This month’s Gumbo YaYa Dance Party takes a 10-song dive into stomps. Within the first half hour, you will stomp through Mobile (Shotgun Jazz Band), Fort Worth (Aurora Nealand), Mahogany Hall (Louis Armstrong),Shreveport (Smoking Time Jazz Club), Louisiana (Clifton Chenier), a Roadhouse (Matt Perrine) and a Big Pasture (Hackberry Ramblers).
But perhaps the most significant “Stomp” I share is by the piano player who helped fuel the craze. You’ll hear “Black Bottom Stomp” by Jelly Roll Morton’s Red Hot Peppers — a band assembled by the maestro in Chicago from New Orleans musicians fleeing north during the Great Migration in the 1920’s, including Kid Ory on trombone and Johnny St. Cyr on banjo.
But its a dance party, so I move on to “boogies” such as Benny Turner’s “Mojo Boogie,” C.J. Chenier’s “Zydeco Boogie,” James Andrews “Banana Boogie” and Ghalia & Mama’s Boys’ “Hiccup Boogie.”
Shamarr Allen ramps it up further with his kick-ass version of Taylor Swift’s “Shaking It Off” and Corey Henry maintains the sweaty momentum with “Tell Ya Mama Nem.” You’ll also hear Earl King, the Explosions, Benny Spellman, the Dirty Dozen Brass Band and three live danceable performances by Flow Tribe, Midnite Disturbers and Johnny Sketch and the Dirty Notes.
Thanks for tuning in, limbering up and shaking your money maker. My best to you and I’ll check in with you next week.
As part of my month-long celebration of African American Music Appreciation Month, this week’s show is devoted to New Orleans jazz created by musicians of color. Check it out with the player below. (Last week’s show focused on R&B)
Drummer Joe Lastie, a product of New Orleans Ninth Ward and a family of musicians, starts the show with a song he produced with Big Chief David Montana that honors the resilience of the love for New Orleans in Hurricane Katrina survivors. It’s a modern song steeped in the musical traditions that formed jazz.
While the origins of jazz are grist for scholarly debate, one thing is crystal clear to me. The music bubbled up from the creative cauldron of people of color living, working and playing in New Orleans. For more details (without getting scholarly), I like the National Park Service webpage on this topic written in part by Dr. Michael White and Ellis Marsalis. You can read that page while listening to the show which carries on with some of the more well-known pioneers of jazz: Jelly Roll Morton, King Joe Oliver, Bunk Johnson, Louis Armstrong, Sidney Bechet, Kid Ory and Lil Hardin. Okay, so Hardin was from Memphis but she ended up in Chicago with a scrum of New Orleans musicians and she helped whip them into shape, writing and arranging some of the earliest recordings.
You might find interesting this page on Onward Brass Band (also featured in the show) which tells the story of Paul Barbarin, Louis Cottrell, Danny Barker and others in that band. Check out the picture of them drinking (champagne?) with Janis Joplin.
This week’s show honors African American Music Month which is not much of a reach for a show of New Orleans music. Without the musical creations of African Americans, there would be no Gumbo YaYa program. (See this and that.) This week’s show only features musicians of African descent.
President Carter initially named June as Black Music Month in 1979. President Obama renamed the month with a proclamation that said “Songs by African-American musicians span the breadth of the human experience and resonate in every corner of our Nation — animating our bodies, stimulating our imaginations, and nourishing our souls.” He got that right.
While the first jazz record was by the all-white Original Dixieland Jazz Band — the bandleader and drummer were sons of Sicilian immigrants, the earliest practitioners were mostly of African-Americans. No recordings exist of Buddy Bolden and his band, but many consider him to be the closest that jazz comes to having a father. Close followers Jelly Roll Morton and King Joe Oliver perfected their craft in New Orleans before taking it to New York and Chicago. Meanwhile, Oscar “Papa” Celestin and Kid Thomas were keeping the home fires burning by continuing to perform in New Orleans. You’ll hear music from all these African-American musicians in the first full set of the show.
Becky, a listener and fan of New Orleans, provides an intro for the second full set featuring Roy Brown’s Good Rockin’ Tonight, Dave Bartholomew‘s “Country Boy” and Fats Domino‘s first recording “The Fat Man.” Also in this set are less heard songs by New Orleans singers including one by Patsy Vidalia — a performer who might be a trans woman in this era but who in the 50’s found comfort singing as a “cross dresser” in night clubs.
The third set is New Orleans blues –a genre that is exclusively embedded in the African American experience yet is copied and propagated throughout the world by musicians of all backgrounds. Lizzie Miles, Lead Belly, and Champion Jack Dupree nail down that set.
The New Orleans Spiritualettes and the Treme Brass Band provide gospel numbers in a set that then rolls into two other brass band numbers, including “Who Dat Called Da Police” by New Birth Brass Band.
A few years back while performing on television, Miley Cyrus drew attention to a dance move called “twerking” but the music and dance moves that go with it are very much African American creations and also very much from New Orleans. You’ll hear the first “Bounce” record that could be played on the radio with a set that includes The Neville Brothers, Leyla McCalla, Professor Longhair and James Booker. You might call it the miscellaneous set since I really can’t cover all the styles of African-American music in two hours. Where’s the funk, Sweeney?! (sorry)
I finish the show with songs representing Mardi Gras Indians, the Northside Skull and Bones gang and Zydeco. Thank you for tuning in.
Today’s show honors African-American History Month (February) with a musical tour through jazz, R&B, funk, Mardi Gras Indian, hip hop and bounce music from New Orleans. Start the show by clicking the arrow below and then read the rest of my show notes.
New Orleans may have been founded by the French, rebuilt by the Spanish and bought by the U.S., but its the African ingredients that make the New Orleans cultural gumbo so rich.
The very short story is that the rhythms of Africa and the Caribbean blended with European instruments in New Orleans to create jazz. But it was African-Americans, many who were descendants of slaves, who made the music happen.
The show’s first set features Sidney Bechet who came from a musical middle-class family that lived in the Marigny neighborhood. I follow him up with a quick race to contemporary times with Dr. Michael White and Doreen Ketchens. It’s a strong set of clarinet solos.
The second set kicks off with Louis Armstrong and follows with two of his mentors King Oliver and Kid Ory. Jelly Roll Morton, who started playing the New Orleans brothels at 14, starts off my last set of jazz. Morton is followed by Kid Thomas who was faithful to the New Orleans jazz tradition throughout his career that spanned from the 1920’s to 1970. But 100+ year old Lionel Ferbos wins the longevity award and sings “Pretty Doll/Ugly Child.”
The show moves into R&B with a rollicking three-piano version of Boogie Woogie with Professor Longhair, Tuts Washington and Allen Toussaint. But its Deacon John’s “Jumpin’ in the Morning” that gets your ass shaking. Somewhere in there, I talk about the Dew Drop Inn and include an excerpt from an interview of Kenneth Jackson about his grandpa, Frank Pania who started the Dew Drop Inn and was part of a civil action that ended arrests for racial mixing.
Which made that a good time to play Fats Domino, whose concerts were the site of at least four major riots. Some blame the music, some blame the alcohol but Rick Coleman who wrote a biography of Fats Domino contends that the riots were at least in part incited by racial mixing in a time period when much of our country recognized and practiced “apartheid.”
The show rolls on with only African-American musicians and vocalists, including a set of Black Creole music of South Louisiana, which is often called “Zydeco.” And I closed the show with “Get Lucky” with bounce artist Big Freedia performing with the Soul Rebels.
I hope you enjoy the show and consider subscribing to keep getting my latest shows.
I often explain my radio show’s place in the KAOS world music line up as offering music from the most international cities in our country: New Orleans. And this week’s show provides lots of examples.
I’m not alone in my assessment of the city’s international flair. New Orleans is routinely described as the northernmost Caribbean city. I’ve also heard it described as the most African city in the U.S.
New Orleans affinity to the Caribbean dates back to the Haitian revolution in the early 1800’s which generated an influx of French-speaking whites and free people of color into the city along with their slaves.
As a southern port, New Orleans experienced daily inbound traffic from all over the world, but particularly the Caribbean and Central America. The New Orleans Cuban connection was fueled twice daily by ferry departures and arrivals from Havana.
Tresillo and habanero rhythms are apparent in the jazz and brass band music of New Orleans, notably second line parade songs. Jelly Roll Morton referred to this as the “Spanish tinge” which can be heard in his “New Orleans Blues.” However, I think he would have been more accurate to have called it the Afro-Cuban Tinge.
In Professor Longhair’s “Mardi Gras in New Orleans,” you can hear the Cuban Clave rhythm in his piano playing. Henry Byrd (Longhair) described his style as incorporating rumba, mambo and Calypso.
And while its relatively easy to find Caribbean influences in New Orleans rhythm and blues, its not as well known that the cultural exchange went both ways. Fats Domino, Smiley Lewis and other New Orleans R&B artists were routinely played in Jamaican street parties influencing the development of Ska.
And the free trade of rhythm continues in the post-Katrina era with an active Brazilian community contributing Samba, Forro’ and other beats to the ever evolving gumbo that is New Orleans music.
In this show. you’ll be hearing those rhythms, including Brazilian-New Orleans music. I also will be honoring the anniversary of Jelly Roll Morton’s birthday. (Show originally broadcast live on October 19. 2015.) Listen to the latest show.
If there is justice in the music world, James Booker would be better known for the genius and artistry of his piano playing. The fact that his music is still played 30 years after his untimely death in New Orleans offers some hope that justice may ultimately be served.
Classically trained but also taught by Tuts Washington and influenced by Professor Longhair, Booker came of age in the heyday of New Orleans R&B era when Fats Domino, Dave Bartholomew and Huey Smith were rocking the jukebox with singles recorded at Cosimo Matassa’s studio.
Booker got in on the act as a studio musician as well as fronting his own songs with “Doin’ the Hambone” and “Thinkin’ About my Baby.” His song “Gonzo” charted nationally and his playing style, sometimes described as a nest of spiders on the keyboards, was admired by many, including music lovers in Europe where he spent some time and built a following.
But while Booker was a versatile musician, capable of playing a wide range of styles, including working with Freddie King, Aretha Franklin, Ringo Starr, the Doobie Brothers, Maria Muldaur, and Jerry Garcia, his star never quite rose to the level of his talent and genius. (Check out this sound recording of a rehearsal session with Booker and Garcia.)
It’s a sad but familiar story; he had his issues. Some, in retrospect, have pondered whether he suffered from a mental malady that in our current day might have been more successfully treated by means other than with heroin and alcohol.
He died way too young in the emergency room of Charity Hospital in 1983 at the age of 43.
Booker was able to bring elements of many musical genres together and his interpretations of familiar songs are unique and probably difficult to duplicate given his skill.
Booker’s “absolutely unique style is a polyglot mix of gospel, boogie-woogie, blues, R&B and jazz, all executed with a thrilling virtuosity,” wrote Tom McDermott who is himself an amazing pianist from New Orleans.
When I listen to Booker’s music, I hear shades of the “Spanish Tinge” made famous by Jelly Roll Morton. His hyperactive right hand razmatazz and left hand syncopation are reminiscent of Professor Longhair. And yet, his style builds on those masters rather than replicates. And he passed the tradition on by tutoring Dr. John and Harry Connick Jr.
As always, its best if you hear for yourself. I’ll be playing from a few of his solo recordings on Monday but if you have time, consider checking out his last recorded performance at the Maple Leaf. He had a regular gig at the Uptown New Orleans bar, often playing to sparse and disinterested audiences. The Booker you see in this video contrasts sharply with the more flamboyant Booker of earlier years. His teeth are fixed, he’s wearing a suit and not wearing his trademark patch with a star on it over his left eye. Here’s a video of that period in his life.
Helping to bring the world’s eye to Booker’s talent is a documentary called the Bayou Marahaja by New Orleans filmmaker Lily Keber.
“Bayou Maharajah explores the life and music of New Orleans piano legend James Booker, the man Dr. John described as “the best black, gay, one-eyed junkie piano genius New Orleans has ever produced.” A brilliant pianist, his eccentricities and showmanship belied a life of struggle, prejudice, and isolation. Illustrated with never-before-seen concert footage, rare personal photos and exclusive interviews, the film paints a portrait of this overlooked genius.”
As part of my ongoing education on New Orleans music, I’ve been reading about the use of the piano in New Orleans music. (Please note: I’m not a real musician but I operate a CD player at home)
While the piano wasn’t invented in New Orleans, several styles of piano playing are derived from the city’s musicians. So much so that “one can easily claim the piano as the prime choice of innovators in New Orleans music,” according to an article by Tom McDermott who innovates on the piano on a daily basis in New Orleans.
This versatile instrument combines melody and rhythm and makes it possible for every parlor or living room to become a concert hall.
As Jon Cleary, another fine keyboard purveyor of New Orleans music, said, the piano is “a hip little tool because it allows you to reproduce all the elements of what a band would do.”
What Jelly Roll Morton and others that followed did was translate the sounds of the New Orleans street bands to a piano, delivering their own interpretation to the customers of night clubs and sporting clubs and ultimately to a global audience.
The piano is so important to New Orleans music that a premiere annual event is Piano Night held around the time of the New Orleans Jazz and Heritage Festival. The host of this event, WWOZ, has created a compendium of videos that explore that New Orleans piano tradition.
Here’s Jon Cleary providing a quick run down of the various piano playing styles.
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.
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.
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.
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.”
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.