s theme with Seth Walker’s “Home Again.” I switch genre with a rock steady number by New Orleans reggae group 007 and finish the set with Clifton Chenier doing “I Am Coming Home.”
The Radiators do “The Long Hard Journey Home” and Lloyd Price asks for a another chance with “Let Me Come Home Baby.” Hoagy Carmichael’s early composition “My Home, New Orleans” gets a wonderful instrumental treatment by Al Hirt later in the show followed by Papa Grows Funk.
Before performing “Home”, Paul Sanchez introduces horn players Craig Klein and Shamarr Allen with a story of how these musicians helped him restore his home after Hurricane Katrina destroyed it. Stay with the show through to the end and you’ll hear Lena Prima’s song “Come On a My House” and Clarence Brown singing “On My Way Back Home.”
I hope the holidays find you in a place that you can call home. My best to you. Thanks for listening.
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.
In 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.
Hello. Today’s show marked three full years of airing a show about New Orleans music in a town over 2200 miles away from the Crescent City. My thanks to community radio station KAOS and its listeners and supporters for letting me do this show.
The show kicks off with Theryl “Houseman” Declouet with his infamous introduction regarding the third world status of New Orleans at a Galactic concert and flows quickly into Shamarr Allen’s “Party All Night.” Al Hirt takes a turn and so does patron saint of this website and the show, Ernie K-Doe, with his classic “A Certain Girl.” Who is she? Can’t tell ya. I have reggae and hornpipes, jazz and blues and an amazing live airing of the Radiator’s 7 Devils from the 2006 New Orleans Jazz and Heritage Festival. It was that concert that cinched the deal for me that I would be coming back to New Orleans as often as I could.
Here’s the edited show from today (September 7, 2017) marking three years. Thank you for listening.
No one needs to convince Taylor Smith of the ability of radio to perpetuate musical traditions and nurture new ones.
As the bandleader and composer for The Roamin’ Jasmine, Smith has become well acquainted, as do most successful New Orleans musicians, with the city’s traditional jazz standards. But its been his ability to apply a New Orleans style rhythm and blues spin on classic blues numbers that sets his music apart.
For example, check out his take on Blind Lemon Jefferson’s Wartime Blue (from the band’s second album). With the band’s latest release “Live at Horace’s,” Jefferson’s Hangman Blues gets updated with a New Orleans mambo groove.
“When we started, the guys I recruited to play in the band all played traditional jazz standards, and we all knew a lot of that repertoire so we started playing a lot of that stuff. But soon after coming to New Orleans, I got interested in the classic 1950’s Rhythm and blues tunes and started arranging versions of those tunes for the group.”
“I got to give credit to the great New Orleans radio station WWOZ cause that’s where I’ve heard so much of that music.”
WWOZ, like KAOS, is a community radio station, supported by listeners and underwrites with volunteer deejays. Smith singled out “50’s R&B with Neil Pellegrin” (Tuesdays starting at 5 p.m. West Coast Time) and R & B Oldies with Rare On The Air (Wednesdays at the same hour). From my personal experience, I’ll also add Blues and R&B with Gentilly Jr. same time slot on Mondays.
It was WWOZ’s playing of “That’s a Pretty Good Love” a b-side song to Big Maybelle’s hit Candy that inspired Smith to cover it on his live release.
Smith is a Boston native who graduated from the University of Miami jazz school but fell in love with New Orleans during a college break excursion. His band’s first release was in 2014. They’ve toured England twice and will be performing in Australia this fall as part of a collaboration with Lachlan Bryan (and the Wildes).
Here’s the full interview from my show starting with a spin of “That’s A Pretty Good Love.”
Kenneth Jackson wasn’t quite old enough when it mattered, and I could tell how much he wish he had been. (You can play the show with his interview including music from the Dew Drop era while finishing this short article.)
During the mid-20th Century, the Dew Drop Inn rocked New Orleans, making musical history and forging a special place in the hearts of all the musicians and fans that were lucky enough (and had IDs) to have been there.
“I never was really old enough to enjoy the shows and everything. You know I would kind of sneak in whenever I was down here late and had to bring somebody something but they would run me from out of there,” said Jackson as we toured the fabled nightclub, hotel, and restaurant.
If love could rebuild the Dew Drop Inn, Jackson would have enough to build it twice over. His affection for the shuttered double-storefront on LaSalle Street is almost as obvious as his love for the man who started it all, his grandfather, Frank Painia.
As detailed in my previous post, Painia built a key piece of music industry infrastructure during the New Orleans R&B golden age. But when Painia died in 1972, the music at the Dew Drop Inn stopped as well. The family retained and operated the business, primarily as a hotel, until Hurricane Katrina.
The flood mess has been cleaned out. Artifacts have been saved. Some framing and some new wiring has been done. Also, the building has a temporary facade that highlights the history contained with in. But its not yet ready to be open to the public.
Jackson envisions a day when folks can come back to the Dew Drop and get a meal, catch a show, even spend the night or host a party. He thinks the time is right. Nearby streets like Freret and O.C. Haley are undergoing a renaissance of new business and renovation.
Across the street from the Dew Drop, the infamous “Magnolia,” a crime-ridden housing project that also was home to hip hop artists Lil Wayne, Juvenile, Jay Electronica and Magnolia Shorty, is gone. In its place is a lower density, stylish new development called Harmony Oaks that provides a mix of market rate rentals and public housing.
One of the groups to spearhead the community’s revitalization, Harmony Neighborhood Development, is working with Jackson and his family to secure the funding necessary to get renovations started. But all the pieces have yet to come together.
Tulane University’s School of Architecture has weighed in with plans and archival assistance. And there’s a wealth of love and affection for restoring the business by New Orleans musicians, young and old.
There may be a day soon when Kenneth Jackson will be able to enjoy a club performance at the Dew Drop Inn. After all, while its possible to be too young to party at the Dew Drop Inn, you’re never too old.
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)
You cannot truly understand New Orleans music without having some awareness of the Black Indians of Mardi Gras, or what is more commonly referred to as “Mardi Gras Indians.”
This more than century-old tradition of certain African Americans in New Orleans wearing elaborately designed, handmade suits in honor of Native Americans on Mardi Gras Day belies any easy explanation.
I like the Folklife in Louisiana tribute to Allison “Tootie” Montana as a good starting point on this unique folk tradition. (I also highly recommend again the book “Nine Lives” which features Tootie’s story from the perspective of his wife, Joyce Montana).
Tootie Montana was known as the Chief of Chiefs for his role in elevating the practice of “masking” and “suiting” up to a high art. In an effort to diminish the violent history of Mardi Gras Indian gangs, Montana incorporated sequins, beads and large garish feathers into his suit, using egg cartons for an undercarriage that provided a three-dimensional look. His stunning suit changed the game by swapping the battlefield weapons of guns and knives with needle and thread.
While you should feel lucky and relatively safe if you ever have a chance to observe a Mardi Gras tribe in full display, the violent tradition still colors their music and rituals. Make no mistake about it, there is still rivalry. But instead of who is the toughest, the goal is who is the prettiest.
A percussion-driven music is an essential part of this tradition with the tambourine being the most common instrument. The songs speak to the traditions and history of the Mardi Gras Indians, using words with origins that reside deep in the linguistic stew of New Orleans and is more simply stated as “creole.”
Author Jay Mazza who was lucky as an outsider to observe a Mardi Gras Indian practice, describes the music this way in his book Up Front and Center:
“The lyrics of Mardi Gras Indian music are based on boasting and improvised vocal rhymes. Each Indian took a turn until he ran out of words, began repeating himself or was pushed out of the spotlight by another Indian.”
Not surprisingly, the words, rhythms and vibe of the Mardi Gras Indian have worked into New Orleans music in countless ways.
Songs like Jock-O-Mo by Sugar Boy Crawford and Iko Iko by The Dixie Cups draw their origins from Mardi Gras Indian chants. Earl King’s historic “Big Chief” which was recorded with Professor Longhair has references to the Chief’s “Spy Boy and Flag Boy” both important roles in the tribe. These were musicians who borrowed from the tradition.
It wasn’t until the early 70s, that the world heard the real thing outside of New Orleans. Bo Dollis, Big Chief of the Wild Magnolias, and Monk Boudreaux of the Golden Eagles collaborated on recordings, starting with the single Handa Wanda and later two albums in 1974 and 1975 respectively. Both continued to record and perform with their own gang and other musicians over the years. Last Tuesday, January 20, Bo Dollis died and the city is mourning. Monk continues to perform and will be at this year’s New Orleans Jazz & Heritage Festival.
The Wild Magnolias recordings were followed closely by an album release of Wild Tchoupitoulas. George Landry, otherwise known as Big Chief Jolly of the Wild Tchoupitoulas, fronted a powerful group of musicians, including his nephews Cyril, Art, Charles and Aaron Neville, in a seminal album of Mardi Gras Indian songs. On the back and inside cover of the Neville Brothers’ release Fiyo on the Bayou where they reprise some of the songs, you’ll find a tribute to Chief Jolly.
If you are a Treme fan, then you’ve witnessed the fictional story of Albert Lambreaux, the Big Chief of the Guardians of the Flame. The model for this character is the real chief of the Guardians of the Flame, Donald Harrison Sr. whose son, Donald Harrison Jr. has applied his highly regarded jazz musicianship to fusing jazz and Mardi Gras Indian rhythms in some of his recordings, including Spirits of Congo Square.
To get more detail on the music of Mardi Gras Indians, I recommend this article by former WWOZ Show Host Thomas Morgan. To hear more of this music as well as other great New Orleans music, be sure to tune in on Monday for Sweeney’s Gumbo Ya Ya.