OffBeat Magazine August 2019

NEW ORLEANS MUSIC, FOOD, CULTURE—AUGUST 2019

Free In Metro New Orleans US $5.99 CAN $6.99 £UK 3.50

GUIDE SATCHMO SUMMERFEST OFFICIAL

PAGE 17

4

AUGUST 2019

O F F B E AT. C O M

SATC M O SUMMEH RFEST OFFICIAL GUIDE

CONTENTS TA B L E

O F

PAGE 17

p. 12

p. 26

6 Letters

p. 28

14 Moving and Grooving

7 Mojo Mouth

A message from the publisher.

8 Fresh

My Music with Cyrus Nabipoor of NORUZ and Sexual Thunder; Five Questions with Rusty Metoyer; My Music with Michael Liuzza and Sweet Tweets.

Obituaries

10 Nolton Semien 11 Andrew Cormier 12 Dave Bartholomew 13 Dave Bartholomew Memorial An appreciation by John Swenson.

Joshua Gouzy is fostering friendships in a dozen of bands.

16 Like a Cobra in the Dark

A conversation with Alex McMurray.

20 Japan-New Orleans Connection

Two Japanese jazz musicians travelled 7,000 miles to find a home in New Orleans.

22 Pretty Baby

Tony Jackson: The man of a thousand songs.

26 A Resident Englishman

Clive Wilson talks about his jazz journey from London to New Orleans.

28 Guiding Light

For Doreen Ketchens, the clarinet was her beacon and her way of life.

BLAST FROM THE PAST January 2011 Lifetime Achievement In Music Award: Dave Bartholomew

By Rick Coleman OF F B E AT.C OM

33 Restaurant Review

Michael Dominici reviews Dian Xin.

34 OffBeat Eats 35 Reviews

Preservation Hall Jazz Band, Smoky Greenwell, Jon Batiste, Khris Royal & Dark Matter, Deacon John, The Bummers, Hash Cabbage, Keith Frank Presents the Soulwood All-Stars and more.

40 Listings 45 Backtalk with Ricky Riccardi O n l i n e E x c lu s i v e

Masters of Louisiana Music: Dave Bartholomew

by Michael Hurtt

“We had a lot of fun … We were young, and we were real popular, and everything was real fine. All over the world. We were appreciated everywhere we’ve gone, and especially in Europe. But we got a standing ovation all over the United States, too.”

(To read more this issue can be purchased at http://www.offbeat.com/shop/back-issues/2011/offbeat-magazine-january-2011/))

AUGUST 2019

5

letters “His was a life to appreciate and celebrate over and over every year until everyone hears his music.”

Louisiana Music, Food & Culture

—Kristal McManigal, San Francisco, California

AUGUST 2019 Volume 32, Number 9

Dr. John Mac was holed up in a hotel room between gigs and asked me to come by, because he had dozens (or hundreds?) of his old demos loaded on iPop so that we could pick the tunes we were gonna cut for an album that we signed up to do together. Songs he had written for Percy Mayfield, Charles Brown, Cher. He had turned off his phone, because people were bugging him every three minutes, and he couldn’t concentrate.

After a while, he was getting tired and took a break. Then he came out, holding his phone saying, “Dese mf ’ers won’t leave me the f alone!” I asked “Wassup?” He replied “I turned my phone back on and I’ve got about 15 massages and at least 20 textiles.”

Back in the Bay Area, I told Wardell that Mac was in town for a gig, and he asked me to get backstage and meet him. Wardell’s name, of course, was an instant pass. I told Mac I admired “When the Battle is Over,” (that he had written for Aretha Franklin), and he said “I’ve never cut it! Do you want me to cut it with you and Wardell?” When he got to the studio in New Orleans, Wardell had worked an arrangement for another tune Mac had written and forgotten “Tick Tock Tick.” Mac was floored. He started playing and singing other songs he wanted me to cut saying, “Will finds things in my songs that I didn’t know were there!” We never cut the other songs.

Although Mac got sick, when my album was nominated for R&B album of the year by OffBeat’s Best of the Beat, Mac managed a call to me, saying “Mf ’er! Yer album is getting better reviews than my last two together.” I said “because you’re on there; the reviews from all over just love you, like I do.” He said “I know, I’m proud for you, and love you, darling! We’re gonna cut those other songs we found.”

I’m so grateful to Wardell Quezergue, Mac, Bunchy, Todd Duke (can you believe they’re all gone?), and thankful for OffBeat and WWOZ, who have been so kind to me, plus John Swenson (who likes me more than I like me) and Robert Fontenot, who have written so beautifully about my work with Wardell. Mac and I sat together at Wardell’s funeral, when he

said, “Wardell did ’bout five of my albums and we won the Grammy together. Wardell, with all his hits, did more tracks on me and you (27 cuts for me) than any other artists.”

Please don’t let people forget what a great songwriter Mac was (for decades). He has over a thousand songs published. I will never forget him. RIP. —Will Porter, San Francisco, California

Publisher and Editor-in-Chief

Jan V. Ramsey, janramsey@offbeat.com Managing Editor

Joseph L. Irrera, josephirrera@offbeat.com Consulting Editor

John Swenson Layout and design

Eric Gernhauser Listings Editor

Katie Walenter, listings@offbeat.com Contributors

I’ve been reading many condolences online Stacey Leigh Bridewell, David Butters, and so many were surprised that he couldn’t, Michael Dominici, Robert Fontenot, Herman Fuselier, Jeff Hannusch, in fact, live forever as his music may have led us Raphael Helfand, Jay Mazza, Brett Milano, to believe.

John Swenson, Dan Willging, John Wirt, I first witnessed the live enigma at the age Geraldine Wyckoff of 15 at a music festival near my hometown. I’d Cover PHOTO been hoodooed. Before the end of his Huey Gus Bennett Smith medley, I knew where I belonged in this Web Editor world. My hometown didn’t have illustrious Amanda “Bonita” Mester, amanda@offbeat.com histories like his lyrics spilled out. I knew Videographer/Web Specialist nothing of the city of New Orleans, maybe Noé Cugny, noecugny@offbeat.com of the train of the same name, but that was Copy Editor Michael Patrick Welch, michael@offbeat.com it. I decided then and there, I had to find all Advertising Sales/ his music and absorb the stories, rhythms, and Promotion and Event coordinator histories he imparted.

Camille A. Ramsey, camille@offbeat.com The day I moved to New Orleans in Advertising Design January 2005—arriving just in time for his PressWorks, 504-944-4300 first show of the year—I wanted my entrance Interns to the Crescent City kicked off with the Mia Fenice, Michael Frank, Gabriella Killett, right mojo ringing in my ears. The month I Anna Marvuglio, Julia Powell moved away, he and the Dalai Lama were Distribution Patti Carrigan, Doug Jackson second lining at Tulane. Many may not know how big of an activist he was for musicians, OffBeat (ISSN# 1090-0810) is published monthly in New Orleans by OffBeat, Inc., nature, cultural injustices—always helping the 421 Frenchmen St., Suite 200, New Orleans, LA 70116 underdog and freely giving of his perfor(504) 944-4300 • fax (504) 944-4306 mances to any cause that needed a guttural e-mail: offbeat@offbeat.com, melodic voice and a big name on the poster. web site: www.offbeat.com He spent his life living it to the fullest, learning lessons the hard way more so than not, but /offbeatmagazine then sharing so many of them openly with anyone who would listen.

His was a life to appreciate and celebrate over and over every year until everyone hears his music. If you feel a tear coming on, just pull up a video online and watch him do “Iko Iko,” Copyright © 2019, OffBeat, Inc. No part of this publication may with the Lower 911 band.You can’t help but be reproduced without the consent of the publisher. OffBeat is a trademark of OffBeat, Inc. First class subscriptions to smile and dance along. It’s just what the good registered OffBeat in the U.S. are available for $65 per year ($70 Canada, $140 foreign airmail).

Back issues are available for $10, except for the Jazz doctor ordered. Yeah, you right.

Fest Bible for $15 (for foreign delivery add $5) Submission of photos and articles on Louisiana artists are welcomed, but unfortunately —Kristal McManigal, San Francisco, California material cannot be returned.

OffBeat welcomes letters from its readers—both comments and criticisms. To be considered for publication, all letters must be signed and contain the current address and phone number of the writer. Letters to the editor are subject to editing for length or content deemed objectionable to OffBeat readers. Please send letters to Editor, OffBeat Publications, 421 Frenchmen St., Suite 200, New Orleans, LA 70116.

6

AUGUST 2019

O F F B E AT. C O M

mojomouth

A Note From Publisher J an Ramsey

Photo by CLAYTON CALL

I

Another Adios

hate telling my friends goodbye, but it’s part of life: another one of my generation’s music icons has passed away: Art Neville.

I’m sure there will be more; it’s the nature of humanity, to pass away from this very short earthly life. It’s a comfort for people to think that their loved ones will be waiting for them on a heavenly plane when their fragile human bodies can no longer function.

It makes no difference how strong you are, how beloved, how healthy, how despised: we are all going to shuffle off this mortal coil.

Those of us remaining behind are of course devastated by the loss of our families and friends. It’s hard to process, really, and when you lose a loved one, to disease, age or some other way, it leaves you more than a little numb at first, then sad, then empty, then resigned.

Which is kind of the way I feel right now, learning of Art Neville’s death. He was a wonderful musician, an innovator, a steady hand, a

OF F B E AT.C OM

good father and friend, and the pater familias not only of his own family, but of thousands of young people who loved his music and who will honor him by emulating his grooves far into the future.

We usually remember our loved ones with photos, movies, and now even videos. But we are so blessed to also be able to remember great musicians by the recorded music they’ve left behind. Art will be remembered not just for his teenage voice on “Mardi Gras Mambo,” but for his work with the Meters, the Neville Brothers, the funky Meters, and the countless songs he wrote, contributed to, and performed over six decades of making music.

Every time you listen to a funky tune, you can thank Art. Because he was an originator, and he was not only a killer musician; he was a fine, loving and kind person.

Our hearts go out to his family, his friends, his wife and his kids, and his extended family of fans all over the world. Art, you will be missed, but you’ll live on as long as there’s music coming from New Orleans. O

AUGUST 2019

7

fresh

NEW & NOTEWORTHY

S O UN D C H EC K

Five Questions with Rusty Metoyer conditioning at a local community college.

How does songwriting work for you?

I can sit down and try to come up with something, but it won’t be anything that I would try to put on a CD. So it’s usually when I’m concentrating while doing some manual labor, working outside, cutting grass or driving— that’s when the songs come to me. I have to record them in the voice memo on my phone real quick.

Music runs in your family.

How did you start with it?

Both of my grandfathers were Creole musicians—Louis Metoyer and Cornelius Papillon. On holidays, everybody would pull out their instruments. I have uncles, cousins, and other relatives that play music, too. By the time both

of my grandfathers had passed, I was about 15. I picked up my accordion. I just wanted to learn it to keep it in the family. One thing led to another and I formed a little band. I started getting gigs and started writing songs. Before I know it, I’m on a plane going to play in France, Holland, on the East Coast and West Coast.

You’re still pinching yourself?

When I play these festivals and there’s a big sea of people, I’m thinking, Man, is this really what I’m doing? I’ve always dreamed about something like this since I was a kid. But I never really thought I would do it.

Was there a moment when you said “I want to do that?”

My family has old pictures of me. It would be all older people

Rusty Metoyer

in my family playing music—my uncle, my grandfather, my great uncles. I’m the only kid, in the background, with my eyes just focused on them. I was five or six years old. My cousins are outside playing basketball, and I would play with them, too. But when they started pulling out the instruments, that’s where I was.

How is it being a band leader at 27?

There’s a lot of moving parts.

But it’s fun. I can handle it. It’s a lot of work, but it’s rewarding.

—Herman Fuselier

Photo courtesy of the artist

At 27, Rusty Metoyer is experiencing success unknown to many zydeco musicians twice his age.

His gigs stretch from the French Quarter Festival to shows in France and Holland.

Tourism officials in his hometown of Lake Charles, Louisiana have used his words and image in marketing campaigns. About to release his third CD since graduating from high school, Metoyer has scored hits that celebrate bayou country life (“Louisiana Summertime”) and his time in the spotlight (“In Due Time”).

His latest single and first music video, “Riverbank,” tells the story of experiencing romance for the first time. Between gigs, Metoyer is a school bus driver who is also studying heating and air

M Y M USIC

“When my mama sang when I was a baby, I responded to her.

My grandma told her, ‘That’s your singer.’ Singing was always around.

Singing came instinctively to me.

The women in my family were big Ella Fitzgerald fans. I remember hearing Ella and Nancy Wilson in my early years. I had trouble singing along with their melodies.

Most of my career, I wanted to sing above my range. I’m a baritone, but I wish I was a tenor.

That comes from listening to Ella and Nancy during my childhood.

I’m an ’80s baby. I remember listening to the radio and singing along with Michael Jackson, Tears for Fears and Hall & Oates. Boyz II Men made a big impression on me. In high school, our football team knew all the parts to Boyz II Men songs. Senior year at Archbishop Shaw High School,

8

AUGUST 2019

my English teacher, Mrs. Angeles Bates, gave us a journal to write in during class. I give her Michael Liuzza credit for my development as a writer. The journal writing helped me associate words with melodies. That year I also studied the vocals of B.B. King and fell in love recordings. Lead Belly’s simple song structures made lyrics with the blues. more powerful. Louis Armstrong It wasn’t until the ’90s that instinctively calmed my soul. Dr. Smokey Robinson and the Temptations influenced me. I feel John and Fats Domino left their strongly rooted in soul music and mark on my piano playing.

During college in Baton Rouge, vocalists like Teddy Pendergrass— smooth vocals with a wide range. I was exposed to really good music when I worked in places I often sing songs like ‘My Girl’ like M’s Fine and Mellow Café. I’d and ‘The Tracks of My Tears.’ take my apron off at M’s, go sit in In college at LSU, I stumbled on the jazz sets and then go back upon my New Orleans and Louisiana roots. My roommate in to the kitchen and make pizza.

Now I’m learning more from the dorm had a large file of old

my pops than I allowed myself to learn in earlier years. After my mother passed in April, being close with pops during the mourning process is powerful. My parents were married 42 years. My mama sang with a lot of people in the Quarter all through the 1970s. Pops was gigging in the Quarter, playing piano for a house band. My mother became the house band’s singer and that’s how they met.

I stay open to new influences and experiences in music. We are forever works-in-progress.”

—John Wirt

Michael Liuzza plays at 6:30 p.m. Tuesdays at House of Blues and 6 p.m. Wednesdays at the House of Blues Foundation Room.

O F F B E AT. C O M

Photo by ASHFORD HALLEY

with Michael Liuzza

My Music

Photo by Michael Wilson

with Cyrus Nabipoor of NORUZ and Sexual Thunder “I grew up in Portland. Piano was my first instrument, although I’m not very good at it. I didn’t practice much, kind of hated it.

When I got into sixth grade, I was like, ‘Mom, let me switch instruments. I’ll keep playing music.

Just let me pick something else.’ I wanted to play trombone at the time, but I was riding my bike to school, and trombone wouldn’t fit on the back. So I was looking around at other instruments, and I was like, ‘Okay, well, trumpet is basically a small trombone, and I can bungee cord it to the back of my bike to ride to school.’

When I was in high school, I joined this music academy. It’s this amazing drummer in Portland named Alan Jones who ran these combos of students of all ages.

We would learn songs together, and he would encourage us to write songs. We called ourselves

The Wishermen. We took that thing and turned it into a real band. We would meet once a week with him and get our asses kicked, but we were also booking gigs for ourselves and writing.

That was the first band I was ever in, first gigs I ever played, first album I ever recorded.

The drummer in that band, Barra Brown, is one of my oldest musical acquaintances. He’s in Portland still, and one of the projects he does is this beatmaking duo called Korgy & Bass.

He plays drums and works with triggers, and Alex Meltzer runs Ableton, drum machines and synthesizers. They do live beats, sample packs, beat tapes. Barra and I have had this idea for a while about doing a collaboration, because I’ve been working more and more with effects pedals and looping. So I started sending him

trumpet loops, little rhythmic riffs or melodies, or super open ambient textures. They just took them and started messing with them—putting beats under them, chopping them up, further affecting them. In a month, we had an album, [Remote, out now via Cavity Search Records]. It’s pretty dystopian sounding.

Dichotomies are really interesting to me, as a wind instrument player using electronics. You have this innate duality of organic and synthetic, acoustic and electric, nature vs. man. The trumpet is this primitive instrument. It’s so underdeveloped. It’s basically just a piece of plumbing, a pipe you blow into. Pairing it with these super advanced analog and digital electronics that are taking the natural signal and scientifically manipulating it so heavily that

Cyrus Nabipoor

you hear both sides of it, you hear this primal sound, the voice and the struggles of the person playing it, but it’s either roughed up further or glossed over even more by the effects you’re using.

You’re taking this prehistoric thing and putting it through this filter of technology and modern-day science.”

—Raphael Helfand

S W EE T T W EE T S Harry Nilsson @OfficialNilsson RIP Mac Rebennack AKA Dr. John. We all mourn his passing, one of the greats to ever do it, who always brought life and soul to everything he did. He will be missed and remembered.

Slangston Hughes @PookeyMalibu I’m invested in the type of trolling where I know my black skin makes you uncomfortable to the point where you purposely avoid skin contact when presenting me w/a receipt.

calling. It’s what I am supposed to do. #johnpapagros Wendell Pierce @WendellPierce We are in a moment of clarity about our nation’s values. Trump’s racism strategy for political gain draws a clear line of division. I returned home from Britain with chants of “send her back”, a policeman in Louisiana suggesting the assassination of @AOC, & silence from millions Erica Falls @erica_falls What an Amazing experience ...Thank you @essencefest for having me be a part of such a phenomenal event right here in my hometown #nolagirl #homegrown #vintagesoul

Alison Fensterstock @AlisonF_NOLA It just occurred to me that I planted a lot of butterfly/bee/dragonfly attractors this year, which are working. So maybe I’m providing a free lizard buffet.

John Papa Gros @JohnPapaGros Playing music is what I love to do. It doesn’t matter what room I’m in, how big the stage, or who I’m playing to. I go through all the hoops, all the headaches, to do what I do, because I get so much out of it. It’s my OF F B E AT.C OM

Art Neville

LOUISIANA MUSIC FACTORY @LMFNOLA With heavy hearts we say goodbye to Art Neville. His contribution to New Orleans’ music will ever be felt and appreciated. Our condolences to his family AUGUST 2019

9

inmemoriam Nolton Semien Joe Hall is a happy anomaly. In zydeco’s homeland of southwest Louisiana, Hall swims in a sea of zydeco players who mix their sounds with R&B, rap, and other mainstream influences.

Hall, 47, prefers the tunes of his late grandfather, King Ned, an accordionist in an era when players sang in Creole French about loneliness, poverty, and death that came knocking way too early.

Traditional Creole music is why Hall became fast friends with Nolton Semien, an accordionist more than 30 years his senior. Any hip hop-flavored zydeco paled in comparison to Semien’s fluid and articulate style.

“Nolton had this certain grit,” said Hall, who lives in Arnaudville, Louisiana. “Nobody was going to show him up. After he finished playing, everybody was going to know Nolton Semien did what he had to do.

“Nolton was more on the quiet side than the rest of the guys. But music-wise, the man just wanted to holler and holler as loud as he possibly could. This cat could play.”

Admirers are remembering Semien, who died May 22 at the Oakland Nursing Home in Eunice. He was 79.

A musician for 55 years, Semien was regarded as one of the last links between modern zydeco and its predecessor, the “la la” accordion dance music performed in rural, Creole homes. The Depression-era waltzes and two-steps of

10

AUGUST 2019

accordion master Amede Ardoin are at its core.

Semien, nicknamed “Horse,” rode those traditional songs hard.

Yet in the 1970s and ’80s, Semien helped build a bridge to the future with all-English hits, like “Right On Girl” and “We All Went Down to the Zydeco.”

In 1991, the Opelousas Daily World featured Semien and his Zydeco Vamps, who dressed in capes and played, according to the newspaper, “Zydeco, Rhythm and Blues, French, Soul and a little bit of Disco.”

“That’s what was getting them work,” said friend and Creole fiddler D’Jalma Garnier.

“But he really defined ‘la la’ for me.

Semien leaves a limited recording legacy that included Oh Lucille, a 2012 CD on Fruge Records. But his traditional repertoire made him a master musician at the 2006 Cajun/Creole Week at the Augusta Heritage Center of Davis and Elkins College in Elkins, West Virginia.

Joe Hall’s 2019 CD, Aye Cher Catin, starts with “Un Jour Avnir Tu Vas Souffert (One Day You Will Suffer),” a Semien original. Hall said the cover was a tribute to his inspiration.

“I can’t say enough about how much the Creole and Cajun cultures have lost with this man being gone,” said Hall. “The family didn’t announce it in a big way.

His family sent him off the way he lived his life—just in a quiet way.

No brags, just facts.”

—Herman Fuselier

O F F B E AT. C O M

PHOTO BY DAVID SIMPSON

(1939 - 2019)

inmemoriam Andrew Cormier

PHOTO BY DAVID SIMPSON

(1936 - 2019) During his 60 years on stage, Cajun music legend Jo-El Sonnier enjoyed rare crossover success, with two top ten country hits, and performances at the Grand Ole Opry.

Sonnier’s career highlights also include a show with Cajun accordionist Andrew Cormier at a Texas dancehall. Sonnier was only 13 years old.

He had recorded his first single, “Tes Yeux Bleu (Little Blue Eyes),” just two years earlier. “I don’t know how I was able to sit in,” said Sonnier, a Grammy winner in 2014.

“I just played a couple of songs, but it was pure-d magic. He just embraced me from there.

“Through the years, he gave me a place to play. He was a gentle man and he had that certain, special smile. He had that style on the accordion that’s still untouchable. It was all stylish, just a remarkable accordion player.”

Cormier’s style and personality are on the minds of many after the musician died June 2 at Acadian Medical Center in Eunice, Louisiana.

He was 82.

A native of Church Point, Louisiana, Cormier was cherished as a dynamic accordion player who scored hits with “Club 73 Special,” “Chataignier Waltz,” and other tunes. But he is best known for introducing Cajun music to southeast Texas, where he entertained thousands of Louisiana expatriates working in the region’s oil fields, shipyards and other industries.

Cormier gained notoriety at the B.O. Sparkle Club in Bridge City, Texas. But from 1962 to 1999, OF F B E AT.C OM

Cormier and the Rambling Aces rocked the Rodair Club, a spacious dancehall in Port Acres,Texas.

“He was Mr. Rodair,” said Ivy Dugas, who played with Cormier from 1965-68. “You could ask anybody, and that’s what they’d tell you. After the B.O. Sparkle Club burned down, Rodair was the only Cajun club they had in the Golden Triangle.The place was just packed.“Everybody thought the world of him. He was one of the most exciting accordion players that I ever played with.”

In 1968, Cormier played the American Folklife Festival at the Kennedy Center in Washington, D.C. By the 1970s, he was in demand at festivals throughout Texas.

The Texas Longhorn Club in Orange,Texas, honored Cormier with its Entertainer of the Year Award in 1987. He received a Lifetime Achievement Award at the 1986 Rice Festival in Winnie,Texas.

Two years ago, Cormier was a featured guest at “Cajun Accordion Kings,” a sold-out show at the Liberty Theatre in Eunice. Steve Riley, the show’s organizer, said demand was still strong for Cormier, who retired from the bandstand in 1999.

“When I was trying to find players for my first ‘Accordion Kings’ show, everybody suggested him,” said Riley, leader of the Mamou Playboys band. “A lot of people were there to hear him and appreciate him.They appreciated the work he did in Southeast Texas all those years.

“He was just a character. Always ready to crack a joke and have a good time.”

—Herman Fuselier

AUGUST 2019

11

had a job, they would ride around on the back of trucks and play, to advertise,” said Bartholomew.

“That’s how I got interested in playing.”

With marching bands popular in New Orleans, Bartholomew chose the trumpet, and he was lucky enough to be taught by Peter Davis, the same man who taught Louis Armstrong. After the Pearl Harbor attack, Bartholomew was drafted, and joined the AFG 196 band. It was there he learned how to arrange music. After the war, he formed his own band (recruiting Earl Palmer, Red Tyler, Frank Fields, Ernest McLean and Salvador Doucette), which quickly became a top attraction in New Orleans.

Bartholomew’s first recordings appeared on the De Luxe label (located in Linden, New Jersey) and included “Country Boy,” which reached top 10 on the R&B charts.However, a chance meeting at a club in Houston with Imperial Records owner Lew Chudd from Los Angeles, who was scouting talent at the time, would change Bartholomew’s life and the direction of popular music.

Roll Hall of Fame inductee whose “Lew was selling records first hit, “Lawdy Miss Clawdy,” to Mexicans then,” recalled was produced by Bartholomew.

Bartholomew. “He said he was “What can I tell you about Dave? interested in selling rhythm and He was the man who changed blues records too. He liked my my world, my life, and in doing band and said, ‘How’d you like a so changed the world of music job?’ So in December of ’49 we forever. I was 16 when I first met drew up the contracts.” him, he was in my hometown Not long after, Bartholomew [Kenner, Louisiana] and I stole in discovered Fats Domino at the the dance and stood by the stage. Hideaway Club on Desire Street, I begged him to let me sing. He and signed him to an Imperial wouldn’t, but the next time I saw contract. They collaborated him he did, and the world has on The Fatman, which initially never been the same. ‘Lawdy Miss Bartholomew wasn’t satisfied with.

Clawdy’ made us all dance.”

“Fats’ piano was too loud and it Bartholomew was born didn’t fit right,” said Bartholomew.

December 24, 1918, and raised “But there was nothing we could upriver in Edgard, Louisiana. do, we were working with one His father, Louis, a barber by track. It was a mistake, but we sent trade, also played tuba in several the record out anyway.”

Dixieland bands. The family As they say, the rest is history. moved to New Orleans by the The Fatman sold over a million time Bartholomew was ready records, an incredible amount back for high school. “When my dad then for an R&B disc. Together,

Dave Bartholomew (1918 – 2019) Described as a pioneer, an innovator, a genius, and a slave driver in the recording studio, Dave Bartholomew died at a suburban hospital June 23, 2019.

He was 100.

Forever linked to Fats Domino’s legacy, Bartholomew was indeed the man who “invented the big beat.” A producer, arranger, songwriter, performer, bandleader, business entrepreneur and family man, Bartholomew’s awards and accolades included being inducted into The Rock & Roll Hall of Fame in 1991, receiving a Grammy Trustee Award in 2014, and in 2010 receiving the Lifetime Achievement Award from OffBeat.

In 1983, he claimed his BMI songwriting catalog contained over 4,000 songs, nearly all of which produced quarterly income.

“No Dave, no rock and roll,” said Lloyd Price, a fellow Rock &

12

AUGUST 2019

they had an incredibly successful run of hits over the next 15 years: “Ain’t That A Shame,” “Blue Monday,” “I’m Walkin’,” “Goin’ To the River,” “Whole Lot of Love,” “Be My Guest”—the list goes on and on. Domino and Bartholomew would account for selling over 65 million records on Imperial eventually.

In addition to working with Domino, Bartholomew also produced hits for Lloyd Price, Shirley and Lee, Smiley Lewis, Bobby Mitchell, Jewel King, Chris Kenner, Earl King, Snooks Eaglin, and the Spiders. He also produced himself, and accounted for several popular New Orleans hits including “The Monkey” and “Would You.” By the early 1960s, the music industry radically changed, especially in New Orleans. Most of the indie labels folded, left the city, or sold out, including Imperial. Bartholomew had offers to work in New York and on the West Coast, but he preferred to remain in New Orleans. A shrewd businessman, Bartholomew invested in rental property and was able to raise a family comfortably with royalties generated by his songwriting. He often toured with Domino, which took them around the world for decades.

“With Fats, I’m following my livelihood around,” said Bartholomew. “That’s my material out there.”

However, Bartholomew and Domino’s relationship somewhat soured in the 1990s, before reconciling over a decade later.

He remained a Dixieland fan and for several years you could see and hear him playing his trumpet at Preservation Hall every Sunday night.

Bartholomew is survived by his wife of over 50 years, the former Rhea Douse, eight children, and over 20 grandchildren and greatgrandchildren.

—Jeff Hannusch

O F F B E AT. C O M

PHOTO BY ELSA HAHNE

inmemoriam

inmemoriam

PHOTO BY ELSA HAHNE

T

he day after the massive funeral and second line for Dr. John, even as WWOZ was continuing its unprecedented marathon of Dr. John programming, the radio station broke another upsetting story—Dave Bartholomew had passed away at age 100.

Bartholomew was linked in death one last time with Dr. John. Sixty years ago, the two genius musicians, songwriters and bandleaders had both worked as producers at Cosimo Matassa’s J&M Recording Studio. Bartholomew’s band had a guitarist, so it’s unlikely they recorded together back then, but they knew each other, and many, many years later, when Dr. John was recording Nawlinz: Dis Dat or D’udda, Bartholomew put down his last recorded trumpet solo on a version of his classic song, “The Monkey.”

Now ’OZ was schizophrenically trying to honor them both at the same time, alternately playing tracks by one, then the other.

This was uncharted territory. If Dr. John’s passing was viewed as the end of an era, Bartholomew’s death marked the end of a century of New Orleans’ influence on American music.

Bartholomew studied trumpet with Peter Davis, the same teacher who once taught Louis Armstrong. He played traditional jazz on the riverboats. He then mastered the art of big band production, arrangement, and direction, before leading New Orleans’ hottest jump blues band in the 1950s, and becoming the A&R rep and producer for Los Angeles-based Imperial Records. This role saw him direct the career of Fats Domino, and he also cut scores of essential New Orleans tracks by his own band, as well as tracks by New Orleans legends Huey “Piano” Smith, Earl King, Tommy Ridgley, Shirley and Lee, Smiley Lewis, James “Sugar Boy” Crawford, Chris Kenner and Snooks Eaglin.

Bartholomew was one of a handful of people who could truly take credit for creating rock ’n’ roll. When you hear Fats Domino, you are hearing Dave Bartholomew.

Last December, I was looking forward to celebrating Bartholomew’s 100th birthday at a party that was sure to be an event to remember. The morning of the party, we found out that Dave had been hospitalized the night before, and the party was called off. His son Don promised that the party would be rescheduled. He never got the chance, and now that 100th birthday celebration becomes a lifetime sendoff.

I met Dave 30 years ago, when I was a reporter for United Press International and he was in New York (with Don accompanying him) to be inducted into the Songwriters Hall of Fame.

We had a lengthy and laugh-filled session, with Dave telling me his life story and enumerating the many injustices he had suffered over the course of his career. One of the things he was most peeved about was that the Rock & Roll Hall of Fame inducted him in its non-performer category. The Rock Hall is an institution not known for its sagacity, but this misreading of history has to go down as one of its all-time blunders, perhaps a mistake that can finally be corrected posthumously.

At the time, I could only use a small portion of Dave’s comments for my UPI story. Fortunately OffBeat agreed to publish a much longer version of the interview last December.

In going over the transcript, I came across something that I had OF F B E AT.C OM

overlooked at the time. Although Bartholomew talked in great detail about his accomplishments and disappointments, he was satisfied with the outcome, he said, because his goal had always been primarily to take care of his family. He did that in spectacular fashion. Dave Bartholomew leaves behind a family dynasty fueled by a multi-million dollar publishing empire run by his son Ronald. His other son Don, known as Don B., is a successful producer in his own right, and his sons Don Bartholomew Jr. (Supa Dezzy) and Blake (Trakka Beats) all work out of the Bartholomew studio at 1616 North Galvez. It’s a musical dynasty that stretches from the heyday of New Orleans R&B to contemporary hip-hop. Not a bad legacy, Mr. Dave. O

Dave Bartholomew Memorial

by John Swenson

AUGUST 2019

13

Jo

G ua sh

o uzy

Moving and Grooving member of 11 New Orleans bands, Joshua Gouzy Growing up in Chalmette, Gouzy played piano by ear

by John Wirt gigs at least seven days a week. The bassist also from early childhood. When he was 11, his grandfather founded one of those bands, the New Orleans Catahoulas. bought an electric bass for him at a local pawnshop. That instrument was Specializing in the city’s classic rhythm and blues, the Catahoulas feature a revelation. “When I got the bass in my hands, I knew, no question, I am a lead vocals and drums by Gerald French, a member of the city’s generabass player and always will be a bass player. I’ve never made a living from tions-deep French family of musicians. anything other than music. I’m very grateful for that.”

The Catahoulas recently released their album debut, Homegrown.

Gouzy’s grandfather gave his grandson some bass pointers and, in just Recorded live at the New Orleans Jazz a few months, he was playing bass at his church’s Museum, Homegrown includes infectious and Sunday services. His grandfather also promised fun renditions of Dave Bartholomew’s mamboto bequeath his vintage Fender electric basses spiced “Shrimp and Gumbo,” Earl King’s early to Gouzy. “He had a collection of extraordinary funk classic “Let the Good Times Roll,” and basses and he always told me, ‘When I’m gone, Alvin “Shine” Robinson’s earthy “Down Home these are going to be yours.’ Unfortunately, he lost Girl.” everything in the flood in 2005.”

“That music is so in my blood and it’s in New Orleans R&B and the gospel and Gerald’s blood,” Gouzy said of the Catahoulas’ contemporary Christian music Gouzy performed time-and-place specific repertoire. “It’s the in church comprised most of the music he heard most accessible music I’ve ever known. You just during his childhood and youth in Chalmette move and groove to it.” and Mandeville. In those years, he didn’t even “It’s a funky good time for me,” French hear contemporary pop, R&B or hip-hop. But agreed. “We’ve been together for a little over his musical world expanded greatly with his a year now and the band has really come enrollment in Loyola University. “Loyola was one together. It’s great, man, to play classic New of the greatest things that ever happened to Orleans R&B with guys who respect that me,” he said. “They gave me all of the tools that music.”

I needed and more to be able to do what I do “I don’t know any drummer other than now.”

Gerald who can do what he does for that Gouzy began playing non-church gigs at the music,” Gouzy added. “The rhythm we create halfway point to his bachelor’s degree. He joined has an undertow. It carries people away.” a trio with saxophonist Tony Dagradi and guitarist French and Gouzy both have a direct Steve Masakowski, local jazz veterans and faculty connection to the local R&B standards members at Loyola and UNO respectively. “I Joshua Gouzy recorded at Cosimo Matassa’s studio in the didn’t feel ready for it, but I kept the gig until they 1950s and ’60s. French’s father, bassist and shut down,” the bassist recalled. singer George French, played for Fats Domino when he recorded Earl Subsequent gigs included an eight-year run with the New Orleans King’s “Trick Bag” and Robert Parker’s “Barefootin’.” Gerald French’s Jazz Vipers. Gouzy recruited three Vipers—trumpeter Kevin Lewis and sideman work includes the Dixie Cups, the local girl group that released father and son saxophonists Earl and Oliver Bonie—for the New Orleans the national number one hit, “Chapel of Love,” in 1964.

Catahoulas. Pianist Steve DeTroy and guitarist Bert Cotton are the other Like French, Gouzy comes from a musical family, the Floranes. On band members. his mother’s side, there’s his great-grandfather, trumpeter Dee Florane; In addition to the Catahoulas, Gouzy performs with the Jumbo Shrimp his great uncle, Alcide Florane, led the Florane family jazz band in the Jazz Band, Russell Welch Hot Quartet, Aurora Nealand, Miss Sophie Lee, 1910s; his great aunt, Leah Florane, played organ for silent movies at the the On the Levee Jazz Band, Fritzel’s All-Stars, Richard Scott’s Twisty River Saenger Theatre. And Gouzy’s grandfather, Lloyd Florane, played bass for Band, Haruka Kikuchi and the Big 4 Tune, Cristina Perez, and an Edith Piaf “Last Chance,” the 1959 regional hit by Collay and the Satellites that also tribute band, Pardon My French. reached number 82 on Billboard’s Hot 100.

“The musicians I work with in all these bands, they’re friends,” Gouzy “It’s in classic 6/8 time,” Gouzy said of “Last Chance.” “Some St. Bernard said. “Playing music with people, that’s an intimate thing. You need to trust Parish girls sang background, so it sounds like a bunch of yats. It’s kind of each other and listen to each other. I believe in fostering that friendship harsh, but I love it.” Lloyd Florane also knew the local and national stars and helping the music grow.”

Frankie Ford and Lloyd Price and he briefly played in a band with a young The Catahoulas are performing August 2 at the Hi-Ho Lounge; August 3 at guitarist named Mac Rebennack, the future Dr. John.

The Spotted Cat; and August 10 at the Maple Leaf Bar. O

14

AUGUST 2019

O F F B E AT. C O M

Photo BY JOHN DIXON

A

Joshua Gouzy is fostering friendships in a dozen of bands.

OF F B E AT.C OM

AUGUST 2019

15

A

M le x

cM u

rray

Like a Cobra in the Dark lex McMurray is rightfully recognized as

by Michael Dominici work up a tune and try it a few times and if it doesn’t a great guitarist and singer-songwriter, work we’ll abandon it pretty quick without much but beyond that he is also a tremendous navigator of ceremony. We play every week, so we’re always tinkering. I suppose the New Orleans music scene. Besides being a founding member the criteria of suitability for a song is like this tidiness madness we of Royal Fingerbowl and The Tin Men, McMurray also formed the are hearing about—if a song doesn’t add to the overall joy or energy, beastly Valparaiso Men’s Chorus, with a focus on ribald sea shanties. then off it goes. From the songs that actually make it to the bandstand, He partnered with guitarist Jonathan Freilich for the Tom Paines, to probably about 60-percent stay in the repertoire. The world is full unearth obscure folk songs, blues, and murder ballads, and figured of songs. The shanty band is in a weird area in that it is, by necessity, prominently with The Write a party band. There’s a pretty big Brothers, featuring Jim McCormick, audience that are there for a visceral Paul Sanchez, and Spencer Bohren. experience, and we are there with McMurray has also accompanied all this firepower of the drums, tuba the massive Naked Orchestra, and trombone, etc. If we played that collaborated with The Little Big music in the traditional way, it wouldn’t Horns, and even joined the reggae be nearly as much fun. I’m quite band 007. Alex McMurray has sure we’re the only band playing sea had a long-standing series of duet shanties in this way on the planet, but performances with everyone from it’s how it sounded in my head when Sarah Quintana and Susan Cowsill, the first germ of the idea to have a to Luke Spurr Allen, who plays New Orleans sea shanty outfit first with Alex in The Happy Talk Band. took root while I was still in Japan.

We recently had the opporStrange we don’t get invited to any of tunity to pick Alex’s brain, and the big sea shanty festivals. just generally catch up with this I have personally seen you hardworking musician. write a song in five minutes, and I know you’re out there that blew my mind. How do you quite a bit with your bands create your material? Do the and as a sideman for a variety lyrics typically come first, or does of prominent musicians. Let’s the music come first? begin with The Tin Men. What The best songs always come in a is it about The Tin Men that flash pretty much complete. Pretty you love most? much all songwriters will tell you that.

There’s that thing that dogs do, I have a few that took less time to when they are staring at an object write than it takes to perform them. and are very much silent and But by and large, many more songs focused on that object, and if the are, to varying degrees, hard-fought.

Alex McMurray object moves just a hair, the dog I have heard many creative people will quickly rotate its head about liken the creative act to fishing—the 30 degrees yet still remain focused. The Tin Men will do that to people fish are out there, you just need to put out your line, in the right place, sometimes, which I like. Plus I’ve always liked trios. My family is a trio. at the right time, be willing to wait a while, and accept the possibility There is such a vast expanse and range in your repertoire; that you will throw a few back and that you may return home emptybesides the dozens of originals, you delight in unearthing handed. Plus, you need lots of gasoline, a trailer, and a license. There obscure blues and jazz compositions, doing eclectic covers, are some songs I’ve worked on for 15 years or more. Not without and of course exploring a deep catalogue of sea shanties a break, of course, but there are some that won’t leave you alone. with Valparaiso Men’s Chorus. When do you know you’ve A melody nags at you and you sit like a cobra in the dark for hours uncovered a gem that suits you? waiting for the right words to stroll by … and you strike! There’s You don’t really know until you play it in front of an audience, and blood and feathers everywhere, terrible screaming, and the final death even then it will probably take a few times before your backside loosens struggle, finally the heart stops and you have a song. up. The Tin Men play so many gigs in so many situations that we are I’d like you to give us a few anecdotes and insight into some always starving for material—we burn through songs pretty fast. We’ll your collaborators.

16

AUGUST 2019

O F F B E AT. C O M

Photo BY ELSA HAHNE

A

A conversation with Alex McMurray.

OF F B E AT.C OM

AUGUST 2019

17

Susan Cowsill. My sister from another mister. Our 2009 trip to the Middle East presaged the Arab Spring. You can look it up.

Susan is a machine built by God to sing harmonies with people, as is evidenced daily if you are tracking her movements. She zigs and zags, is light on her feet and has one helluva arm. She could quarterback the Buffalo Bills to the playoffs, and was scouted early on by the Twins organization, but opted instead for a career in showbiz. Has played Ed Sullivan—who among us can say that?

Paul Sanchez. Fastest gun in the West. There is no faster songwriter. He prides himself on this. By the time he’s halfway done with the bridge he’s thinking about the next song. And Paul Sanchez should be mayor of something—there is no finer extemporaneous speaker anywhere. He’s a card-carrying true believer.

He’s going to stay out there until they put him in the ground, or put the net over him.

Debbie Davis. It has been my good fortune to be in Ms. Davis’s employ for a few years now. Fortunate for many reasons—not least of which is that I am thrust into situations for which I am woefully unqualified. Somehow I always emerge on the other side scraped and bloody but nevertheless intact. They say this is good for you.

I like the gig because I’m a big fan of cabaret music—Bobby Short, Mabel Mercer, Mae Barnes, etc. I think her center of gravity is somewhere amongst the icons of that style. She has a great book: Carmichael, Newman, Berlin, Winehouse, Wonder, Bowie. She’s a wonderful interpreter of my songs and she’s even recorded a few. The reprobate with a heart of gold, tough as nails but will go completely to pieces at the drop of a hat—that’s our Debbie.

Jonathan Freilich. Has a voracious appetite for music—loves the stuff. More than that, it’s his oxygen. Take it away and he starts turning blue and the pond gets scummy real quick. He’s shown me more music over the years than anyone by far. I’m certain there are many musicians in town who would say the same. His car is a rolling salon. Always has the latest Bob Dylan going, or Japanese court music, endless opera.

Spencer Bohren. Spencer wasn’t taken in by the glitz and the glamour of the top-tier gas stations. He took the time to find the mom and pop gas. Hated the interstate. When the van did stop— which wass not often—it was at the rest area near the state line.

Carried his own food and water. The road was his milieu.

Luke Spurr Allen. By night is lifeguard at the adult pool, his nerves frayed by the constant monitoring of trouble on the horizon. In and out of the water all day. Goes through a lot of sunblock. By day he retires to his strange garden, where he cultivates the bittersweet, misshapen fruit which bring home blue ribbons from fairs in counties you can only imagine.

Joe Cabral. Knows how to make the gig. He learned that on his dad’s bandstand playing top 40, and Mexican tunes starting when he was 14. At 15 he could drive the car to the gig. At 16 his dad sent him by himself. Not a lot of folks can sing and play bass, but Joe makes it look effortless. I think it’s like learning Mandarin Chinese—you have to start when you’re young. Knows the words to a kajillion two or three chord songs—which is huge. Because of this, he is unflappable on the bandstand. Seeks out the corner room at the hotel. Won’t wear a shirt with a breast pocket. Cherishes his collection of Frisbees. Loathes any sort of insignia on a car. O

18

AUGUST 2019

O F F B E AT. C O M

hi & ikuc Tsuji aK u k a “Z 2 ” r Ha itak sh Yo

Japan-New Orleans Connection

Two Japanese jazz musicians travelled 7,000 miles to find a home in New Orleans. aruka Kikuchi grew up in Tokyo: a big city girl with a background in classical music. Yoshitaka “Z2” Tsuji is from Osaka; his mother started teaching him piano when he was five years old. Haruka came to traditional jazz though a music teacher—Z2 says he was hit by a bolt of lightning when he first heard Oscar Peterson. Their studies and enthusiasm brought them both to New Orleans separately, but soon they found each other and have since created a life rooted in their mutual passion for the city’s music and culture. Haruka has played with Shotgun Jazz Band, Catie Rodgers and the Gentilly Stompers, Shake ’Em Up Jazz Band, Cha Wa, and has toured with Postmodern Jukebox. Z2 plays with Kermit Ruffins and the Barbecue Swingers as well as Kevin Morris & Uptown Production.

What was it like for you when you first moved to New Orleans, Haruka?

Haruka: My first apartment was uptown, so I rode the streetcar to the French Quarter to play. The first band that I played with was Shotgun Jazz Band. I had visited before I moved here in 2014. During that visit, Z2 asked me if I wanted to do some busking in Jackson Square. I was more familiar with New Orleans jazz than he was. I still remember I called a song like “Panama.” He didn’t know it. I said, “It’s easy, just follow me.”

Marla Dixon was just walking in Jackson Square and she said, “Oh you play traditional jazz? I play traditional jazz, too!” She gave me her card, and that’s how I met her and came to Shotgun Jazz Band.

Did you have a similar experience, Z2?

Z2: When I first moved here in 2010, I didn’t know anyone and nobody knew me. I just knew Kermit and Rebirth. I sat in with Kermit at Vaughn’s the first Thursday I was here. The second week I came and sat in again. The third week, the bartender, Miki, called me. She said Kermit needs a keyboard player. The regular player was on vacation for two weeks. I said yes, but I didn’t have a suit! Miki’s friend had a suit, so we went to his house. It was violet! I needed a suit that day so I had no choice. My first gig with Kermit in New Orleans I wore a violet suit! I still have it.

Do you two often play together?

Haruka: Our music backgrounds are a little different. His hero is Oscar Peterson. My trombone hero is Kid Ory. We sometimes play together, so it’s like a family band, but we also try to respect our differences in style. His style is more bebop style and my style is more traditional New Orleans. Of course we still play together sometimes, like every Saturday at The Little Gem with Kermit.

Kermit plays a big role in your lives! When you got married you decided to have the reception at Kermit’s Treme Motherin-Law Lounge.

Haruka: Yeah, because when we were thinking about our wedding party we just thought that we had no choice but to do it there

20

AUGUST 2019

Haruka Kikuchi and Yoshitaka “Z2” Tsuji with their son Shouta

because it’s like our home. We have many funny photos!

Your baby is named Shouta. Is that a Japanese name?

Haruka: Shouta is a popular Japanese boy’s name.

Z2: It sounds like “Showtime!”

Haruka: He has a Chinese character name also. His Chinese character name means “laughing big boy.”

Seems like Shouta has been going to gigs and festivals from an early age.

Haruka: He went to French Quarter Fest and Jazz Fest when he was six months, seven months. I remember the first time he kicked in my belly it was last June. I was on tour with Postmodern Jukebox.

During the show they feature each musician. So they said, “Haruka on trombone!” I played my signature song in the show, the Joe Avery blues “buh buh bah bum!” Then he kicked: Boom! I was so excited on stage. I didn’t tell anybody, but oh my god!

Do you think you’re here to stay in New Orleans?

Haruka: Yes. No plans to ever leave. We went on tour to Japan in May. The main reason was just to show Shouta to our parents. It was our first time playing together in Tokyo and then in Osaka.

Is it challenging to have a new baby and to both be musicians?

Haruka: Yes, for me, because I’m just a beginning mom. So everything is the first time without rehearsal. We’re just so glad because he’s such a healthy baby. O Haruka Kikuchi is playing Satchmo Summerfest with Catie Rodgers and the Gentilly Stompers on the GE Stage on Saturday, August 3rd 1:50 p.m.

Z2 is playing Satchmo Summerfest with Kermit Ruffins and the Barbecue Swingers on the Fidelity Bank Stage on Friday, August 2nd 4:30 p.m.

O F F B E AT. C O M

PHOTO BY by Stacey Leigh Bridewell

H

by Stacey Leigh Bridewell

OF F B E AT.C OM

AUGUST 2019

21

kson Jac y n To

Now known as the most innocent of standards, “Pretty Baby” is really an artifact from the heyday of Storyville. And it’s virtually all that survives from the career of composer Tony Jackson, which by all accounts was a musically and socially remarkable one. The son of a freed slave, Jackson was apparently playing in brothels well before hitting his teens. Jackson was the James Booker of his time—a prodigy who could play virtually any blues, jazz or opera piece on the spot, and was known as “the man of a thousand songs.”— Brett Milano in 300 Songs for 300 Years.

I

n late 1904 or early 1905, a lone white man, a relative newcomer to New Orleans, was strolling towards the downtown river corner of Villere and Iberville Streets in the heart of Storyville. On this corner stood the establishment of Miss Antonia P. Gonzales, “the only singer of opera and female cornetist in the tenderloin” (amongst many other talents, no doubt!). As he got near to the front of the building, on Iberville, he could hear the sound of a piano and singing, coming from the Villere side. He stood by the window transfixed, listening to the most wonderful music; the beat of the bass and marvellous embellishments in the treble of the piano were of a kind he had never heard before, and the singing was just as distinctive: high notes, low notes, fast or slow, whoever the man was he was executing everything perfectly. As the white man was listening he realized another man was standing on the banquette near him, another white man. “Who in the world is that?” asked the first one, and the second replied, “Tony Jackson, he knows a thousand songs.”

The first man was Roy Carew and the second was the pianist Kid Ross, the only white “professor” in Storyville. Carew was to become a friend of Tony Jackson, and the above comes from his reminiscences related in The Record Changer magazine of February, 1948.

Jackson, who was called “The World’s Greatest Single-Handed Entertainer” and who was held in awe by his fellow musicians, including Jelly Roll Morton, is believed to have been born on June 5, 1876. The Jackson family home was on First Street between Annunciation and Rousseau Streets, but by the time Tony was about two years old they had moved to Amelia Street, near Tchoupitoulas Street.

Tony had a deep interest in music. At the age of seven or eight he constructed, from pieces of scrap in the yard, a type of harpsichord with keys and tunable strings on which he gave his first concert, to his family, of the hymn “How Sweet to Have a Home in Heaven.”

Obviously the scope for progression on this home-made instrument was limited and soon agreements were made with neighbors who had pianos and, in at least one case, a reed-organ, where practice sessions were exchanged for dishwashing duties. Throughout his life, though, Tony never had one music lesson; he was entirely self-taught

Pretty Baby

Tony Jackson: The man of a thousand songs.

22

AUGUST 2019

by David Butters

and was what was known in those days in New Orleans as a “faker.”

Before long his efforts came to the notice of Adam Olivier, who had a barbershop on the corner of Tchoupitoulas. Olivier arranged a permanent practice session at the saloon next door to the barbershop. By the age of 13 Tony was good enough to land his first job, employed by Olivier on a part-time basis either in the band or in the club, or both. Olivier also gave Bunk Johnson his first job. Tony stayed with Olivier for about two years, during which time he learned to read music. His reputation grew, so that when he left the band he was recognized as one of the top musicians in the city and had no trouble securing employment in the “houses” of the newly opened district soon to be known as Storyville.

By 1900 the family home had moved to Magazine Street by the French Quarter. Jackson was the undisputed boss of the entertainers in New Orleans and was the favorite among all the frequenters of the District: customers, musicians, girls and madams. He played at the top establishments, such as Tom Anderson’s Annex, Lulu White’s Mahogany Hall (where in the late 1890s he was seen playing with O F F B E AT. C O M

clarinetist Alphonse Picou with, occasionally, one of the girls singing), Gypsy Schaeffer’s and “Countess” Willie Piazza’s, as well as Frank Early’s My Place and, after hours, The Frenchman’s. The last named was where all the musicians went after work had finished, and if someone was playing the piano when Jackson walked in one of the others would say, “Get up from that piano, you’re hurting its feelings.

Let Tony play.” One of his most celebrated performances during this period was the popular song “I’ve Got Elgin Movements In My Hips with Twenty Years’ Guarantee,” and clarinetist George Baquet carried a vivid memory of Tony’s showmanship: “He’d start playin’ a cakewalk, then he’d knock over the piano stool and dance a cakewalk—and never stop playin’ the piano—and playin’, man! Nobody played like him.” Frank Early’s is probably where he wrote his most famous and enduring song, “Pretty Baby,” although it was not published until many years later. It was in this period, 1899–1903, that he earned the soubriquet “The World’s Greatest SingleHanded Entertainer” for a great singing voice, infectious gaiety, incredible timing and, above all, phenomenal two-handed piano playing.

According to contemporary descriptions Jackson was six feet tall with a tendency to stoop, very dark skinned and “not a bit good looking” owing to a prominent nose and a rather weak chin which accentuated the prominence of his lips. He was slender-bodied with a premature tuft of grey (almost white) hair in his forelock. In later years he inclined to obesity, especially round the hips. He had a good disposition (Morton described it as “beautiful, when sober!”), almost happy-go-lucky. He was always well dressed, his clothes being expensive and carefully chosen.

Bunk Johnson described him as “dicty,” meaning a well-dressed Negro. And he liked spending money; he was said to have made several fortunes in Storyville but didn’t keep them!

In late 1907 or early 1908 Tony went to Chicago with fellow pianist Bob Caldwell. He settled in Chicago permanently in 1912, only returning once to New Orleans to attend his mother’s funeral in February 1913.

In 1916 occurred the event that would give the world his most lasting legacy: publication of the song “Pretty Baby.”

“Pretty Baby” was originally written in New Orleans in the room over Frank Early’s My Place, reportedly inspired by a good-looking young man who attracted Jackson. The original words are lost but were apparently risqué to say the least. But when composer Egbert Van Alstyne and lyricist Gus Kahn heard it in the Deluxe Cafe they liked the melody and bought the song from Jackson for $250. Van Alstyne added a verse from a previous song of his, Kahn provided more acceptable words for the chorus, and it was sung, originally, by Dolly Hackett in the Shubert Brothers production “The Passing Show of 1916.” Unfortunately, the first edition of the sheet music showed Van Alstyne’s and Gus Kahn’s names above Jackson’s, which angered Jackson’s friends and earned Van Alstyne many lifelong enemies.

Throughout his musical career Tony Jackson wrote numerous piano rags and songs, most of which were never published and are now lost.

Roy Carew once asked him why he hadn’t published a particular rag and he replied that the local music stores (in New Orleans) would only give him $5 for it and he would “rather tear it up than give it away.” On another occasion he told trumpeter Lee Collins that he had just sold a $5 tune (allegedly the song “Say You’re Sorry”) for $7.50. Because he didn’t copyright, much of his material was stolen by other musicians. For example, Jelly Roll Morton and no less an authority than ragtime pianist Brun Campbell (“The Joplin Kid” and Scott Joplin’s only white pupil) both said that “Michigan Water Blues,” claimed and published by Clarence Williams, had been composed

by Jackson around 1895; Campbell remembered it as being “quite raggy.” Other contemporary musicians said that many Tin Pan Alley tunes had originated at Jackson’s hands. Roy Carew’s favorite tune, “The Naked Dance,” although un-published, does survive in an extended version recorded by Jelly Roll Morton. A song written in collaboration with Glover Compton, “The Clock of Time,” was apparently later purloined by one J. Berni Barbour and re-named “My Daddy Rocks Me (With One Steady Roll).”

Jackson usually appeared as a solo artist or as an accompanist to such singers as Lucille Hegamin and Alberta Hunter. In 1917, though, he was seen at the Deluxe in a band he had organized consisting of luminaries Freddie Keppard on cornet and Lorenzo Tio Jr. on clarinet, along with Wellman Braud on string bass and Minor Hall on drums. He is reported to have also accompanied the Whitman Sisters for a second time, possibly on a short, local tour. But probably the most intriguing event that Jackson took part in in 1917 also involved his number one disciple, Jelly Roll Morton.

During the first 30 years of the twentieth century, competitions or cutting contests between ragtime and barrelhouse pianists were common. All the big names and local talent took part, but the mere rumor of Tony Jackson participating put off most others from attending, especially those with a reputation to lose. Even Jelly Roll Morton, on his own admission, ducked one contest because he’d heard Jackson would be there. In 1917 in Chicago, however, just such a contest was organized, and Tony and Jelly competed—and Morton won! To Morton’s credit he always said afterwards that he thought the prize had gone to the wrong man and that Tony Jackson should have won. Twenty-one years later Jelly confessed to Roy Carew that a certain amount of gamesmanship had been employed: “I leant close and whispered in his ear ‘You can’t sing now Tony, you can’t sing now.’ ”

By March 1921 Jackson had become very ill. He’d not only suffered from chronic epilepsy but he had been a heavy drinker all his life and may also have contracted syphilis. In July 1959, Al Rose and Dr. Edmund Souchon tracked down Jackson’s death certificate (a copy of which is now in the Hogan Jazz Archive at Tulane University), which shows that he died on April 20, 1921 from, perhaps unsurprisingly, Chronic Hepatic Cirrhosis contributed by Gastro Enteritis; in other words cirrhosis of the liver.

Throughout his musical career Tony Jackson wrote numerous piano rags and songs, most of which were never published and are now lost. Roy Carew once asked him why he hadn’t published a particular rag and he replied that the local music stores (in New Orleans) would only give him $5 for it and he would “rather tear it up than give it away.”

OF F B E AT.C OM

AUGUST 2019

23

His funeral was held on Saturday, April 23, amongst those present being Joe Jordan, Glover Compton, ‘Teenan’ Jones, Clarence Williams and members of the New Orleans Jazz Band. He is buried in Oak Woods Cemetery.

Although tragically short, his life was full and his legacy, though maybe difficult to assess, is nonetheless real. He left, unfortunately, no recordings, no legendary lost discs or cylinders! There was an attempt to get him to record on piano-rolls when he was almost on his deathbed, and even an offer to get the piano installed in his room, but he was far too ill. All we have are the reports and memories of his contemporaries, and these are legion and unanimous in praising his abilities and his character.

Pianist Clarence Williams told researcher Simms Campbell that Jackson was the greatest of them all, “great because he was original in all of his improvisations—a creator, a supreme stylist.” He added, “Sure I copied him, we all did.”

Richard M. Jones and Jelly Roll Morton considered him to have been the equal of any blues pianist past or present. As we have seen, his versatility was legendary. Morton said “He would sing a blues like a blues singer, opera like an opera singer and was always the first with the latest tunes.”

Both Shep Allen, one-time operator of several Chicago landmark venues, and Clarence Williams said that as a singer Jackson was something like Nat “King” Cole but with greater range and power.

And guitarist/banjoist Bud Scott, remarking on his piano-playing, said he “combined the instrumental technique of Art Tatum with the swing of Fats Waller.”

Of his piano style much, now, has to be guesswork. We know it was very varied and included single walking bass and double walking bass (of broken octaves), as later used by boogie-woogie pianists. His longfingered hands could make fast passages spellbinding and his blues and slow drags would sway with rhythm. White ragtime pianist Brun Campbell said that Jackson was a great New Orleans pianist who could outplay Jelly Roll Morton.

His ballad accompaniments were famous and Alberta Hunter remarked that he was the finest accompanist she had ever heard. He never played a tune the same way twice and he could write a song in two minutes.

As an example of his good nature and generosity, fellow Storyville Professor, multi-instrumentalist and noted teacher Manuel Manetta recalled that when he took a trip to Chicago with violinist Charles Elgar and trombonist George Filhe in 1913, they went to see Tony Jackson’s act at the Elite Cafe. Jackson was so pleased to see his old friend Manetta coming through the door that he stopped the show, had the spotlight turned on Manetta and introduced him to the audience as a major celebrity. Manetta was supremely touched by the gesture and remembered it for the rest of his days.

Tony Jackson was inducted into the Chicago Gay and Lesbian Hall of Fame in 2011. His song “Pretty Baby” was the inspiration for Louis Malle’s 1978 film of the same name, the whorehouse pianist loosely based on Jackson being played by Antonio Fargas of Starsky & Hutch fame. And Tony Jackson’s relationship with Jelly Roll Morton was made the subject of the play “Don’t You Leave Me Here” by Clare Brown, which premiered at the West Yorkshire Playhouse in September 2008. O This article has been edited and condensed. The full version first appeared in the Frog Blues & Jazz Annual No. 5. and Annual No. 6.

24

AUGUST 2019

O F F B E AT. C O M

OF F B E AT.C OM

AUGUST 2019

25

ve Cli

son W il

P

reservation Hall proprietor You came just after legal Larry Borenstein once desegregation? remarked to Clive Wilson The situation didn’t change that the New Orleans jazz overnight, but legally, I wasn’t going to scene has always had a “resident be arrested for sitting in with bands.

Englishman.” In his new memoir, Gradually it changed. By the ’70s Time of My Life: A Jazz Journey from things were changing quite fast, but in London to New Orleans, English the ’60s, for example, on Esplanade trumpet player Clive Wilson there was a coffee shop where they recounts vivid tales of coming to used to do poetry readings and black New Orleans and witnessing the and white would go there, including early days of Preservation Hall, the professors from UNO and Tulane. legendary musicians he learned The police would regularly raid them from, and the last days of a bygone and arrest everybody because they era of New Orleans jazz. were mixing. They just didn’t like it.

Early in the book you say that They were very down on homosexwhen you were a young jazz uality as well. Anything they thought fan in England, you thought you might be homosexual, they would couldn’t go to New Orleans jump on it. Everything’s loosened up because you didn’t like rice. so much now.

The only time we ate rice in Did you feel a bit nervous at England in those days was as a first, coming into the predomidessert, as rice pudding. I never nantly African-American New liked it, it made me feel bad. So I Orleans music world as a white said to myself, “Well I’ll never go outsider?

by Stacey Leigh Bridewell to New Orleans; all they do is eat No, no. Not at all. Me and a red beans and rice!” Then I tried couple of others who had come Chinese and Indian restaurants and of course they used rice. So then here were at Preservation Hall and Dixieland Hall every night of I thought, “Oh, this rice is okay! So I can go after all!” the week unless we were invited to go to a private job. All of the What was the jazz scene like in England when you were musicians knew us very well and we knew all of them very well, we growing up? knew their families and everything. The only way you could hear some It was sort of homegrown. It wasn’t top-down like today, like pop of the older musicians was to go to their houses and actually visit music. The people wanted it and so eventually the promoters started them in person, so we did that with quite a number of people. promoting it. It started with skiffle, I think, around 1950, and within a There wasn’t much of a barrier between professional and few years traditional jazz became very popular in England. social worlds?

You came from a very different musical background, though.

We would all go out and eat together and drink together and we’d My parents just didn’t like any popular music of any kind. I did hear listen to them every night. Preservation Hall in those days was not some classical music, though. I remember, really, the first time I heard like today. It was like our front room. We just went there after dinner pop music was Harry Belafonte singing the “Banana Boat Song.” I think and hung out for three or four hours and the Jaffes were very kind that was 1956. The first jazz record I heard was the Bunk Johnson because we were students of the music, so they let us in for free. I Band with George Lewis, recorded by Decca. I was 13 years old and couldn’t afford it otherwise.

I heard this record and I wondered what on earth it was. It was like You joined the Young Tuxedo Brass Band? magic to me; I’d never heard anything like it. It gradually mushroomed Yeah, that was a real surprise and also an honor. Andrew Morgan from there. took over the Young Tuxedo Brass Band and I got a phone call one day You never saw yourself as a professional and he said, “Can you make two funerals with me at the musician? weekend?” I said, “I’ve never seen a funeral, let alone played No, no, not until much later. I was here in New in one.” He said, “That’s okay, come on!” We get there and Orleans for three years and I still just thought I’d be a it was a pick-up band with three trumpets: Reginald Koeller, great amateur. You know, with a day job. In fact, when me, and Kid Thomas. They looked at me and said, “You’re I was here, and this applies to everybody that came leader.” I said, “Why?” They said, “Well, you’re Morgan’s here in the ’60s, we were just here to listen and learn. trumpet player!” They didn’t mind at all. There was no ego We were not here to take gigs. We got to know all the there. O musicians personally, and they would take us around Clive Wilson is playing Satchmo Summerfest with Clive with them. They took us under their wing, you know.

Wilson’s New Orleans Serenaders Friday, August 2nd at 1:30pm They were very protective of us, too. on the Fidelity Bank Stage

A Resident Englishman

Clive Wilson talks about his jazz journey from London to New Orleans.

26

AUGUST 2019

O F F B E AT. C O M

OF F B E AT.C OM

AUGUST 2019

27

For Doreen Ketchens, the clarinet was her beacon and her way of life.

by Geraldine Wyckoff PHOTOGRAPHED BY GUS BENNETT

28

AUGUST 2019

O F F B E AT. C O M

“God gave us the streets—it’s a true blessing,” praises

clarinetist and vocalist Doreen Ketchens. “We can play what we want, we can control who comes into the band and who goes out of the band. People hear us from all over the world and call us and they want us to come and play for them.”

Blowing a clarinet on the corner of Royal and St. Peter streets for some 32 years as the leader of Doreen’s Jazz New Orleans band is a far cry from Ketchens’ ambition of being the principal clarinetist in the New Orleans Philharmonic Orchestra. The long, winding musical road that ended with Ketchens performing just nine blocks from her home in the Treme wasn’t well-trodden by most young, naive artists from the 6th Ward—although they did often head to the French Quarter to hone their chops on Jackson Square. The clarinetist, whose smiling face is recognized around the globe, took an educational route, which would eventually help to create her unique style, technique, and sound.

Not coming from a musical family like so many of her Treme neighbors, as a young girl Ketchens, now 52, actually had no real desire to play a musical instrument even though she was exposed to jazz music by the second line parades regularly passing by her St. Philip Street home. As is true for most of her musical journey, happenstance led to her musical future.

How she began playing clarinet is a story she’s repeated many times throughout her career. When she was in the fifth grade at nearby Joseph A. Craig Elementary School, she heard there was going to be a pop quiz. To get out of it, she quickly responded to an announcement asking students interested in being in the band to come and sign up.

Her first choice, selected from the photographs lining the walls, was the flute—but many girls before her had chosen the instrument, so she opted for the clarinet.

“Thank God,” she now declares of her fate of taking up the clarinet.

“The clarinet projects far more than the flute does. The clarinet was my beacon, it was my guiding light because it set me in the place I was going to go every time.”

Ketchens’ ability to strongly project each note from her instrument has played an important role in her ability to attract listeners to her band’s regular street location in front of the Rouses on Royal Street.

The call of her passionately-blown clarinet and her signature “pose,” which finds her lifting the bell of the clarinet towards the sky, also lures folks and their sustaining tips. It emerged years ago when she was determined for her instrument to be heard.

“That came from playing in Jackson Square with a whole bunch of musicians who were trying to play over me,” she explains. “Usually when someone would take a solo, the other instruments would just riff underneath. When I got up to do my solo, they were playing loud, almost drowning me out. Necessity is the mother of invention.

What happened was I just brought my clarinet up and played it high. I would just dance up on top of all that noise. That was character-building too.”

From attending and playing clarinet at Craig, where she declares, “I was good,” she moved on to Bell Junior High, where she also succeeded as a member of the concert band. A glitch came when she was about to enter high school. “I actually wanted to go to St.

Aug,” Ketchens says and remembers herself thinking, Why all boys?

The nearby Joseph S. Clark High School was in her district but she says that she was adamant about not going to the school. “I had a lot of good friends that went to Clark, but it just wasn’t for me at all,” she recalls.

Ketchens was aware that Kennedy High School had a really good band but because she didn’t live in the right school district she had to apply for a permit. “They turned me down,” she remembers out loud, with the disappointment of a young girl facing rejection still in her voice.

Fate stepped in again when one day Ketchens accompanied her mother—“just to hang out”—when she went to clean a client’s house. The woman was a school-teacher and observed that Doreen was upset about something. She asked her what was wrong and Ketchens explained the situation. When the woman—who was knowledgeable about New Orleans public schools—found out how much Doreen wanted to attend Kennedy, she told her that there were only two schools that taught Latin. Her sly suggestion: “Just apply for another permit and tell them you want to take Latin and they’ll have to take you.”

“And I got in!” Ketchens exclaims. “Regular people just don’t take Latin, but I knew I had to pass the class to stay.” Fortunately, Ketchens was blessed with a wonderful Latin teacher, Miss Sparks, who totally transformed what might have been a difficult situation. “She was so patient and understanding and talked to you like you were the only person in the room.”

Ketchens not only passed Latin, but also really enjoyed it. “I was even thinking about taking it in college,” she recalls. When Miss Sparks fell ill, the class was canceled and Ketchens had “a free ride at that point. When I didn’t like it [Latin], I had to take it. When I loved it, I had to give it up.”

Doreen also attended the New Orleans Center for the Creative Arts (NOCCA); Its curriculum naturally included jazz, although her heart remained in classical music. During high school, she auditioned for and had the opportunity to perform as an intern with the New Orleans Philharmonic Orchestra at the Municipal Auditorium. She continued her education at Delgado Community College and then Loyola University, where she met her future husband, tuba player Lawrence Ketchens II, a vital musical influence and the love of her life.

Both attended Loyola on scholarships, but as the annual tuition rose, the money they received did not.

Lacking the funding to continue at Loyola, Doreen sought out alternatives and received a scholarship to the University of Hartford Hartt School [a performing arts conservatory] that was later supplemented by a scholarship from the New York Philharmonic. This fits, she remembers thinking, but I didn’t want to leave him. “I really didn’t,” she sincerely adds, referring to Lawrence, who went on to attend Xavier University.

“It was really a good thing,” Doreen admits of the move. “It’s amazing how small my world was. I lived right down from Craig and Bell schools and went to church at St. Mark’s Missionary Baptist Church on Ursulines Avenue. But the Hartt School opened up a whole new world for me,” Doreen says of her experience in the northeastern university.

Complaining that sometimes New Orleans was like the proverbial bucket of crabs with each trying to climb over the front one to get to the top, she found it different in Hartford. “In Connecticut all they did was share.”

AUGUST 2019

29

At first Doreen lived on campus but, because it was cheaper, she found a place to rent away from the university. Apparently, as she soon discovered, the rental wasn’t in the safest area of Hartford, and it wasn’t long before her car, with her clarinets inside, was stolen. “You’re young and you’re not really realizing you’re in the ‘hood,” she admits. The car was found and luckily, when the thieves opened the old double clarinet case in the trunk, its contents—10 clarinet pieces—fell to the ground and the obviously not musically savvy thieves left them right there.

That was enough for Lawrence, whom she would marry in 1987, to head to Connecticut and join Doreen, as he believed she shouldn’t be up there by herself. He borrowed a tuba and would practice in the school’s rehearsal room, and even played some concerts along with the students at Hartt.

“Then we started doing our ‘New Orleans thing,’ ” Doreen relates, recalling performing at corporate gigs. “Jazz was Latin all over again,” she says with a laugh, in comparing the two very different pursuits that she—like many a musician—was forced to do to make ends meet. “I was in love, so that’s what I had to do.”

30

AUGUST 2019

Doreen also found success and a much-needed means of support in the culinary field. “All you had to say was that you were from New Orleans back then [to spark interest],” she says. She started out as a waitress at a “fancy” French restaurant located in a museum, began filling in making sandwiches and salads, and impressed folks when she would make lunch for the crew. “They really liked it, you know. Then I got a job as the cook, and later as an executive executive chef. It really worked out.”

When both Doreen’s and Lawrence’s fathers passed away, leaving their mothers on their own, the couple decided it was time to return to New Orleans “for just a little while,” Doreen relates. “We were already homesick and we were struggling.” The couple never did go back, and Doreen still hasn’t earned a degree, lacking just six credits.

Doreen found that in New Orleans “chefs were coming out of the woodwork,” and the pay was far below what she was earning in Connecticut. Meanwhile. Lawrence used his skills as a painter and contractor. “We started selling suppers from my mom’s sweet shop [on St. Philip Street], Doreen’s Sweet Shop, which she named after me. We O F F B E AT. C O M

PHOTO by luminate/Depositphotos.com

“We were walking out on the street one day and we saw some people playing and Lawrence said, ‘You know, we could do that.’ I said, ‘You must be crazy. I’ve been to college. I’m not playing no music on the street.’ But I was in love, you know, so we started doing it. The rest is history.”

were running suppers all the way to Michoud.” At five dollars a plate and free delivery, the business was a lot of work and far from lucrative.

“Though we weren’t struggling like we were up there [in Connecticut],” she said.

Ketchens clearly remembers the day in 1987 that forever changed her and her family’s life.

“We were walking out on the street one day and we saw some people playing and Lawrence said, ‘You know, we could do that.’ I said, ‘You must be crazy. I’ve been to college. I’m not playing no music on the street.’ But I was in love, you know, so we started doing it. The rest is history.”

Ketchens has found that many people have a skewed perception of street musicians and think that there must be something wrong or lacking in them—“drug addicts or something”—to end up performing for tips on the street.

“People think less of you when you’re on the street,” she complains, and adds, “that goes for some folk in the general public and even some festival producers. When they call you they think, ‘Oh, let’s have her come play our festival, she’ll be cheap.’ I’m cheap if you come and stand there and don’t tip me. If you want me to go where you want me to be, then you pay. It’s about geography and economics—you take me from what I’m doing, have me play for an hour or so and pay me more than peanuts. We’ll go almost anywhere if the money is right.

“You need to look at us as being self-employed for over 30 years.

We’ve had our own business, we’ve employed people, we’ve traveled and built up a great reputation, we’ve put out 28 CDs and three DVDs. That’s a lot of work. That’s a business, a very successful business.”

Ketchens explains that the reason for the abundant recording output

by Doreen’s Jazz New Orleans is simple. “There are people who come here and the first thing they say is, ‘What do you have new?’ So we try to do an album every year.” The collection, all on the Ketchens’ independent label, DJNO, begins with Volume IV, Taipei 94, one of several live recordings of the band, although the majority were studio recordings. The earliest volumes were only released on cassette and are no longer available. Sold primarily at the band’s gigs and online, the albums are filled with classic traditional jazz numbers like “Bill Bailey Won’t You Please Come Home” and “Jeepers Creepers” mixed in with a few originals. “That’s what people ask for, so that’s what we try to do—what people expect to hear.

“We have some respect now, which is wonderful, and the world has changed a bit which is absolutely fabulous, but man, back in the day it was terrible. There were some hard times on the street. We had to deal with the bums and we had to deal with the police. They’d harass you and they lied to you to shut you down. And then you’d realize that’s not the truth, that’s not the law at all.You learned after a while not to take them for what they’d say.”

That Doreen gets to play jazz and travel the globe with her family may not be the dream she initially envisioned for herself; nonetheless it’s a dream come true. Doreen’s Jazz New Orleans band includes her husband Lawrence on tuba, her 16-year-old daughter, drummer Dorian, who is a student at NOCCA and appeared in Beyoncé ‘s video, “Lemonade,” shot in New Orleans. Guitarist and vocalist Dave Hammer has rounded out the group for the last three years. Ketchens’ band has performed in such far-off locales as Africa, South America, Europe, Russia, and Asia.

Doreen and the band certainly can be considered New Orleans ambassadors and while on tour, they also hold clinics and workshops that acquaint students worldwide with their accumulated knowledge of this city’s authentic traditional jazz. Locally, Doreen also offers a few private lessons and aspires to perhaps doing more teaching down the line. After all, she reminds us, she didn’t go to college to become a OF F B E AT.C OM

AUGUST 2019

31

street bandleader.

“I’d want to be a Miss Clark,” Doreen says. “She showed me that you can do things that you don’t think you can do.”

Doreen never considered herself a singer and didn’t participate in the church choir because, she says, “I didn’t sing like the other girls.”

About 30 years ago she was listening to the radio and the station was playing vocalist Sam Cooke’s version of “What a Wonderful World.” “I started singing with him and thought, ‘I can hit all the notes with him.’

Then Louis Armstrong came on doing “What a Wonderful World”— there must have been a special or something—and I could sing with him too. I thought, ‘Wow, I think I just found my voice.’ So instead of trying to sing like Ella [Fitzgerald] and Billie [Holiday], I started trying to sing like Sam and Louis.

“Louis is everything—the way he phrases, the way he speaks,” Doreen exclaims enthusiastically. “I was kind of shy so I would close my eyes and feel like I was right there with Louis and he was egging me on.

Thank God there’s a festival celebrating Louis, thank God they named the airport after him because [the city] made him so mad that he didn’t even want to be buried here. He was the essence of New Orleans.”

Ketchens throws a bit of shade on some of the local jazz clarinetists she heard when she was digging into the music, deciding their tone was not up to her standards. “I listened to and was impressed with the clarinetists who performed with Armstrong like Edmond Hall and Barney Bigard and particularly Buster Bailey because of his classical background.

In a way, that made me want to jump in the [jazz] water.

“The last time we played the festival [Satchmo SummerFest], I said I was going to do things that Louis Armstrong did. This time I think I’ll do what Doreen do—Louis will shine through it for sure anyway. If it weren’t for listening to Louis, looking at Louis, falling asleep to Louis, I don’t think Doreen would be what she is.

“A lot of people say, ‘Oh Doreen, she could play anywhere in the world but she’d rather be out here on the streets.’ That’s not true. I’d love not to have to play the streets anymore. I mean, we’ve been doing it for over 30 years. I think it’s a wonderful gift and everything, but until better things come along, that’s where we’ll be.

“There were a lot of obstacles, but they were strengthening tools too,” Ketchens relates in a softer tone. “It was character-building, it was relationship-building, it was music-building. There’s something to be said for just sitting out on the street and making somebody stop and listen to you and then give you money. It makes you a different kind of performer.” Occasionally, she admits, the energy zone that Doreen’s New Orleans Jazz creates fails to draw an audience. Just recently she remembers a day when, figuratively speaking, she called out, “Hello, hello, hello!” and thought, Who the heck is in town because they sure ain’t into us.—another day in the life on the streets.

When Ketchens performed last year at St. Louis Cathedral with the Louisiana Philharmonic Orchestra, the clarinetist’s two musical passions came together as one. Graciously introduced by conductor Carlos Miguel Prieto, Ketchens entered the stage to a wonderfully warm ovation, wearing a sparkling black evening jacket and a shining smile. On this poignant night, she was the star in the Philharmonic’s “first clarinet chair,” as well as the determined woman from Treme blowing the traditional jazz classic “Just a Closer Walk with Thee” that she’s played hundreds, if not thousands, of times on the corner of Royal and St. Peter Streets.

Ketchens again lifted her clarinet--the instrument that she calls her “beacon” and “guiding light”--just blocks away from that familiar corner as well as her St. Philip Street family home.

Though her talents have taken her around the world, the heart of her spirited clarinet springs forth from New Orleans. “It goes deeper than the music, it goes into the family, it goes into the culture.” O

32

AUGUST 2019

O F F B E AT. C O M

Chinese-style crepe preparation called Jianbing

Dian Xin Review by Michael Dominici

Photo COURTESY OF Dian Xin

S

ince opening at the beginning of the year, Dian Xin has been wildly successful, and deservedly so.

Created by the family that operated the beloved Little Chinatown in Kenner, Dian Xin is located on Decatur Street near the French Market.

It’s a postage-stamp-sized Chinese restaurant offering dim sum, noodles, various soup preparations, vegetarian dishes, rice dishes, and entree selections—over 50 different selections in all—to satisfy the eager throngs that flock here on a regular basis to experience Hong Kong native Judy Ceng’s cuisine, including yours truly and many of the staff members of OffBeat Magazine which is located just a few blocks away.

The literal translation of dim sum is “to touch the heart” and Dian Xin’s savory Triple Stuffed Shrimp certainly spoke to mine. Slices of Japanese eggplant, bell peppers, and zucchini are stuffed with a delicate shrimp “dressing” and are garnished with a tangy ponzu-style sauce. The Five Spice Fried Pork Ribs are a bit challenging, being served on the bone, but it’s worth

OF F B E AT.C OM

the trouble. Basil Popcorn Chicken is basically the adult version of chicken nuggets, and of course, one of the most popular items. Salt & Pepper Wings were crispy and bursting with flavor as was the Salt & Pepper Squid. Bacon-Wrapped Shrimp Balls were recommended by our server, and it did not disappoint. Classics such as the fried egg rolls and fried wontons stuffed with pork and green onions are perfectly rendered. Vegetable appetizers include a cucumber salad, seaweed and bean curd salad, chive cakes, and bacon-wrapped asparagus.

The handmade dumplings are not to be missed, starting off with their delicate vegetable dumplings, the classic Shrimp Har Gow; shu mai stuffed with shrimp and pork; pan-fried potstickers; and steamed pork dumplings. There are only a handful of restaurants in New Orleans that offer dim sum, and Dian Xin is worth a special trip; it’s abundantly evident that these dishes contain top quality ingredients and are prepared using a delicate touch. Dian Xin also offers bao dumplings served in bamboo steamers, including chicken, pork, shrimp and pork, and crawfish and crab. The pan-fried tiny bao has the perfect amount of crispness.

Dian Xin has an interesting Chinese-style crepe preparation

called Jianbing which consist of mung bean, rice, and wheat batter mixed with scrambled eggs, flecked with sesame seeds and flavored with chili paste, cilantro, hoisin sauce, and scallions.

The options are chicken, stewed beef, shrimp, crawfish, oysters, or vegetarian.

The vegetable preparations served on large platters range from mixed vegetables to bok choy, broccoli, green beans, to snow pea tendrils all gently sautéed with minced garlic. If you dine at Dian Xin and overlook these items, you really are missing out on an integral part of the experience.

Soup selections range from staples like the delicious Won Ton Soup in a broth with bok choy; a spicy Hot & Sour Soup, and a couple of dumpling variations.

Noodles are offered in many styles from a spicy chilled noodle bowl, to stewed beef, or even fried pork chops to accompany a bowl of noodles flecked with vegetables. Stir-fried Noodles with XO Sauce features shrimp, slivers of peppers and julienned vegetables in one of the fancier menu items.

Dian Xin has five different fried rice plates including chicken, beef and a combo version. My favorite was the Shrimp Fried Rice; however, it’s the Salted Fish & Chicken Fried Rice that is designated with the thumbs-up symbol on the menu.

It’s the special section where things start to get tricky. Of the 17 offerings, half get the thumbs up symbol (house recommendations), and others get one to three

diningout chilis depending on their level of heat. It’s here where you might want to put yourself in the good graces of your server and ask for recommendations. The Szechuan Chicken, flecked with an abundance of chilis, merits both the three chili and the thumbs up designation, in contrast to the Sesame Chicken which goes the other way. The Honey Chicken has satisfying sweet and spicy components, and then there’s the famed General Tso’s Chicken, inspired by Peng Chang-Kuei, a chef from the Hunan province who created the dish in the 1950s. The Salt & Pepper Pork Chops were delicious as was the Pepper Steak served with green bell peppers and sautéed onions, as recommended by our servers.

There are several meat and vegetable combinations and if hard-pressed, I’d probably say the Chicken and Eggplant was our favorite. The sizzling Garlic Shrimp are a flavor explosion served on a super hot cast iron platter that emits a plume of steamy goodness.

In addition to the usual beverage selections, one can also order smoothies or premium hot teas such as golden buckwheat, white grape oolong, or peach melon green tea. Desserts include creme brûlée or the matcha chocolate lava cake.

Dian Xin satisfies the craving for authentic Chinese cuisine in the French Quarter, but its attention to detail, affable service, and absolutely delicious food make it worth a special trip by locals outside the Quarter as well. O Dian Xin, 1218 Decatur Street, 504-266-2828, Hours 11 a.m. – 3 p.m., 5 p.m. – 10 p.m. except Saturday until 11 p.m. Closed on Monday.

AUGUST 2019

33

offeats AMERICAN Poppy’s Time Out Sports Bar & Grill:1 Poydras St., 247-9265 Port of Call: 838 Esplanade Ave., 523-0120

MUSIC ON THE MENU Banks Street Bar & Grill: 4401 Banks St., 486-0258 Buffa’s: 1001 Esplanade Ave., 949-0038 Chickie Wah Wah: 2828 Canal St., 304-4714 BARBECUE Gattuso’s: 435 Huey P Long Ave., Gretna, The Joint: 701 Mazant St., 949-3232 368-1114 House of Blues: 225 Decatur St., 412-8068 COFFEE HOUSE Café du Monde: 800 Decatur St., 525-4544 Howlin’ Wolf’s Wolf Den: 907 S. Peters St., 529-5844 Morning Call Coffee Stand: 56 Dreyfous Le Bon Temps Roule: 4801 Magazine St., Dr., 300-1157 895-8117 CREOLE/CAJUN Little Gem Saloon: 445 S. Rampart St., Cochon: 930 Tchoupitoulas St., 588-2123 267-4863 Cornet: 700 Bourbon St., 523-1485 Maison: 508 Frenchmen St., 289-5648 Galatoire’s: 209 Bourbon St., 525-2021 Mid City Lanes Rock ‘N’ Bowl: 4133 S. Gumbo Shop: 630 St. Peter St., 525-1486 Carrollton Ave., 482-3133 New Orleans Creole Cookery: 508 NOLA Cantina: 437 Esplanade Ave., Toulouse St., 524-9632 266-2848 Palm Court: 1204 Decatur St., 525-0200 FINE DINING Rivershack Tavern: 3449 River Rd., 834-4938 Commander’s Palace: 1403 Washington Siberia Lounge: 2227 St. Claude Ave., Ave., 899-8221 265-8865 Josephine Estelle: Ace Hotel, 600 Southport Hall: 200 Monticello Ave., Carondelet St., 930-3070 835-2903 Mr. B’s Bistro: 201 Royal St. 523-2078 Snug Harbor: 626 Frenchmen St., 949-0696 FRENCH Three Muses: 536 Frenchmen St., 298-8746 Café Degas: 3127 Esplanade Ave., 945-5635 NEIGHBORHOOD JOINTS La Crepe Nanou: 1410 Robert St., 899Cake Café: 2440 Chartres St., 943-0010 2670 Dat Dog: 601 Frenchmen St., 309-3362; GERMAN 5030 Freret St., 899-6883; 3336 Bratz Y’all: 617-B Piety St., 301-3222 Magazine St., 324-2226 Lucy’s Retired Surfers Bar & Restaurant: GROCERY STORES 701 Tchoupitoulas St., 523-8995 Breaux Mart: 3233 Magazine St., 262-6017; Parkway Bakery and Tavern: 538 Hagan Ave., 2904 Severn Ave. Metarie, 885-5565; 482-3047 9647 Jefferson Hwy. River Ridge, 737Sammy’s Food Services: 3000 Elysian Fields 8146; 315 E Judge Perez, Chalmette, Ave., 948-7361 262-0750; 605 Lapalco Blvd., Gretna, Tracey’s: 2604 Magazine St., 897-5413 433-0333 Mardi Gras Zone: 2706 Royal St., 947-8787 Ye Olde College Inn: 3000 S. Carrollton Ave., 866-3683 INDIAN PIZZA Nirvana: 4308 Magazine St., 894-9797 Midway Pizza: 4725 Freret St., 322-2815 JAPANESE/KOREAN/SUSHI/ Pizza Delicious: 617 Piety St., 676-8482 THAI Slice Pizzeria: 1513 St. Charles Ave., 525Sukho Thai: 4519 Magazine St., 373-6471; 7437 2200 Royal St., 948-9309 Theo’s Pizza: 4218 Magazine St., 894-8554; Wasabi: 900 Frenchmen St., 943-9433 4024 Canal St., 302-1133; 1212 S Clearview, 733-3803 LOUISIANA / SOUTHERN Mondo: 900 Harrison Ave., 224-2633 SEAFOOD Praline Connection: 542 Frenchmen St., Crazy Lobster Bar & Grill: 1 Poydras St. 943-3934 569-3380

34

AUGUST 2019

MEDITERRANEAN Mona’s Café: 504 Frenchmen St., 949-4115

Deanie’s Seafood: 841 Iberville St., 5811316; 1713 Lake Ave. Metairie, 834-1225

MEXICAN/CARIBBEAN/ SPANISH Barú Bistro & Tapas: 3700 Magazine St., 895-2225 El Gato Negro: 81 French Market Place, 525-9846; 300 Harrison Ave., 488-0107; 800 S Peters St., 309-8804 Juan’s Flying Burrito: 2018 Magazine St., 569-0000

SOUL Praline Connection: 542 Frenchmen St., 943-3934 VIETNAMESE Namese: 4077 Tulane Ave., 483-8899 WEE HOURS Buffa’s Restaurant & Lounge: 1001 Esplanade Ave., 949-0038

O F F B E AT. C O M

CDs reviewed are available now at Louisiana Music Factory 421 Frenchmen Street in the Marigny 504-586-1094 or LouisianaMusicFactory.com

reviews

Exploring the rhythmic and cultural connections between New Orleans and Cuba him as an artist at home in both countries or, perhaps more accurately, a man of the African diaspora.

Music is a universal language, and the great veteran saxophonist Charlie Gabriel musically speaks of love and caring to all people on the planet on his softly soulful solo contribution, “Corozon.”

The Preservation Hall Jazz Preservation Hall Jazz Band Band takes it to the street on Tuba to Cuba “Keep Your Head Up,” with a (Sub Pop) female vocalist adding the Cuban It’s been quite a few years flavor by digging in hip-hop style since the Preservation Hall Jazz with some Spanish lyrics. Where Band, under the leadership of are we? On the streets of Havana tuba man/bassist Ben Jaffe, shook or New Orleans? Well, both or off the notion that it still played either one. the same purely traditional The prevailing elements on jazz for which it originally and Tuba to Cuba are the superior deservedly gained its fame. Its musicianship of the entire PHJB, latest venture, revealed on its which has continually filled highly acclaimed and cleverly its ranks with some of New titled documentary, A Tuba Orleans’s finest players, and to Cuba, explored the many poured obvious love into the rhythmic and cultural connections music. The affection for our between New Orleans and the neighbors to the south—our island nation. Now it has been musical brothers and sisters captured on an album of the really—fills the final cut, same name, and is producing a “Malecón,” with its traditional similar musical delight.

Cuban sway, orchestrated by the Following an intro by PHJB fine Preservation Hall Jazz Band. saxophonist Clint Maedgen, the —Geraldine Wyckoff ensemble gets right into it with a “vocal sample” by Cuban singers Smoky Greenwell from the film, which seamlessly Blues and the Power of Peace transitions into a Mardi Gras (Greenwell Records) Indian groove. Throughout the Smoky Greenwell was on album, the music sails between his way to a yoga retreat in the two musical ports and Tennessee when he visited often seemingly meets mid-sea. longtime buddy Johnny Neel, producer of his first five albums, Brandon Lewis’ trumpet and in Nashville. Greenwell, of course, vocals on “I Am” pronounce

unveiled some new songs and before long, a blistering recording session ignited. Neel’s killer keyboard rides, and a crackcaliber studio band, matched up well with Greenwell’s heated harmonica.

Two versions of “Common Ground” bookend the proceedings with the longer 8:39 rendering feeling more natural than the shorter radio edit.

Along the way, a few political messages are imparted, such as the rock ’n’ roll twisty, “Get Out and Vote,” and a call for activism on the dirgy, doomy, “Slow Moving Coup.” Blues lovers will likely appreciate “Low Blow for the Blues,” which honors fallen harmonica heroes Michael Bloomfield, James Cotton, and Norton Buffalo.

It’s all pretty honest, revealing where Greenwell’s spirit is these days. There’s an endorsement for mediation on the slippery “The Way Out Is In.” “Power of Peace” finds him in a different light, attempting the crooner role over a gentle arrangement of harmonica and keyboard. The last part of the song is practically

pop and is quite relaxing as the background vocals sing a long chorus of ahs, a common sound of meditation.

The remaining four tracks were recorded in New Orleans and are on par with Greenwell’s fun-filled predecessor South Louisiana Blues. Instrumentally, both the Nashville and New Orleans tracks are often hot, meaning no matter how you write the equation, the common denominator will always be Greenwell.

—Dan Willging

The Bummers Dairy Beach (Independent) Near daily heat advisories, algae choking the Gulf, sharks, flesh-eating bacteria … 2019 is not turning out to be a banner year for beach-going. So why not stay at home and enjoy some anti-beach music from this local pop-rock foursome? If you haven’t seen the Bummers at One Eyed Jacks or House of Blues, just know that their latest EP doesn’t contain any surf-rock stompers or Parrothead boat

When submitting CDs for consideration, please send two copies to OffBeat Reviews, 421 Frenchmen Street, Suite 200, New Orleans, LA 70116 OF F B E AT.C OM

AUGUST 2019

35

stories, but it is intriguing. Dairy Beach contains punchy tunes with moody, pastel chords, equally reminiscent of post-grunge Foo Fighters, a less screamo At The Drive-In, and the sorely missed Adventures of Jet. And with the band’s tricky rhythms and stubborn avoidance of the easy hook, the Bummers also bear a resemblance to the equally lamented New-Wave era band, the Shoes.

The group is punky—“First Wok” gets the job done in just over a minute—but the secret weapon is their ironic eye, which is at its sharpest on catchy and seemingly upbeat songs like the lurching title track (all about actors in a beach scene “grasping for meaning and desperate for attention”), and fun ditties like “Kill Yourself ”: “Existence is just a bunch of random factors all designed to fuck me up.” Endless bummers indeed.

hits those high notes—and the sincerity he brings to the project, and his ability to make any song his own. With its still timely lyrics about dividing people—“They want to build a wall between us”—it could easily be imagined that “Don’t Dream” was written just for Deacon John, just the other day.

Deacon sounds right at home with drummer Herlin Riley setting the rhythm with the tap of his sticks on the inspiring “Don’t Dream.” Riley employs a cowbell to open “Something So Strong,” a catchy, up-tempo number that would be considered the “B-Side” in the days of 45 rpms. Organist and pianist Craig Adams knows just how to accompany Deacon’s vocals to maximize the emotion impact of “Don’t Dream It’s Over.” He also leads the choir, the Craig Adams Singers, who help lift the spirit when they and —Robert Fontenot Deacon sing the words at the heart of the song, “Hey now, hey now, don’t dream it’s over.”

Deac then comes back with the positive sentiment, “We won’t let them win.”

The band also includes, of course, Deacon’s brother, Charles Moore on bass, and two Nashville guitarists, Will Kimbrough and Clay Williams, with the saxophone of Jim Hoke added on “Something So Strong.” Both Riley and Adams Deacon John shine during solos on this Crowded Shotgun House number.

(Independent) Crowded Shotgun House and Deacon John brilliantly digs the wonderful video of “Don’t into some new territory by Dream It’s Over” were produced recording a couple of tunes

by Cyril Vetter, who brought

by Neil Finn, the leader of the the world Deacon John’s now-defunct Australian band iconic Jump Blues recording Crowded House, on this cleverly and documentary. Both he titled, two-cut “CD single,” and Deacon hope to visit this Crowded Shotgun House. The star “residence” again. So should folks of the recording is Deacon’s who have been passionately passionately delivered “Don’t welcomed there by the great Dream It’s Over” that showcases voice of Deacon John. his vocal range—he goes for and —Geraldine Wyckoff

36

AUGUST 2019

Keith Frank Presents the Soulwood All-Stars Vol. 3 Legends of the South (Soulwood Records) Zydeco boss Keith Frank didn’t record much for a few years, admittedly hitting an artistic drought. But then the floodgates bust open with 2017’s One Night at Cowboy’s and 2018’s blockbuster The Return of the King.

Soulwood All-Stars Vol. 3 is his third record in less than two years and the third in the Soulwood All-Stars series that began in 2005 when sister/bassist Jennifer

Frank Ledet was unavailable to perform with the group.

Of these eleven tracks, seven are originals, with three, “Country

Never a dull moment Jon Batiste Anatomy of Angels – Live at the Village Vanguard (Verve) Jon Batiste brings the same vitality, imagination and a certain playfulness to Anatomy of Angels, that he displays weeknights as the leader of his house band, Stay Human, on the “Late Night with Stephen Colbert” television show. However, in this setting at New York’s renowned Village Vanguard, the pianist and composer applies those deeply rooted elements of his personality and talents to a straight-up jazz program.

There is never a dull moment with Batiste at the piano as he keeps changing the dynamics, going from quiet to ferocious, both within a single tune, and from selection to selection. The album opens with “Creative,” one of the disc’s three Batiste originals.

Here the pianist is working with a trio that includes Stay Human drummer Joe Saylor and bassist Phil Kuehn. Touches of Batiste’s hometown of New Orleans infiltrate the tune that is elevated by the excellent sound of the recording. You are there with the obviously appreciative audience.

Batiste elaborates on the beautiful melody of Thelonious Monk’s—“my musical idol”—“Round Midnight,” and accents it with big left-handed chords as the ensemble expands with the addition of trumpeters Giveton Gelin and Jon Lampley, and saxophonists Tivon Pennicott and Patrick Bartley. The pianist takes it out with a Latin tinge.

An element of insistence prevails on the final title cut, with the rhythm section—piano, bass, drums, and percussionist Louis Cato—driving the horns to reach for the outer limits. Everyone then returns to the quietude of “home.” “Anatomy of Angels” is a stunning way to end a stimulating album.

—Geraldine Wyckoff

O F F B E AT. C O M

Boy/Just Can’t Get No Love,” “Talk to Me” and “Weather the Storm,” reprised from the first two volumes. The four covers are longtime R&B favorites from Frank’s formative years, like the beautiful, heartfelt rendition of Bobby Brown’s “Every Little Step,” and Mint Condition’s silky “Pretty Brown Eyes.”

Frank’s new songs deal with familiar themes like career reflections and relationships. “Bottoms Up” chronicles a reality-escaping protagonist and should do well as a club party song. But what’s amazing is how everything is so well-engineered, it fits like a glove. Frank’s a master of surrounding his accordion-driven cultural music with keyboardgenerated, contemporary effects that achieve a natural balance between time-honored tradition and today’s modern society. And speaking of Frank’s accordion playing, it’s easy to overlook how fluid and melodic it really is.

And then there’s the band’s versatility, to work with hip-hopper Jayyestarrr on “Gone,” and produce a gorgeous southern soul (sans accordion) song, “I Miss You,” as alter ego band, LA 26. Whether it was intended this way or not, this record easily stands among the best of Frank’s voluminous discography.

—Dan Willging

NOLA is Calling Sewing Machine Effects (Independent) If you think the Mardi Gras Indian traditionalists out there were upset when the Wild Magnolias went electric and added funky bass and drums to their hand percussion-based music (way back in the late 1960s), wait until they get a load of this experimental, but ultimately successful, reimagining of the tradition.

To the open-minded, this OF F B E AT.C OM

electronic album is a return of sorts to the roots of the Black Indians of New Orleans.

The vocals are up front in the mix, though the music is mostly electronic percussion and various ghostly effects including a chilling cello.

The vocals, from Big Chief Romeo of the 9th Ward Hunters and Big Chief Jermaine of the 7th Ward Creole Hunters, with the Fernchman David Walters, Bonaventure Didolanvi from Benin, and HaSizzle, the selfdescribed New Orleans “King of Bounce,” are easy to understand.

The percussion is understated, though it’s clearly not coming from their grandfathers’ tambourines.

To those questioning this collaboration between the French label Jarring Effects and these culture bearers of New Orleans, the recording will be dismissed as another ill-advised attempt at changing or updating the tradition. But that question is beside the point; the only constant in the tradition is the fact that it changes as it is passed from generation to generation.

Among followers of the Black Indians of New Orleans, the lyrical canon is fairly well-defined, composed of boasting about the work that goes into creating their intricate suits, individual neighborhoods, and each Indian’s personal prowess, among other topics. So many of the songs, while credited to the creators of this album, contain familiar lyrics. It’s the AUGUST 2019

37

musical context that makes them stand out in a way that is much different than anything you have ever heard. You may not like it, but given a chance, you just might.

—Jay Mazza

Frank Salis and Michael Watson Frank Salis Meets Michael Watson (Independent) On this album, pianist, guitarist and organist Frank Salis, a native of Switzerland, not only encounters Crescent City vocalist and trombonist Michael Watson, he hooks up with a crew of primarily New Orleans musicians.

The collaborative effort has both

Salis and Watson taking pens in hands to compose all but two of the selections. With trumpeter Kevin Louis, saxophonist James Martin and drummer AJ Hall, all familiar names on this city’s

A soundtrack for carrying on in resistance Khris Royal & Dark Matter Dark Matter II (Independent) This is the sort of album that a major labels would no longer release in a million years: a jazz-funk set that features firstrate players soloing at length for the joy of it. This is very much a player’s album, with most tracks stretching to seven minutes for everyone to get their licks in. But it also grooves like mad, and the high spirits of the sessions carry through to the listener.

Having done a long stint with George Porter Jr.’s Runnin’ Pardners, Royal knows his way around a groove (another longtime Pardner, Terrence Houston, is this album’s secret weapon, both inventive and propulsive throughout). The other surprise here is a ’70s disco influence on two tracks, “Shake It,” and “Make You Dance,” both of which feature Vocoder vocals and a general sense of hedonism. Elsewhere they channel P-Funk’s headier moments, notably on “11:08,” where guest keyboardist Nigel Hall’s synth solo pays a successful Bernie Worrell homage. The other notable guest is Trombone Shorty, who takes a solo on “Insomnia,” a track that makes some tricky rhythmic jumps, though its highlight is Royal’s tenor/alto sax duel with himself. Elsewhere his material proves worth the attention, from the energizing “Step Children,” to the soul ballad “You Don’t Know Me” (though a natural singer would have fit better on this one instead of more Vocoder). It’s hard to tell what “Song for Trayvon” has to do with the murder of Trayvon Martin if that’s the reference, since after an ominous intro it takes a more upbeat turn. But maybe that’s the point, that it’s a soundtrack for carrying on in resistance.

—Brett Milano

38

AUGUST 2019

music scene, plus Hammond B3 organist Beck Burger, the tracks vary stylistically with an occasional underlying touch of New Orleans.

Watson’s fine vocals open “Nighty Night Boy,” and stand as a featured element on the disc.

Salis’ piano fits in well with the local feel, as he comps behind the strutting horns and throws in some triplets and trills.

The mood changes to a contemporary soul/blues on the well-written “After-Work Beer,” that finds Martin’s sax wailing. The toe-tapping, gospel-tinged, “I Wish I Knew How It Would Be To Be Free,” made famous by the late, great Nina Simone, is an excellent choice to cover and a highlight of the album. Everybody is solidly on the same musical page here, with Louis bringing the perfect support to Watson’s emotional singing.

We get a taste of Salis’ slide guitar capabilities on the minimalistic, country blues of “Mama,” which suffers a bit from an odd horn arrangement, a problem that pops up on occasion. That’s definitely not the case on Lee Morgan’s signature “Sidewinder,” on which everyone knows just where they are goin’, and no one more than drummer Hall.

Frank Salis Meets Michael Watson ends quietly with the two leaders alone together, to be soulfully interrupted by Louis’ expressive trumpet. The song is “The Day I Like to Know,” which seems to lyrically express the aim and sincerity of the album when Watson sings, “Let the music lead the way…”

—Geraldine Wyckoff

Raymond Anthony Myles New Orleans Gospel Genius (Tuff City) It shouldn’t surprise anyone that Raymond Anthony Myles, who was murdered at age 40 in 1998, has turned out to be

irreplaceable. New Orleans has produced many great gospel voices before and since, but nobody with his larger-than-life charisma and star quality. This LP-only release is a straight reissue of his first album, one of only three that he made. It was recorded in the mid-’80s before he started getting national attention. As such, it’s a low-budget production, done with just a rhythm section and an early version of the RAMs choir.

It also lacks the spoken sermons that were an essential part of his performances, leaving just the music.

Much has been written about the complications of Myles’ life, but it’s his artistry that comes through strongest here. It’s the three extended tracks that capture it best: “Bringing in the Sheaves” is the kind of song you usually associate with bad Salvation Army bands, but here it shows how he incorporated locallystyled funk to put a new kick into the most timeworn songs.

“I Know My Redeemer Lives” is a showcase for this choice; the stirring blend of voices here recalls Edwin Hawkins’ classic version of “Oh Happy Day.” The finale, “Beams of Heaven,” is a six-minute showpiece that he performs alone on piano. The voice builds from quiet testifying into full-throttle wails. If the long-promised film on Myles’ life is released this year, this album should help in his overdue rediscovery.

—Brett Milano

O F F B E AT. C O M

Hash Cabbage Hash Cabbage (Independent) What’s this? Hash what now?

Are these guys referring to a hash made out of cabbage or profits made off of selling hash?

No matter. These exceedingly mellow jambanders have the atmosphere down pat: a stew of reggae (an option for too few jam bands), smooth soul and funk, and cool jazz.

Most of the explorations here take place between Kyle Bonasso’s guitar (treated with underwater wah and other gently psychedelic effects), Nathan Ruhl’s sparkling Fender Rhodes

OF F B E AT.C OM

—Robert Fontenot

Spider Murphy’s Fatback Vipers Smells Like Salvation (Independent) Spider Murphy is a name I have seen and heard numerous times in local music listings, but besides the fact that he usually gigs on Bourbon Street, I was unaware of this veteran banjo player and vocalist. I’m sure I’m not the only one.

However, that should change with the release of Smells Like Salvation. Recorded at Word of Mouth Studios and mastered by local luminary David Farrell, the album sounds great, features inventive arrangements, and highlights a mostly unknown (at least to me) cast of musicians who bring this collection of mostly covers to life.

Murphy has quite the musical pedigree. He attended Berklee College of Music in the late 1970s and early 1980s and studied under Pat Metheny.

He has steadily recorded and performed ever since those days, conducted orchestras behind comedians Joan Rivers and Garry Shandling, and won a New York Directors Guild Award for writing television and radio commercials.

Murphy has a grizzled voice that fits perfectly with the material as he works his way though this collection of traditional jazz and blues with hardly a misfire among the 14 songs.

Standouts include Prince Albert Hunt’s “Blues in a Bottle” and Big Mama Thornton’s “Hound Dog.” On the latter, Tim Reagan

delivers a strong tenor saxophone solo mirroring Murphy’s languid take on the classic lyrics. The mysteriously monikered Professor G. also drops a skilled piano solo. This is clearly not Elvis Presley’s version.

Throughout, Murphy’s banjo playing is at the center of the sound, but he never hogs the spotlight. That’s a credit to this veteran player and the musicians in the Fatback Vipers.

—Jay Mazza

History of the Music of South Louisiana John Broven South To Louisiana—The Music of the Cajun Bayous 2nd Edition (Pelican Publishing) A testament to the readability and subject matter of the 1983 first edition of South to Louisiana, is that I bought two copies of it— and they both got stolen from my bookshelf! Of course this is a study in the history of the music of South Louisiana—Cajun, blues, swamp pop, and zydeco—but it’s also a celebration of its culture and the ingenuity of those who shaped it. This edition is expanded with further published research and dozens of postfirst edition interviews. It also documents the post-1983 history and the story behind several of the newer artists. Broven details the pioneering South Louisiana artists, their music, their influences, and their history—history that also includes the importance of the dance halls, zydeco clubs, fais do dos, radio stations, juke boxes and DJs. Broven is especially fascinated by the South Louisiana record men, specifically Eddie Shuler (Lake Charles), J. D. Miller (Crowley), and especially Floyd Soileau (Ville Platte) who gambled on and recorded that fabulous music. As he pointed out, these men gave their little communities international identities by bucking the trend of the rest of America’s musical mass uniformity.

Easily 50 percent of the book deals with record men (besides the South Louisiana holy trinity) as well as the hits, misses and break-evens. While the second edition of South To Louisiana will certainly become the bible of the area’s music, there are a couple of minor shortfalls. Outside of a few name checks, Broven overlooks the phenomenal explosion of zydeco around here (live and on CD) that occurred in the late 1980s and extended into the millennium.

Back then, zydeco around here was as big as disco was at Studio 54. Also, overlooking Zachary Richard doesn’t make any sense. Petty complaints aside, this book is well-written, well-researched and wellbalanced between the genres. It’s a great reference and will give readers hours of enjoyment. Well worth the energy tracking this book down, mes amis.

BOOKMARK

runs, and the surprisingly regional patois of singer Kenny “Jeff ” Jefferson, who even sings one of the tracks in Cajun French.

The rhythm section’s no slouch either, giving the reggae tracks a decidedly Meters-like snap. And both the double-time quick step of “Kimiko” and the chickenscratch funk of “Honeysuckle” bring to mind the breezy sound of vintage Dead mixed with ’70s R&B. Better still, Jefferson’s natural vocal twang diverts some of these noodlings into progressive country territory, like the road ballad “Rings of Silver,” and the most up-tempo song here, “Ouachita Mountains,” a song-story so buoyant that Kyle starts to sound like Dickey Betts instead of Jerry Garcia. As for the lyrics, they’re the kind

of upbeat paeans to love and nature you usually find with festival bands. But they take a backseat to the atmosphere anyway, which is the kind of gently groovy, ever-shifting palette that’s perfect if you’re smoking, uh, cabbage.

—Jeff Hannusch

AUGUST 2019

39

express These listings are abbreviated. For complete daily listings, go to offbeat.com.

These listings were verified at the time of publication, but are of course subject to change. To get your event listed, go to offbeat.com/add-newlistings or send an email to listings@offbeat.com.

AF African AM Americana BL Blues BU Bluegrass BO Bounce BB Brass Band BQ Burlesque KJ Cajun CL Classical CR Classic Rock CO Comedy CW Country CB Cover Band DN Dance DX Dixieland DB Dubstep EL Electro FO Folk

FK Funk GS Gospel GY Gypsy HH Hip-Hop HS House IN Indian Classical ID Indie Rock IL Industrial IR Irish JB Jam Band MJ Jazz Contemporary TJ Jazz Traditional JV Jazz Variety KR Karaoke KZ Klezmer LT Latin MG Mardi Gras Indian ME Metal

WEDNESDAY JULY 31 Buffa’s: Open Mic Night with Nattie Sanchez (SS) 7p d.b.a.:Tin Men (RK) 7p,Walter “Wolfman” Washington and the Roadmasters (BL) 10p House of Blues (Foundation Room): Michael Liuzza (JV) 6p Kerry Irish Pub: Patrick Cooper (FO) 8:30p Snug Harbor: Uptown Jazz Orchestra with Terrance “Hollywood” Taplin (JV) 8 & 10p Southport Hall: Auras, Red Handed Denial, Rogue, Event Horizon (VR) 7p; Deck Room: the Monochromes (VR) 8p Three Muses: Sam Cammarata (JV) 5p, Matt Bell and Joy Patterson (JV) 7p THURSDAY AUGUST 1 Buffa’s: Rebecca Leigh, Harry Mayronne and Chris Wecklein (JV) 5p, Connections with Darcy Malone and Hanna Krieger Benson (JV) 8p d.b.a.: Ari Teitel (VR) 10p House of Blues (Foundation Room): Brett Weller Due (BL) 6p Howlin’ Wolf (the Den): Comedy Gumbeaux (CO) 8:30p Jazz Playhouse: Brass-A-Holics (BB) 8:30p Kermit’s Mother-in-Law Lounge: Kermit Ruffins and the BBQ Swingers (JV) 7p Kerry Irish Pub: Chip Wilson (FO) 8:30p Le Bon Temps Roule: Soul Rebels (FK) 11p Rock ‘n’ Bowl: Geno Delafose and French Rockin’ Boogie (ZY) 8p Royal Frenchmen Hotel: Jamie Lynn Vessels (RK) 8p Snug Harbor: Anders Osborne and David Torkanowsky (JV) 8 & 10p Spotted Cat: Sal Geloso Trio (JV) 2p, Miss Sophie Lee (JV) 6p, Jumbo Shrimp (JV) 10p Three Keys (Ace Hotel): Harlequeen presents Honor Thy Mother (VR) 9p

40

AUGUST 2019

RB Modern R&B PO Pop PK Punk RE Reggae RC Rockabilly RK Rock RR Roots Rock SS Singer/Songwriter SK Ska PI Solo Piano SO Soul SW Spoken Word SP Swamp Pop SI Swing VR Variety ZY Zydeco

Three Muses: Brian Coogan (JV) 5p, Mia Borders (JV) 8p Vaughan’s Lounge: Corey Henry and the Treme Funktet (FK) 10:30p FRIDAY AUGUST 2 Buffa’s: Leslie Cooper and Harry Mayronne (VR) 3p, Davis Rogan (VR) 6p, Larry Scala Quartet with Tom Chute, Murphy Smith and Meryl Zimmerman (VR) 9p d.b.a.: New Orleans Swinging Gypsies (JV) 6p, Soul Rebels (BB) 10p Hi-Ho Lounge: the Catahoulas (RB) 10p House of Blues (Foundation Room): Jake Landry and the Right Lane Bandits (FO) 7p House of Blues (the Parish): Loumuzik (HH) 8p House of Blues: One Drop Redemption: the Premiere Bob Marley Experience (RE) 8p Jazz National Historical Park: Johnette Downing (SS) 11a Jazz Playhouse: Shannon Powell Jazz Quartet (JV) 7:30p,Trixie Minx’s Burlesque Ballroom feat. Romy Kaye (BQ) 11p Joy Theater: Ganja White Night,Yheti, Bawldy (VR) 10p Kerry Irish Pub: Patrick Cooper (FO) 5p, Vincent Marini (FO) 9p Rock ‘n’ Bowl: Donovan Keith, Hyperphlyy (CW) 8p Royal Frenchmen Hotel: Monty Banks (JV) 6p Snug Harbor: Ellis Marsalis Quintet (JV) 8 & 10p Spotted Cat: Andy Forest Treaux (JV) 2p, New Orleans Cottonmouth Kings (JV) 6p, Doro Wat Jazz Band (JV) 10p Three Keys (Ace Hotel): Canned Heat (VR) 10p Three Muses: Royal Roses (JV) 5:30p, Dan Cutler (JV) 9p Tipitina’s: Free Fridays feat. Naughty

Find complete listings at offbeat.com—when you’re out, use offbeat.com/mobile for full listings on any cell phone.

Professor and Big Easy Brawlers (FK) 10p SATURDAY AUGUST 3 Buffa’s: Sweet Substitute Jazz Band (JV) 11a, Garden of Joy with Hunter Burgamy (JV) 3p, Marla Dixon Blues Project (BL) 6p, Soul O’ Sam feat. Sam Price (VR) 9p d.b.a.: New Orleans Cottonmouth Kings (JV) 7p, Little Freddie King (BL) 11p Fillmore: Daniel Sloss (CO) 8p House of Blues (Foundation Room): Britney Chauntae (RB) 7p House of Blues (the Parish): Blink 180-True: Blink 182 Tribute Show (RK) 8p House of Blues: Lyfe Jennings (RB) 8p Kerry Irish Pub:Will Dickerson (FO) 5p, Lynn Drury (FO) 9p Mardi Gras World: Grey Day Tour feat. $uicideboy$,Trash Talk, Night Lovell, Germ, City Morgue,Turnstile, and Pouya (HH) 7p New Orleans Creole Cookery: Ed Barrett Trio (JV) 6p Rock ‘n’ Bowl: Bag of Donuts (VR) 9:30p Royal Frenchmen Hotel: Monty Banks (JV) 6p Snug Harbor: Quiana Lynell (JV) 8 & 10p Three Keys (Ace Hotel): Canned Heat (VR) 10p Three Muses: Chris Christy (JV) 5p, Shotgun Jazz Band (JV) 9p Tipitina’s: Iko All-Stars (FK) 10p SUNDAY AUGUST 4 Buffa’s: Some Like It Hot (TJ) 11a, Pfister Sisters (JV) 5p, Steve Pistorius Jazz Quartet (JV) 7p d.b.a.: Palmetto Bug Stompers (JV) 6p, Carlo Ditta Trio (JV) 10p Fillmore: Drag Diva Brunch (VR) 10:30a Howlin’ Wolf (the Den): Hot 8 Brass Band (BB) 10p Kermit’s Mother-in-Law Lounge:TBC Brass Band (BB) 6p Kerry Irish Pub:Traditional Irish Session (FO) 5p, Patrick Cooper (FO) 8p Rock ‘n’ Bowl: Paul Varisco and the Milestones (VR) 4p Royal Frenchmen Hotel: Jamie Lynn Vessels (RK) 8p Snug Harbor: Donna’s Revisited with Craig Klein and Leroy Jones (JV) 8 & 10p Spotted Cat: Aurora Nealand and the Reed Minders (JV) 2p, Robin Barnes and the FiyaBirds (JV) 7p, Pat Casey and the New Sound (JV) 10p Starlight: Prettier Than Matt (FO) 5p, Gabrielle Cavassa Band (JV) 8p, Gabrielle Cavassa’s Jazz Jam (JV) 10p Three Muses: Raphael et Pascal (JV) 5p, the Clementines (JV) 8p MONDAY AUGUST 5 Buffa’s: Arsene DeLay and Charlie Wooton (VR) 5p, Antoine Diel (VR) 8p Café Negril: Maid of Orleans (VR) 6p, Colin

Davis and the Night People (VR) 10p Dos Jefes: John Fohl (BL) 9p Kermit’s Mother-in-Law Lounge: Kermit Ruffins and the BBQ Swingers (JV) 7p Kerry Irish Pub:Will Dickerson (FO) 8:30p Royal Frenchmen Hotel: Jamey St. Pierre (SS) 8p Siberia: Micah McKee (FO) 9p Snug Harbor: Charmaine Neville Band (JV) 8 & 10p Spotted Cat: Royal Street Winding Boys (JV) 2p, Dominick Grillo and the Frenchmen St. All-Stars (JV) 6p, Hot Club of New Orleans (JV) 10p Starlight: Jonathan Freilich (RK) 6p, Primus Roman and Raion Ramsey (SO) 8p Three Muses: Bart Ramsey (JV) 5p, Leo Forde (JV) 7p TUESDAY AUGUST 6 Buffa’s:Tacos,Tequila and Tiaras with Vanessa Carr (VR) 7p Ellis Marsalis Center For Music:Wendell Brunious Community Concert (JV) 6p Gasa Gasa: Planet Booty (VR) 9p Howlin’ Wolf (the Den): Comedy Beast (CO) 8:30p Jazz Playhouse: James Rivers Movement (JV) 8p Kerry Irish Pub: Jason Bishop (FO) 8:30p Maison: Eh La Bas Ensemble, Gregory Agid Quartet, Gene’s Music Machine (VR) 4p Royal Frenchmen Hotel: Lynn Drury (SS) 8p Siberia: New Creations Brass Band (BB) 9p SideBar NOLA: Helen Gillet Welcome Home Concert (VR) 9p Snug Harbor: Stanton Moore Trio (JV) 8 & 10p Spotted Cat: Andy J. Forest (JV) 2p, Dana Abbott Band (JV) 6p, Michael Watson and the Alchemy (JV) 10p Three Keys (Ace Hotel):Tech Tuesdays: Hack Night (VR) 7p WEDNESDAY AUGUST 7 Buffa’s: Open Mic Night with Nattie Sanchez (SS) 7p Bullet’s:Treme Brass Band (BB) 7:30p Carousel Bar (Hotel Monteleone): James Martin Band (JV) 8:30p Howlin’ Wolf: Black Flag, the Linecutters (PK) 7p Jazz Playhouse: Big Sam’s Crescent City Connection (FK) 8:30p Kerry Irish Pub: Patrick Cooper (FO) 8:30p Rock ‘n’ Bowl: the Boogie Men (SI) 8p Royal Frenchmen Hotel: Amanda Walker (PI) 8p Snug Harbor: Uptown Jazz Orchestra with Delfeayo Marsalis (JV) 8 & 10p Spotted Cat: Chris Christy (JV) 2p, Shotgun Jazz Band (JV) 6p, Antoine Diel and the New O F F B E AT. C O M

Orleans Power Misfits (JV) 10p Three Muses: Hot Club of New Orleans (JV) 8p THURSDAY AUGUST 8 Buffa’s: Klezervation Hall (JV) 5p, Connections with Darcy Malone and Dave Pomerleau (JV) 8p d.b.a.: South Jones (VR) 10p House of Blues (Foundation Room): Sam Colgate Trio (JV) 6p House of Blues (the Parish): 3Teeth (ME) 6:30p Howlin’ Wolf (the Den): Comedy Gumbeaux (CO) 8:30p Kermit’s Mother-in-Law Lounge: Kermit Ruffins and the BBQ Swingers (JV) 7p Kerry Irish Pub:Vincent Marini (FO) 8:30p Le Bon Temps Roule: Soul Rebels (FK) 11p Rock ‘n’ Bowl: Chubby Carrier and Bayou Swamp Band (ZY) 8p Royal Frenchmen Hotel: Jamie Lynn Vessels (RK) 8p Snug Harbor: Don Vappie’s Grio Trio (JV) 8 & 10p Three Keys (Ace Hotel): Canned Heat (VR) 10p Three Muses: Brian Coogan (JV) 5p, Arsene DeLay (VR) 8p Vaughan’s Lounge: DJ Black Pearl 504 (VR) 9p, Corey Henry and the Treme Funktet (FK) 10:30p

OF F B E AT.C OM

FRIDAY AUGUST 9 Buffa’s: Luna Mora (LT) 6p,Three Piece Grease with Alex,Tom and Patrick (VR) 9p d.b.a.: Hot Club of New Orleans (JV) 6p, Honey Island Swamp Band (RR) 10p House of Blues (Foundation Room): Jake Landry and the Right Lane Bandits (FO) 7p House of Blues (the Parish): For the Culture feat. Brass-A-Holics and Vegas Cola (BB) 8p House of Blues: Grunge Fest! Feat.

Nirvanna: A Nirvana Tribute (ID) 8p Kerry Irish Pub:Will Dickerson (FO) 5p, Wilson-Rubin (FO) 9p New Orleans Creole Cookery: the RikTones (JV) 6p Royal Frenchmen Hotel: Monty Banks (JV) 6p SideBar NOLA: Carmela Rapazzo and Oscar Rossignoli (VR) 7p, Mathieu Apitre and Keiko Komaki (VR) 9p Snug Harbor: Ellis Marsalis Quintet (JV) 8 & 10p Spotted Cat: Andy Forest Treaux (JV) 2p, Washboard Chaz Blues Trio (BL) 6p, Dr. Brice Miller’s BukuNOLA (JV) 10p Three Keys (Ace Hotel): Canned Heat (VR) 10p Three Muses: Matt Johnson (JV) 5:30p, Doro Wat Jazz Band (JV) 9p Tipitina’s: Free Fridays feat. Corey Henry and the Treme Funktet, Soul Project NOLA, James Martin Band (FK) 10p

SATURDAY AUGUST 10 Buffa’s: Freddie Blue and the Friendship Circle (VR) 6p, Keith Burnstein (VR) 9p d.b.a.: New Orleans Jazz Vipers (JV) 7p, Walter Wolfman Washington and the Roadmasters (BL) 11p House of Blues (Foundation Room): Biglemoi (ID) 7p House of Blues: Bustout Burlesque (BQ) 8p Howlin’ Wolf: Heavy As Texas, Cain, Southern Brutality (ME) 8p Jazz Playhouse: Shannon Powell Jazz Quartet (JV) 8p Kerry Irish Pub:Vali Talbot (FO) 5p, Hurricane Refugees (FO) 9p New Orleans Creole Cookery: Ed Barrett Trio (JV) 6p One Eyed Jacks: Particle Kid, Midriff (VR) 9p Royal Frenchmen Hotel: Monty Banks (JV) 6p Siberia: Jamie Lynn Vessels (VR) 6p, Otra (LT) 9p Snug Harbor: Donald Harrison Quartet (JV) 8 & 10p Starlight: Bad Penny Pleasuremakers (JV) 5p, Shawan Rice (SO) 8p, NuSpeak (JV) 10p Three Keys (Ace Hotel): Canned Heat (VR) 10p Three Muses: Chris Christy (JV) 5p, Debbie Davis (JV) 6p, Shotgun Jazz Band (JV) 9p SUNDAY AUGUST 11 Buffa’s: Some Like It Hot (TJ) 11a,Tender

Moments with Andre Bohren and Harry Hardin (CL) 4p, Steve Pistorius Jazz Quartet (JV) 7p Bullet’s:Teresa B. (RB) 6p Candlelight Lounge: Corey Henry and the Treme All-Stars (BB) 8p d.b.a.: Palmetto Bug Stompers (JV) 6p, Jon Roniger (JV) 10p Fillmore: Drag Diva Brunch (VR) 10:30a Howlin’ Wolf (the Den): Hot 8 Brass Band (BB) 10p Jazz Playhouse: Germaine Bazzle (JV) 8p Kermit’s Mother-in-Law Lounge:TBC Brass Band (BB) 6p Kerry Irish Pub:Will Dickerson (FO) 8p One Eyed Jacks: Kyle Craft and Showboat Honey, Duz Mancini and the Wasted Shades, Tchoup (VR) 8p Royal Frenchmen Hotel: Jamie Lynn Vessels (RK) 8p Snug Harbor: Storyville Stompers (JV) 8 & 10p Spotted Cat: Jamey St. Pierre and the Honeycreepers (JV) 2p, Robin Barnes and the FiyaBirds (JV) 7p, Pat Casey and the New Sound (JV) 10p Three Muses: Raphael et Pascal (JV) 5p, the Clementines (JV) 8p MONDAY AUGUST 12 Buffa’s: Arsene DeLay and Charlie Wooton (VR) 5p, Antoine Diel (VR) 8p

AUGUST 2019

41

express d.b.a.: John Boutte (JV) 7p, the Salt Wives (GY) 10p Jazz Playhouse: Gerald French and the Original Tuxedo Jazz Band (JV) 8p Kermit’s Mother-in-Law Lounge: Kermit Ruffins and the BBQ Swingers (JV) 7p Kerry Irish Pub: Patrick Cooper (FO) 8:30p Royal Frenchmen Hotel: Jamey St. Pierre (SS) 8p Snug Harbor: Charmaine Neville Band (JV) 8 & 10p Spotted Cat: Royal Street Winding Boys (JV) 2p, Dominick Grillo and the Frenchmen St. All-Stars (JV) 6p, the Rhythm Stompers (JV) 10p Three Keys (Ace Hotel):Too Trill Trivia with Eric and Terri (VR) 6p Three Muses:Washboard Rodeo (JV) 7p TUESDAY AUGUST 13 Buffa’s:Talking to New Orleans with Marc Stone (BL) 7p Café Negril: John Lisi and Delta Funk (FK) 7:30p Howlin’ Wolf (the Den): Comedy Beast (CO) 8:30p Jazz Playhouse: James Rivers Movement (JV) 8p Kajun’s Pub: Karaoke (KR) 5p Kerry Irish Pub: Jason Bishop (FO) 8:30p Maison: Sidewalk Swing, Gregory Agid Quartet, Gene’s Music Machine (VR) 4p Royal Frenchmen Hotel: Lynn Drury (SS) 8p SideBar NOLA: the Noah Young Project feat. Mahmoud Chouki and Walt Lundy (VR) 9p Snug Harbor: Phil DeGruy (JV) 8 & 10p Spotted Cat: Andy J. Forest (JV) 2p, Meschiya Lake Band (JV) 6p, Michael Watson and the Alchemy (JV) 10p Three Keys (Ace Hotel):Tech Tuesdays: Hack Night (VR) 7p WEDNESDAY AUGUST 14 Buffa’s: Open Mic Night with Nattie Sanchez (SS) 7p Carousel Bar (Hotel Monteleone): James Martin Band (JV) 8:30p Civic Theatre: Pedro The Lion, MewithoutYou (ID) 8p House of Blues (Foundation Room):Todd Adams (RK) 6p Jazz Playhouse: Big Sam’s Crescent City Connection (FK) 8:30p Kermit’s Mother-in-Law Lounge: Karaoke (VR) 6p Kerry Irish Pub: Hugh Morrison (FO) 8:30p Royal Frenchmen Hotel: Amanda Walker (PI) 8p Siberia: Harry Mayronne and Rebecca Leigh (VR) 6p, Daniel Meinecke (VR) 9p Snug Harbor: Uptown Jazz Orchestra with Delfeayo Marsalis (JV) 8 & 10p Southport Hall:Von Zippers (VR) 7:30p Spotted Cat: Chris Christy (JV) 2p, Shotgun Jazz Band (JV) 6p, Antoine Diel and the New Orleans Power Misfits (JV) 10p

42

AUGUST 2019

Three Keys (Ace Hotel):Think Less Hear More (VR) 8:30p Three Muses: Leslie Martin (JV) 5p, Hot Club of New Orleans (JV) 8p

(VR) 6p, Another Day in Paradise (VR) 10p Circle Bar: 20 Years of Circle Bar Celebration with the 99 Playboys (VR) 9:30p d.b.a.: Rebirth Brass Band (BB) 11p THURSDAY AUGUST 15 Dmac’s: Notel Motel (RK) 9p Buffa’s: Rebecca Liegh and Harry Mayronne House of Blues (Foundation Room): Mighty (JV) 5p, Connections with Darcy Malone and Brother (ID) 7p guest (JV) 8p House of Blues (the Parish): Inferno House of Blues: Cinderella’s Tom Keifer (RK) Burlesque (BQ) 8p 7p Howlin’ Wolf: My Best Friend: the Game Howlin’ Wolf (the Den): Comedy Gumbeaux Show (CO) 8p (CO) 8:30p Jazz Playhouse: Nayo Jones Experience Jazz Playhouse: Brass-A-Holics (BB) 8:30p (JV) 8p Kermit’s Mother-in-Law Lounge: Kermit Kerry Irish Pub: Hugh Morrison (FO) 5p, Ruffins and the BBQ Swingers (JV) 7p Will Dickerson (FO) 9p Kerry Irish Pub:Van Hudson (FO) 8:30p New Orleans Creole Cookery: Ed Barrett Trio (JV) 6p Le Bon Temps Roule: Soul Rebels (FK) 11p One Eyed Jacks: BoomBox (VR) 9p Rock ‘n’ Bowl: Nathan and the Zydeco Cha Chas (ZY) 8p Royal Frenchmen Hotel: Monty Banks (JV) 6p Royal Frenchmen Hotel: Jamie Lynn Vessels (RK) 8p Snug Harbor: Jamison Ross (JV) 8 & 10p Snug Harbor: Brian Richburg Quintet (JV) 8 Three Keys (Ace Hotel): Persistence of & 10p Vision: A Horror Film Fest (VR) 11a Spotted Cat: Sal Geloso Trio (JV) 2p, Miss Three Muses: Chris Christy (JV) 5p, Gal Sophie Lee (JV) 6p, Jumbo Shrimp (JV) 10p Holiday (SI) 6p, Shotgun Jazz Band (JV) 9p Starlight: Steve DeTroy Trio (JV) 8p, Old Riley’s Juke Joint (BL) 10p SUNDAY AUGUST 18 Three Muses:Tom McDermott (JV) 5p Buffa’s: Some Like It Hot (TJ) 11a, Molly Vaughan’s Lounge: DJ Black Pearl 504 (VR) Reeves and Nahum Zdybel (JV) 4p, Steve 9p, Corey Henry and the Treme Funktet (FK) Pistorius Jazz Quartet (JV) 7p 10:30p d.b.a.: Palmetto Bug Stompers (JV) 6p Fillmore: Drag Diva Brunch (VR) 10:30a FRIDAY AUGUST 16 Howlin’ Wolf (the Den): Hot 8 Brass Band Buffa’s: Calvin Johnson and Native Son (JV) 6p, (BB) 10p Marina Orchestra (VR) 9p Kermit’s Mother-in-Law Lounge:TBC Brass d.b.a.: Smoking Time Jazz Club (JV) 6p,Treme Band (BB) 6p Brass Band (BB) 10p Kerry Irish Pub: Patrick Cooper (FO) 8p Kerry Irish Pub:Tim Robertson (FO) 5p, Maison: NOLA Jitterbugs Jazz Band, Eight Patrick Cooper and Mark Carroll (FO) 9p Dice Cloth (JV) 10a, Baby Giants Jazz Band, Lazy Jack: Rock n Soul (RK) 6p Opulence Hour Burlesque, Higher Heights New Orleans Creole Cookery: the Rik-Tones (VR) 7p (JV) 6p One Eyed Jacks: DJ Faeriegothmother (VR) One Eyed Jacks: DJ Doug Funnie (VR) 10p 9p Rock ‘n’ Bowl: Bucktown All-Stars (VR) 9:30p Royal Frenchmen Hotel: Jamie Lynn Vessels Royal Frenchmen Hotel: Monty Banks (JV) 6p (RK) 8p Siberia: Lilli Lewis Project (JV) 6p, Johnny SideBar NOLA: New Orleans Guitar Mastro and the Mamas Boys (VR) 9p Masters feat. John Rankin, Cranston SideBar NOLA: Paul Sanchez and a Pal (VR) Clements and Jimmy Robinson (VR) 7p 7p, Reggie Scanlan, Uganda Roberts, BIlly Iuso Snug Harbor: Brad Walker CD-release show and Eddie Christmas (VR) 9p (JV) 8 & 10p Snug Harbor: Ellis Marsalis Quintet (JV) 8 Spotted Cat: Giselle Anguizola and the New & 10p Orleans Swinging Gypsies (JV) 2p, Robin Three Keys (Ace Hotel): Persistence of Vision: Barnes and the FiyaBirds (JV) 7p, Pat Casey and the New Sound (JV) 10p A Horror Film Fest (VR) 11a Three Keys (Ace Hotel): Persistence of Three Muses: Royal Roses (JV) 5:30p, Doro Vision: A Horror Film Fest (VR) 11a Wat Jazz Band (JV) 9p Three Muses: Raphael et Pascal (JV) 5p, the Tipitina’s: the Low End Theory Players, Clementines (JV) 8p Noisewater (VR) 10p SATURDAY AUGUST 17 Bar Redux: 50th Anniversary of Woodstock All-Vinyl Dance Party with DJ Shane Love (CR) 10p Buffa’s: the Royal Rounders (VR) 6p, Lilli Lewis (VR) 9p Café Negril: Colin Davis and the Night People

MONDAY AUGUST 19 Buffa’s: Arsene DeLay and Charlie Wooton (VR) 5p, Antoine Diel (VR) 8p d.b.a.: John Boutte (JV) 7p, Bon Bon Vivant (JV) 10p Kermit’s Mother-in-Law Lounge: Kermit Ruffins and the BBQ Swingers (JV) 7p

Kerry Irish Pub: Hugh Morrison (FO) 8:30p Maison: Chicken and Waffles, Aurora Nealand and the Royal Roses, Sierra Green and the Soul Machine (JV) 4p Royal Frenchmen Hotel: Jamey St. Pierre (SS) 8p SideBar NOLA: instant Opus 3.0 with Mahmoud Chouki, Mark Magrain and James Evans (VR) 9p Snug Harbor: Charmaine Neville Band (JV) 8 & 10p Spotted Cat: Royal Street Winding Boys (JV) 2p, Dominick Grillo and the Frenchmen St. All-Stars (JV) 6p, Hot Club of New Orleans (JV) 10p Three Keys (Ace Hotel): Movement Mondays with Resistance Radio and Chinua (VR) 5p Three Muses: Bart Ramsey (JV) 5p TUESDAY AUGUST 20 Buffa’s:Treme Tuesdays with Michael Ceveris (VR) 7p House of Blues: UB40 (RE) 7p Howlin’ Wolf (the Den): Comedy Beast (CO) 8:30p Jazz Playhouse: James Rivers Movement (JV) 8p Kajun’s Pub: Karaoke (KR) 5p Kerry Irish Pub: Jason Bishop (FO) 8:30p Royal Frenchmen Hotel: Lynn Drury (SS) 8p SideBar NOLA: Kidd Jordan, Simon Lott and Will Thompson (VR) 9p Smoothie King Center: Queen with Adam Lambert (RK) 8p Snug Harbor: Mahmoud Chouki and Oscar Rossignoli (JV) 8 & 10p Spotted Cat: Andy J. Forest (JV) 2p, Dana Abbott Band (JV) 6p, Smoking Time Jazz Club (JV) 10p Starlight: Morgan Orion and the Afterburners, Max Rios (CW) 9p Three Keys (Ace Hotel):Tech Tuesdays: Hack Night (VR) 7p WEDNESDAY AUGUST 21 Buffa’s: Open Mic Night with Nattie Sanchez (SS) 7p Jazz Playhouse: Big Sam’s Crescent City Connection (FK) 8:30p Kajun’s Pub: Karaoke (KR) 5p Kerry Irish Pub: Patrick Cooper (FO) 8:30p Royal Frenchmen Hotel: Amanda Walker (PI) 8p Siberia: Harry Mayronne and Rebecca Leigh (VR) 6p, Myrish Spell (VR) 9p Snug Harbor: Uptown Jazz Orchestra with Delfeayo Marsalis (JV) 8 & 10p Spotted Cat: Chris Christy (JV) 2p, Shotgun Jazz Band (JV) 6p, Antoine Diel and the New Orleans Power Misfits (JV) 10p Starlight: Davis Rogan (PI) 5p, Panorama Jazz Band (JV) 8p, Nahum Zdybel’s Hot Jazz Band (JV) 11p Three Keys (Ace Hotel): SONO presents Shape of Jazz to Come (JV) 9p Three Muses: Leslie Martin (JV) 5p, Schatzy (JV) 7p O F F B E AT. C O M

THURSDAY AUGUST 22 Buffa’s: Cutting Edge Showcase (VR) 5 & 8p d.b.a.: Little Freddie King (BL) 10p House of Blues (Foundation Room): Mike Doussan Trio (RK) 6p House of Blues (the Parish): Cold Hart, Horse Head (RB) 6p Howlin’ Wolf (the Den): Comedy Gumbeaux (CO) 8:30p Jazz Playhouse: Brass-A-Holics (BB) 8:30p Kermit’s Mother-in-Law Lounge: Kermit Ruffins and the BBQ Swingers (JV) 7p Kerry Irish Pub:Vincent Marini (FO) 8:30p Le Bon Temps Roule: Soul Rebels (FK) 11p Rock ‘n’ Bowl: Curley Taylor and Zydeco Trouble (ZY) 8p Royal Frenchmen Hotel: Jamie Lynn Vessels (RK) 8p Snug Harbor: Sanford Hinderlie Trio (JV) 8 & 10p Three Muses:Tom McDermott (JV) 5p, Mia Borders (JV) 8p Vaughan’s Lounge: DJ Black Pearl 504 (VR) 9p, Corey Henry and the Treme Funktet (FK) 10:30p FRIDAY AUGUST 23 Buffa’s: Cutting Edge Showcase (VR) 6 & 9p d.b.a.:Walter Wolfman Washington and the Roadmasters (BL) 10p Dmac’s: Hyperphlyy (VW) 9p House of Blues (Foundation Room): Jake Landry and the Right Lane Bandits (FO) 7p House of Blues: Parrothead Paradise: Jimmy Buffett Night feat. Jerry Diaz and Hanna’s Ree (RK) 8p Howlin’ Wolf (the Den): Slim KuttaR (HH) 10p Jazz Playhouse: Amanda Ducorbier Jazz Quartet (JV) 7:30p,Trixie Minx’s Burlesque Ballroom feat. Romy Kaye (BQ) 11p Kerry Irish Pub: Chip Wilson (FO) 5p, Paintbox with Dave James and Tim Robertson (FO) 9p Old U.S. Mint: Big Easy Guitar Festival (VR) 2p One Eyed Jacks: DJ Soul Sister presents Soulful Takeover (FK) 10p Rock ‘n’ Bowl: Ryan Foret and Foret Tradition (KJ) 9:30p Royal Frenchmen Hotel: Monty Banks (JV) 6p Saenger Theatre: Double Vision Revisited with Bob James, David Sanborn and Marcus Miller (JV) 8p Snug Harbor: Ellis Marsalis Quintet (JV) 8 & 10p Three Keys (Ace Hotel): JST DVD (VR) 10p Three Muses: Matt Johnson (JV) 5:30p, Doro Wat Jazz Band (JV) 9p Tipitina’s: Free Fridays feat. Big Sam’s Funky Nation, Smoke N Bones (FK) 10p SATURDAY AUGUST 24 Buffa’s: Cutting Edge Showcase (VR) 6p & 9p d.b.a.: New Orleans Jazz Vipers (JV) 7p, Johnny Sketch and the Dirty Notes (FK) 11p OF F B E AT.C OM

House of Blues (Voodoo Garden): Kennedy and the Men of the Hour (VR) 10p House of Blues: Brewsiana: Craft Beer and Music Festival (VR) 7p Howlin’ Wolf (the Den): Hallelujah Hat Rack Grateful Dead Tribute (RK) 10p Joy Theater: Upbeat Academy’s 5th Anniversary Benefit feat. NAS (HH) 8p Kerry Irish Pub: Mike Kerwin and Geoff Coats (FO) 5p, Hurricane Refugees (FO) 9p Royal Frenchmen Hotel: Monty Banks (JV) 6p Snug Harbor: Johnaye Kendrick (JV) 8 & 10p Spotted Cat: Jazz Band Ballers (JV) 2p, Panorama Jazz Band (JV) 6p, Dominick Grillo and the Frenchmen St. All-Stars (JV) 10p Three Keys (Ace Hotel): Canned Heat (VR) 10p Three Muses: Chris Christy (JV) 5p, Debbie Davis (JV) 6p, Shotgun Jazz Band (JV) 9p Tipitina’s: Kudzu Kings, the Captain Midnight Band (VR) 10p SUNDAY AUGUST 25 Buffa’s: Some Like It Hot (TJ) 11a, Al Farrell (VR) 4p, Steve Pistorius Jazz Quartet (JV) 7p d.b.a.: Palmetto Bug Stompers (JV) 6p, Keith Burnstein and Kettle Black (VR) 10p Fillmore: Drag Diva Brunch (VR) 10:30a, Aaron Lewis (CW) 7p Howlin’ Wolf (the Den): Hot 8 Brass Band (BB) 10p Howlin’ Wolf: Alexandra Kay (CW) 7p Kermit’s Mother-in-Law Lounge:TBC Brass Band (BB) 6p Kerry Irish Pub:Will Dickerson (FO) 8p One Eyed Jacks: Andrew Duhon (SS) 8p Royal Frenchmen Hotel: Jamie Lynn Vessels (RK) 8p Saenger Theatre: the B-52s, OMD, Berlin (PO) 8p Snug Harbor: Brian Seeger’s Vibes and Vox (JV) 8 & 10p Spotted Cat: John Lisi and Delta Funk (JV) 2p, Pat Casey and the New Sound (JV) 10p Three Keys (Ace Hotel): Canned Heat (VR) 10p Three Muses: Raphael et Pascal (JV) 5p, Meschiya Lake (JV) 7p, the Clementines (JV) 8p MONDAY AUGUST 26 Buffa’s: Arsene DeLay and Charlie Wooton (VR) 5p, Antoine Diel (VR) 8p Café Negril: Maid of Orleans (VR) 6p, Colin Davis and the Night People (VR) 10p Kermit’s Mother-in-Law Lounge: Kermit Ruffins and the BBQ Swingers (JV) 7p Kerry Irish Pub: Patrick Cooper (FO) 8:30p Rock ‘n’ Bowl: Nola Swing Dance Connection with DJ Twggs (SI) 7p Royal Frenchmen Hotel: Jamey St. Pierre (SS) 8p SideBar NOLA: Instant Opus 3.0 with Jimmy Robinson, Cyrus Nabipoor and Doug AUGUST 2019

43

express Garrison (VR) 9p Snug Harbor: Charmaine Neville Band (JV) 8 & 10p Starlight: Andre Bohren (PI) 6p, Primus Roman (SO) 9p Three Keys (Ace Hotel): Simple Play Networking Happy Hour (VR) 5p TUESDAY AUGUST 27 Café Negril: John Lisi and Delta Funk (FK) 7:30p Howlin’ Wolf (the Den): Comedy Beast (CO) 8:30p Jazz Playhouse: James Rivers Movement (JV) 8p Kerry Irish Pub: Jason Bishop (FO) 8:30p Royal Frenchmen Hotel: Lynn Drury (SS) 8p SideBar NOLA: Cyrille Aimee and Shea Pierre (VR) 7p Snug Harbor: Stanton Moore Trio (JV) 8 & 10p Spotted Cat: Andy J. Forest (JV) 2p, Meschiya Lake Band (JV) 6p, Smoking Time Jazz Club (JV) 10p Three Keys (Ace Hotel):Tech Tuesdays: Hack Night (VR) 7p WEDNESDAY AUGUST 28 Buffa’s: Open Mic Night with Nattie Sanchez (SS) 7p Jazz Playhouse: Big Sam’s Crescent City Connection (FK) 8:30p

44

AUGUST 2019

Joy Theater: the Might O.A.R., American Authors, Rozzi (VR) 8p Kerry Irish Pub: Beth Patterson (FO) 8:30p Rock ‘n’ Bowl: Band of Gold (SI) 8p Royal Frenchmen Hotel: Amanda Walker (PI) 8p SideBar NOLA: Mahmoud Chouki and Oscar Rossignoli (VR) 9p Snug Harbor: Uptown Jazz Orchestra with Delfeayo Marsalis (JV) 8 & 10p Spotted Cat: Chris Christy (JV) 2p, Shotgun Jazz Band (JV) 6p, Antoine Diel and the New Orleans Power Misfits (JV) 10p Three Muses: Leslie Martin (JV) 5p, Joy Patterson and Matt Bell (JV) 8p THURSDAY AUGUST 29 Buffa’s: Andre Bohren’s Birthday Bash Band (JV) 5p,Tom McDermott and friends (JV) 8p d.b.a.: Hickoids, DiNola (VR) 10p House of Blues (Foundation Room): Alicia Renee aka Blue Eyes (BL) 6p Kermit’s Mother-in-Law Lounge: Kermit Ruffins and the BBQ Swingers (JV) 7p Kerry Irish Pub: Chip Wilson (FO) 8:30p Rock ‘n’ Bowl: Horace Trahan and Ossun Express (ZY) 8p Royal Frenchmen Hotel: Jamie Lynn Vessels (RK) 8p Snug Harbor: Clarence Johnson III Birthday Tribute to Charlie Parker (JV) 8 & 10p Three Keys (Ace Hotel): Cake: A Party During Southern Decadence (VR) 10p

Three Muses:Tom McDermott (JV) 5p, Arsene DeLay (JV) 8p Vaughan’s Lounge: Corey Henry and the Treme Funktet (FK) 10:30p FRIDAY AUGUST 30 Buffa’s: Marc St. Cyr (JV) 6p, Mike Doussan (VR) 9p d.b.a.: Aurora Nealand and the Royal Roses (JV) 6p, Michot’s Melody Makers, Corey Ledet (KJ) 10p House of Blues (Foundation Room): Jake Landry and the Right Lane Bandits (FO) 7p Kerry Irish Pub: Patrick Cooper (FO) 5p, Beth Patterson (FO) 9p New Orleans Creole Cookery: the RikTones (JV) 6p One Eyed Jacks: Bearracuda (VR) 10p Royal Frenchmen Hotel: Monty Banks (JV) 6p Smoothie King Center: Backstreet Boys (PO) 8p Snug Harbor: Ellis Marsalis Quintet (JV) 8 & 10p Three Keys (Ace Hotel): Cake: A Party During Southern Decadence (VR) 10p Three Muses: Doro Wat Jazz Band (JV) 9p Tipitina’s: Free Fridays feat. Cowboy Mouth, Daria and the Hip Drops (RK) 10p SATURDAY AUGUST 31 Buffa’s: Connections with Darcy Malone and guest (VR) 6p, Cole Williams (VR) 9p

d.b.a.: New Orleans Jazz Vipers (JV) 7p, Treme Brass Band (BB) 11p Fillmore: Randy Rainbow Live (CO) 6p Kerry Irish Pub: Dave Hickey (FO) 5p,Van Hudson and Paul Ferguson (FO) 9p New Orleans Creole Cookery: Ed Barrett Trio (JV) 6p Royal Frenchmen Hotel: Monty Banks (JV) 6p SideBar NOLA: Brad Walker (VR) 7p, Alex McMurray and Brian Coogan (VR) 9p Snug Harbor: Herlin Riley Quartet (JV) 8 & 10p Three Keys (Ace Hotel): Cake: A Party During Southern Decadence (VR) 10p Three Muses: Chris Christy (JV) 5p, Julie Williams (JV) 6p, Shotgun Jazz Band (JV) 9p Tipitina’s: Rebirth Brass Band (BB) 10p FESTIVALS August 2-4 Satchmo SummerFest at the Old U.S. Mint and New Orleans Jazz Museum includes live music, food and drink vendors, family activities and scholar panels.

SatchmoSummerFest.org Aug. 29-Sept. 2 The Louisiana Shrimp and Petroleum Festival in Morgan City includes live music, a parade, an arts and crafts market, regional food and drink vendors, and rides and games. ShrimpAndPetroleum.org

O F F B E AT. C O M

backtalk

Ricky Riccardi talks back

Photo BY Brendan Castne

R

Jazz Museum at 4:30 p.m. August 2, 3, and 4. At noon on August 2, icky Riccardi’s devotion to Louis Armstrong began when he was a high school freshman in Toms River, New Jersey. he’ll also emcee the New Orleans Classic Big Band’s performance of Armstrong’s big band arrangements.

Then 15, the future director of research collections The program notes for Satchmo SummerFest describe at the Louis Armstrong House Museum in New York caught you as a “Satchologist.”

Armstrong’s cameo in The Glenn Miller Story. Already a fan of Michael Cogswell, longtime director of the Armstrong House the Preservation Hall Jazz Band, Riccardi heard the similarities Museum, took a liking to that name. That was my designation for a between Armstrong and Preservation Hall. Although the singernumber of years, but more people go with Rickipedia these days. trumpeter’s appearance in The Glenn Miller Story is brief, it Dr. John, a.k.a. Mac Rebennack, loved Louis Armstrong. inspired Riccardi to borrow an Armstrong cassette tape, 16 Most In August 2014, he released his tribute album, Ske-Dat-DeRequested Songs, from the library. The tape knocked him out. So began Riccardi’s lifelong study of the jazz star from New Orleans Dat: The Spirit of Satch, and visited the Armstrong House Museum. In November 2015, the museum honored Dr. John who charmed the world. at its annual gala. What encounters did you have with him?

By his senior year in high school, Riccardi set his sights on The visit to the house was a photo shoot for Esquire Magazine. earning a master’s in jazz history and research from Rutgers It was his first time there. It was an emotional experience for University. In 2007, after graduate school, he launched an him and, obviously, very special experience for the staff. He sat Armstrong blog, dippermouth.blogspot.com, hoping it would stir interest in the book he was writing about the great Satchmo. The right down at Louis’ piano in the living room and knocked out a few choruses of blues. He talked about how his father put it in blog eventually drew the attention of Armstrong followers from his head that Louis was a major ambassador for the city’s music. throughout the world, including New Orleans writer Jon Pult, New Orleans probably has more ambassadors than any other then the booker for lectures at Satchmo SummerFest. In 2008, Riccardi presented his first Armstrong video series at the festival. city in America, but you have to put Dr. John on that list alongside Armstrong.

He’s returned every year since.

Did Dr. John read your book about Armstrong, What a In 2009, Riccardi left his house-painting job to accept an archivist position at the Armstrong House Museum. The following Wonderful World?

As he left the house in 2014, I laid a copy of my book on him. year, Pantheon Books subsequently published his book, What a The next time I saw him was in England at the Bristol InternaWonderful World: The Magic of Louis Armstrong’s Later Years. In 2020, Oxford University Press will publish Riccardi’s second book, tional Jazz and Blues Festival. I went to his sound check and he spotted me from the stage. He said, “Ricky, man. I love your book.”

Heart Full of Rhythm, an account of Armstrong’s big-band years.

That was one of those moments when I was like, ‘All right, I can This year at Satchmo SummerFest, during the festival’s kickoff die now.’ He was so friendly, so relaxed, so approachable. Just party at the Omni Royal Orleans Hotel, Riccardi will receive the beautiful. I only spent three occasions in his presence, but all of Spirit of Satchmo Award from French Quarter Festivals, which them were memorable. organizes Satchmo SummerFest. And as usual he’ll present his What led you to Louis Armstrong?

Video Pops programs. The presentations are at the

by John Wirt The big bang for me was around October 1995.

Hilton Satchmo Legacy Stage in the New Orleans

OF F B E AT.C OM

AUGUST 2019

45

backtalk

The one word that sums it up is joy. He made me feel good. And I’d come to Armstrong from this long love of comedy and comedians. I found Armstrong funny, too.

And I’d been playing the piano since I was seven, so I knew something was going on, musically, that I’d never quite heard before.

It was a combination of the music being unbeatable and Armstrong being really funny. At that impressionable time in my life, I could not get enough of Armstrong’s joy.To this minute, I still feel it every time I hear him.

In September, I’d seen the Preservation Hall Jazz Band in concert in Atlantic City. I got to them through the music in the Woody Allen movie, Sleeper. That music spoke to me. Right around that time, I saw Armstrong in The Glenn Miller Story. My ears put it all together: Ooh. This sounds like the Preservation Hall Jazz Band. And once I got deeper into Armstrong, I was never the same. And even before Armstrong and Preservation Hall, my dad introduced me to Louis Prima.

I still have a deep love for him. I didn’t know what jazz was then, I didn’t know what New Orleans music was, but whatever was going on between Prima and Preservation Hall and Armstrong rang my bell.

What was it about Armstrong that touched you so much?

The one word that sums it up is joy.

He made me feel good. And I’d come to Armstrong from this long love of comedy and comedians. I found Armstrong funny, too. And I’d been playing the piano since I was seven, so I knew something was going on, musically, that I’d never quite heard before. It was a combination of the music being unbeatable and Armstrong being really funny. At that impressionable time in my life, I could not get enough of Armstrong’s joy. To this minute, I still feel it every time I hear him.

In high school, were you delighted that Rutgers University offered a master’s degree in jazz history and research?

All of a sudden, the future became clear. I was like, Whatever I do in undergrad, I need to end up in that program. I need to write a thesis about Armstrong’s later years. Then I’ll turn that thesis into a book and live happily ever after. But I never thought it would be easy. To do this for a living, I had to follow a very narrow path. Somehow, I was able to thread the needle.

But after graduate school, you were painting houses and getting rejections for your Armstrong book proposal.

I was a house painter who wanted to write a book and lecture, but I had no experience. So, I started the blog in July 2007. For months, nobody knew it existed. But then a trickle of interest came in early 2008. Jon Pult was one of those people.

Pult, then the booker for lectures at Satchmo SummerFest, gave you a chance?

I give Jon all the credit in the world for my break. He read my blog and sent an email message to me saying they were looking for some new faces at Satchmo SummerFest. My wife and I went that first year. I was overwhelmed. At the opening reception was Gary Giddins, David Oswald, Michael Cogswell, George Avakian, and Dan Morgenstern—my heroes. So, most of that night I sat in the corner

46

AUGUST 2019

with my wife thinking, What am I doing here?

How did your video presentations go that first year?

The first day I had technical difficulties and a small crowd. But I guess there was some buzz, because the next day the room was almost full. And the front row was murderers’ row: Gary Giddins, George Avakian, Dan Morgenstern. My theme was Louis on television, various clips of him on The Milton Berle Show, The Colgate Comedy Hour. That one went over great. And Gary Giddins gave me some words of encouragement afterwards.

The third day was footage of Louis on The David Frost Show and other TV programs during the last few years of his life. It was standing room only. My last clip was going to be “What a Wonderful World,” but Michael Gourrier, the emcee, wanted to give me the hook. I appealed to the audience. “Can I have one more clip? Ninety seconds.”

Everybody said, “Let him go.” I showed “What a Wonderful World” and got a standing ovation. My wife ran out of the room crying. She called my parents. I felt I had arrived. I’d gone from being a scared kid on the first day that couldn’t even open his month to a standing ovation at the end.

But your life didn’t change much after that, at least not immediately.

Painting houses two days later. But in that same month my agent told me we got the book deal with Pantheon. I still painted houses, but it felt like things were about to change.

And the following year you interviewed for an archivist job at the Armstrong House Museum?

The interview was aimed at an archivist’s brain. Half of the interview I didn’t know what I was talking about. But the other half was all Armstrong questions, so I was on solid ground. Michael [Cogswell] realized that it might be easier to hire an Armstrong expert and teach them how to arrange, preserve and catalog, than to hire the world’s greatest archivist and teach them everything about Louis Armstrong.

Why did Armstrong work so hard in his 60s and 70s?

He was happiest when he was on stage. That was what he lived for. And he always told cautionary tales about musicians who only cared about money. Or they wouldn’t go on stage until the band played a half-hour and then they’d play only two songs. Armstrong never wanted to do any of that. He wanted to be the first one on stage, give one-hundred percent, be there the whole time. He hated days off and vacations. It was never an issue of money. He had more money than he’d ever need. He was put on this Earth to play. O Ricky Riccardi presents Video Pops at 4:30 p.m. August 2, 3, and 4 at the New Orleans Jazz Museum.

O F F B E AT. C O M