If you long for LPs then this week’s show is for you. Over an hour of vinyl New Orleans music is waiting to be heard, just click the application below and get it spinning.
I still own the first CD player I bought for my stereo. And I love it. I love the ease of playing CDs. I love being able to quickly find the track I want to hear. I like being able to repeat tracks. I love how clean the sound is. I really don’t miss vinyl.
Yet, I still buy LPs. And you’ll hear some of them on this show, including Pete Fountain, Professor Longhair, Al Hirt, Willie Humphrey, Preservation Hall Jazz Band, Beausoleil, Bunk Johnson, Louis Armstrong, Huey “Piano” Smith and John Mooney. Nothing like playing a continuous stream of LPs to appreciate the work of DJs before the digital era. It really is a lot more effort playing off of turntables.
But aside from the crackling of the needle contacting the surface, I really can’t tell the difference in the sound. Perhaps you will.
Also, on today’s show, I honor Eddie Bo’s birth anniversary. Noted perhaps mostly for his funk, Edwin Bocage was a piano player skilled in jazz and other music genre as well. He was also a talented builder, who even in his mid-70’s was active in rebuilding his home damaged by Hurricane Katrina. I play a couple of his lesser known numbers in today’s show along with a couple of new releases by Eric Lindell and Keith Stone along with a handful of contemporary female New Orleans artists to offer some gender balance wrapped in very fine music. Thanks for tuning in.
“I don’t know, boss. . but I won’t do it again,” is allegedly how Louis Armstrong responded to a pointed question from the president of Okeh records when he asked him who was playing trumpet on a song recorded by a competing label. The song was “Drop that Sack” and you’ll hear it on today’s show.
Helen Gillet’s memorable “De mémoire de Rose opens the show followed by Satchmo’s 1926 recording and a live recording of Big Sam’s Funky Nation at the 2010 New Orleans Jazz and Heritage Festival doing almost 12 minutes of funk with some familiar touchstones throughout, including “Eliza Jane.”
I do a set of jazz, swing numbers followed by a Latin-inflected number by Charmaine Neville and her band appropriately titled “Dance.” I break into the new release by Gal Holiday and the Honky Tonk Revue and offer up some New Orleans Suspects, Seth Walker, Professor Longhair and Lena Prima.
Near the end of the show catch a great number sung by Bruce “Sunpie” Barnes with the Smoky Greenwell Band followed by Rosie Ledet’s “It Might Be You” from her latest release. If you stay with me long enough, you’ll catch another Helen Gillet number.
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.
In today’s show, we take an imaginary, real-time visit to French Quarter Festival happening right now and we celebrate the 126th anniversary of clarinetist Johnny Dodds’ birthday. Here’s the edited version of the show which you listen to while reading this.
Overshadowed by the older and more well-known New Orleans Jazz and Heritage Festival which starts later in April, the French Quarter Festival packs over 300 music acts (roughly 1,700 musicians) into four days starting today. Celebrating its 35th year, this free festival is the largest showcase of Louisiana musicians with stages scattered throughout the French Quarter. Some of the more well-known acts playing this year include Cyril Neville, the Dirty Dozen Brass Band, Irma Thomas, Jon Cleary, Little Freddie King, the Lost Bayou Ramblers, and Amanda Shaw.
And while I do play Neville and the Lost Bayou Ramblers later on the show, I start the show with a real time experience. Through the magic of radio and with a vivid imagination, I take you directly to the French Quarter to the stages and play music by musicians who are performing in real time synchronized to the airing of my show (10 a.m. to noon on Thursdays). This requires precision math on my part since I have to convert the Central Standard Time New Orleans-based schedule to the Pacific Standard Time reality of my radio show.
We start by running over to catch the last song of the Panorama Jazz Band performance on the Big River Stage in Woldenberg Park, before heading back toward the Quarter on Decatur Street to hear Tuba Skinny playing on the Jack Daniels Stage. And because we can run fast in radio life, we can haul butt over to the Hilton Tricentennial Stage to catch the Preservation All-Stars.
After a little break with showcasing other artists featured later in the festival, we go back to real time with Gal Holiday and the Honky Tonk Revue performing at the River Stage again. And then we dash to Tropical Isle Hand Grenade Stage to catch Alex McMurray. During this imaginary real-time tour of the first day of French Quarter Fest, we also hear Banu Gibson.
Later in my show, I honor Johnny Dodds, a first generation jazz musician who performed with Joe “King” Oliver. He and his younger brother, the drummer Warren “Baby” Dodds were part of Armstrong’s Hot Five and Hot Seven. In honor of his birthday (April 12, 1892), this show dives into two versions of the same song that feature dual solos by Dodds. The songs have different titles and different release dates though they were recorded back to back by Louis Armstrong and His Hot Seven.
S.O.L. Blues and Low Gully Blues feature Armstrong and Johnny Dodds at their peak, doing technically difficult and brilliant solos. S.O.L. Blues was recorded on May 13, 1927 in Chicago for Okeh records but was not released until Columbia Records got a hold of the collection 15 years later. The original release version went under the title of Gully Low Blues and was recorded the next day, May 14. Both versions have their merits but I play them because I love the amazing tempo shift that Dodds pulls of during his solo. For more on this, check out Ricky Riccardi’s blog. I also play a favorite, Dippermouth Blues, recorded by King Oliver’s Creole Jazz Band in April 1923, because it contains a famous Dodds solo.
I’ve got other fun stuff on this show including Dana Abbott, Yvette Landry, the Subdudes and Eric Lindell, just to name a few. Thank you for reading and listening. Please consider subscribing.
This post doesn’t have a hole in it but your bucket might. This week’s show has a few stories to it, including one about the first record where you hear Louis Armstrong’s voice, a bloody New Orleans nightclub that gets renamed in song and the birthday of a first rate R&B star whose career was disrupted by the draft and served in Korea. Start the show (Earl King kicks it off) and then keep reading.
Last weekend during a Northwest sun break, the song “That Bucket Has a Hole In It” came to mind while tossing weeds in the five-gallon buckets we use to garden. Unable to shake the tune, I rolled with it and assembled a two-set program of “bucket” songs for today’s show.
The set starts with “Gut Bucket Blues” — the third song recorded by Louis Armstrong and his Hot Five but the first to be released and the first to showcase his exuberant stage presence. As Ricky Riccardi eloquently explains in his blog post, the song “contains the first ever glimpse of Louis Armstrong’s personality, in all its glory.”
Recorded in Chicago in 1925, this Hot Five recording includes three other New Orleans expats (Kid Ory on trombone, Johnny Dodds on clarinet an Johnny St. Cyr on banjo) and the future Mrs. Armstrong (Lil Harden) on piano. As each band member takes a solo, Armstrong yells out encouragement. By the time he recorded Gut Bucket Blues, Armstrong was a veteran performer on stage and in the studio, having recorded with bandleaders Joe Oliver and Fletcher Henderson. But with this Hot Five recording, Louis Armstrong steps out for the first time, demonstrating the style he would take to an international level. There’s more fun details about this song and how it was recorded so I’ll give another plug to author Riccardi’s entertaining blog: The Wonderful World of Louis Armstrong.
I round out the set with Preservation Hall Jazz Band’s “The Bucket’s Got a Hole In It” and Eddie Bo’s catchy “Check Your Bucket” which while very different from the Prez Hall’s song is certainly connected by lyrics.
The second set starts with a gory story involving an early Little Freddie King gig that went horribly wrong. As he explains in this YouTube video, he got a gig at a nightclub for the weekend. And every night, an incident occurred that resulted in someone losing a lot of blood. At one point, he described taking cover from gunfire behind a juke box. He memorialized the experience in his song “Mixed Bucket of Blood.” The song is followed by Dr. John’s very different take of “Gut Bucket Blues” and the Hot 8 Brass Band’s “Bottom of the Bucket.”
Later in the show I do a long set of drinking songs that in song title form reads like this: Liquor Pang, Drinking Days, Drunk Too Much, Still Drunk, Drink a Little Poison 4 U Die.
Finally, I close with a rousing tribute to Lloyd Price who had five hit R&B songs in the early 50’s before getting drafted into the Army and had to serve in Korea. I tell more of this story in my Veteran’s Day post. I play one of his hits he cut after returning from the military (“Stagger Lee”) along with “Rock N’ Roll Dance” and “Come Into My Heart.”
In Uptown New Orleans where I grew up, the horse-drawn Roman Candy Wagon rolling by was a big occasion. But that was 50 years ago and rolling street vendors, a long tradition in New Orleans, are pretty much gone. Before reading the rest of this story, click the arrow below and get Louis Jordan and rest of my show going.
My family used to frequent a vegetable vendor who would set up near McMann School at the corner of Claiborne and Nashville. But apparently over the years, the tradition had died out until all that was left was Mr. Okra. And now he is gone. Here’s an excerpt from an article by Ann Maloney for the New Orleans Times-Picayune:
Family, friends and customers filed through the Marigny Opera House on Ferdinand Street on Sunday (Feb. 25) afternoon to say good-bye to beloved street peddler Arthur J. “Mr. Okra” Robinson, who was laid out dressed just as they might remember him, with his suspenders and, in his hands, a straw hat topped with plastic fruit. His truck keys were looped around his little finger. . .
. . .Arthur Robinson was often called the last of the New Orleans Street vendors because he upheld a tradition of shouting out his wares with “I’ve got apples. I’ve got mangos…,” as he drove through the city streets. It was a tradition that was popular into the mid-1900s in New Orleans. By 2005, Robinson said of himself: “I’m about the only one that really goes around anymore. Most all the old peddlers are dead now, just about.”
It wasn’t just vegetables and fruit. Louis Armstrong got his start as a musician working with an owner of junk wagon. At age 7, he would blow a tin horn to attract attention as the wagon rolled through the streets of New Orleans.
And apparently the Roman Candy Wagon is still operating (though these days most folks see it on display at the New Orleans Jazz Fest.)
In this week’s show, I include a short interview with Craig Klein, a founding member of Bonerama ,who co-wrote a song dedicated to Mr. Okra. You’ll hear that song about 15 minutes into the show. I also feature Louie Ludwig’s wonderful ode to fake news “Troll Factory.” I have a set on drinking bourbon and whiskey and a Latin-inflected set featuring Los Hombres Calientes, the Iguanas and Los Po-Boy-Citos. And much more.
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.
New Orleans does not have a comprehensive museum that tells the city’s story as the birthplace of jazz. In a way, the whole city is a museum. However, Louis Armstrong Park offers a few opportunities to touch the history of New Orleans jazz. This week’s show took a bit of tour through the park.
The park emerged from a botched urban renewal project where sadly many families were displaced and historic buildings destroyed. The park contains the currently unusable municipal auditorium, the Mahalia Jackson Theater for the Performing Arts and a few buildings owned by the New Orleans Jazz National Historical Park. The common space includes a water feature and several cool sculptures.
Louis Armstrong grew up not too far from where his statue stands in the park. In fact, his statue stares in the direction of Storyville – a legal red light district that provided brothels, saloons and steady flow of clientele who enjoyed the music that evolved into jazz. it was this neighborhood that Armstrong grew up and began playing the horn. Once he left New Orleans for Chicago, he rarely returned but his impact on the city looms large like the statue over his park.
If any one person could be considered the father of Jazz, Charles “Buddy” Bolden would likely have the strongest claim, and yet there is not a lot we know about his life except that for about seven years, he was the hottest musician in New Orleans. Bolden played his coronet by ear blending the many sounds he heard including rag time, gospel and blues to create an improvisational style of music that inspired other jazz pioneers. His career was cut short in 1907 when he was committed to an asylum possibly suffering from schizophrenia.
The grounds of the park are sacred because its where African Americans, slaves and free blacks, gathered on Sundays to trade, talk, play music and dance. Congo Square is widely recognized as the cauldron from which the rhythms of jazz emerged. Part of this area has been renovated and a sculpture depicting the Sunday jazz session quickly captures the visitor’s eye.
The Black Indians of Mardi Gras do not perform jazz but rather perform their own unique percussion based music that includes call and response vocals. The park also includes a statue honoring the Chief of Mardi Gras Indian Chiefs, Allison “Tootie” Montana, Big Chief of the Yellow Pocahontas. Tootie Montana is known for elevating the practice of masking as Native Americans to a high art form. Originally a tradition that involved revenge and violence, Mardi Gras Indians today are revered for their detailed use of beads and feathers in constructing elaborate costumes. The goal is not be the toughest, but the prettiest.
I took the train to Chicago a couple of weeks ago, just in time to catch the city’s blues festival.
I started by going to Buddy Guy’s Legends club and saw the six-time grammy award winning blues man sing with Shemekia Copeland. George “Buddy” Guy is from Lettsworth Louisiana and began playing professionally in Baton Rouge before making the familiar trek north to Chicago.
I say “familiar” because he wasn’t the first Louisiana musician to seek fortune and fame by heading up the Mississippi River.
If you’re a New Orleans jazz fan, you already know this story. After New Orleans was forced to close its red light district during the build up to World War 1, musicians who had been making a living playing the new music in the bars and brothels of Storyville, headed north. One of the best and earliest to do so was Joe “King” Oliver, who took his coronet to Chicago and hooked up with other New Orleans expatriates and recreated and polished the jazz of New Orleans. Things really took off when he convinced his young protege’ Louis Armstrong to come up and join him.
It was good timing. King’s smart professional move came at the beginning of what has become known as the Great Migration where for roughly a half century over 6 million African Americans relocated from the south to northern cities. An estimated 500,000 ended up in Chicago mostly in and around South Chicago.
The first migratory wave moved the unique blend of Afro-Caribbean rhythms and European horns forged in New Orleans’ Backatown into popular awareness ensuring that Jazz would become a distinctly American sound.
And then came blues. Gertrude “Ma Rainey” Pridgett is noted as the first black woman to record. This Georgia-born singer recorded many of her earliest songs in Chicago.But she was followed by others, such as Muddy Waters who moved from Clarksdale, Mississippi to Chicago during World War II and later Henry Gray who was typical of the second wave of the Great Migration. As black soldiers exited service following World War II, they looked for communities with more opportunities and less discrimination. The Louisiana-born pianist landed in Chicago in 1946, playing regularly with the likes of Bo Diddley, Billy Boy Arnold and Jimmy Rogers before hooking up with the Howlin’ Wolf Band. He has since returned to Louisiana and continues to perform on occasion.
Buddy Guy, who had started his career playing in Baton Rouge, got to Chicago in 1957. He was joined later by Lonnie Brooks who had a regional hit in Louisiana, Family Rules, before moving north.I’ll continue to explore the connections between these two fine musical cities (New Orleans and Chicago) on my show. Please join me or catch one of my edited podcasts.