Thanksgiving holiday show is about being home

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. 

June Yamagishi delivers excellent argument for open borders

June Yamagishi shocked his agent when he announced that despite a revered career as a guitarist in Japan, he wanted to live and work in New Orleans. On the occasion of his 65th birthday, this episode of Sweeney’s Gumbo YaYa celebrates his decision. But wait there’s more. (But go ahead and get the show started)

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June Yamagishi playing with Cyril Neville and Corey Henry in October 2017.

Chocolate Milk, a popular New Orleans funk band from the 70’s, kick the show off with their opening song from their 2010 New Orleans Jazz and Heritage Festival performance.  I follow that up with a set of music featuring June Yamagishi and his guitar. Two tracks from Papa Grows Funk, a band he was part of for 13 years. Because he also loves Mardi Gras Indian music, I included a song by The Wild Magnolias that features some strong Yamagishi licks.

Also, here’s a link to a short video of his cameo appearance on the HBO show, Treme, where he is trying out for the band being assembled by Wendell Pierce’s character.

From this point in the show, I swing through a jazz set that starts with a classic King Oliver number from the late 1920’s and finishes with a recent recording by Preservation Hall Jazz Band featuring an original song.

Coco Robicheaux kicks off the next set which offers two songs about the importance of keeping on the good side of your woman. Paula of Paula and the Pontiacs sings about the importance of getting the coffee (grind) right while Larry Garner, with help from Buckwheat Zydeco, does a number called “Ms. Boss.”

Three contemporary zydeco and cajun numbers push the boundaries of those genres with the help of Bonsoir Catin, the Lost Bayou Ramblers and Rosie Ledet.  A country/folk sets follows before I swing back into funk and finish with a genre-busting song by the BlueBrass Project.   Actually, Irma Thomas gets the last word with “Since I Fell for You,” with Dr. John on piano.

There now, lots of reasons to keep listening.  Thanks for tuning in.

What makes New Orleans drummers and drumming unique?

There’s something special about New Orleans drummers.  A statement I read and hear regularly and while my untrained ear suggests that is true, I cannot in my own words explain why.

Drum Magazine has made it easy for me though by interviewing four of New Orleans top drummers. The magazine pulled together musicians who have handled the beat for The Meters, Professor Longhair, Wynton Marsalis, Papa Grows Funk, Galactic and countless other projects.  Some of the conversation gets a little beyond my understanding but if you’re a drummer, I recommend you read the interview.  Here’s a lay summary of it:

While New Orleans wasn’t much different as other Southern locales for discouraging the continuation of African culture, the city was unique in that it did allow for New Orleans slaves and people of color to congregate at a central location, known as Congo Square, on Sundays to share, among other things, music.  From this setting, Caribbean and African rhythms and syncopation met European harmonies and melodies.

The key distinction of New Orleans drumming is an emphasis on the bass drum which in the New Orleans parade tradition is the heart and soul of the show.  The bass “is the main voice; and the snare drum is the polish.” Interestingly, in the marching band, second line tradition, the bass drummer and snare drummer are two separate musicians.

“Bottom line is it has to be a pelvic thing. . . What makes me unconsciously decide whether it’s good or bad is when I’m having a conversation [at a gig] far away from the music with someone who’s totally distracting me, and in the meantime I’m moving my butt. Then I know it’s the science of true, organic swing.”

Drumming that gets your butt moving.  Yea, that’s what I’m talking about.