The Artesian Rumble Arkestra brought the spirit of Carnival to Olympia last night when it processed through 11 downtown bars for its second annual pub crawl.
News Flash- The band is going to rumble for Fat Tuesday 2016 on February 9
We caught up with the band at McCoys and in a scene sort of reminiscent from the first episode of Treme when Rebirth Brass Band gathered at a bar prior to a parade, we watched the band regroup and prepare for its assault on Fourth Avenue. But first, they played Iko, Iko.
Over the next two hours, they worked their way through Obsidian, Eastside Tavern, Le Voyeur, The Clipper, 4th Ave Tavern, and Dillinger’s. Then they turned right toward Budd Bay on Capitol and stopped at the Brotherhood before finishing up at Rhythm and Rye. Prior to us hooking up with them, the band had serenaded drinkers at the Fish Tale Brew Pub and Cryptatropa.
The music was fun and so was the notion of mixing it up. I enjoyed watching the different reactions of patrons as a full blown brass and percussion band entered their space. Not to mention the colorful dancing of Steve Passero. The pool players at 4th Ave whose games were temporarily interrupted took it in stride and danced while the computer-engrossed patrons of Obsidian took a couple of songs to get into the mood. The folks at Clipper didn’t want the band to leave. Too bad we don’t allow “go cups” in Olympia like New Orleans does.
It was a prime opportunity to once again experience the liberating effect of music, which affords us the opportunity to lift ourselves out of the moment. The history of New Orleans is very much entwined with music and its ability to nudge us out of our ruts. When Jazz and Rock n’ Roll emerged, traditional power structures were unnerved, partly because the music brought together people of all colors to dance and sing but also because the music’s message was empowering to those who were not expected to have that power.
I look at the wonderful folks who comprise the Artesian Rumble Arkestra and I see people who are liberated by their music and the instruments they play. How cool for them (and those in their path last night) to use Fat Tuesday as an excuse to share that love with others.
I know this blog and my show is about New Orleans music but I also live in Olympia where I’m lucky enough to get in the path of Artesian Rumble Arkestra.
I’m on a journey to learn about New Orleans music, consider subscribing using the button on the top right column. Tune in on Monday if you can.
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.