The word endurance comes from the Latin verb indurare, which means “to harden the heart.” It’s evolved into a word that means to hold up under pain or fatigue, or to tolerate. Musicians in New Orleans have endured many, many years of not being appreciated, despite the fact that they created jazz, now considered the nation’s indigenous musical art form.

But African-American musicians–who virtually created that American music–have endured a lot more: persecution, segregation, discrimination and the vast socio-economic effects of poverty and resulting class wars.

Perhaps it’s presumptuous of a white middle-class-raised white woman like myself to even talk about stuff like this. But I’ve dedicated my career to local musicians and the music industry, and I feel that it’s my function as the publisher of a music publication that’s read locally and internationally by lovers of our music to raise issues that make our readers think. And issues that make our readers–musicians and music lovers alike–want to take action on matters that can make our community better for our musicians.

That’s why I want to briefly tell you about a great cause that I think you should know about. In 1994, the Black Men of Labor marching club was founded as a continuation of the founders’ experiences in local Mardi Indian tribes and Social Aid and Pleasure Clubs.

As the B.M.O.L. began to discuss ways to celebrate their fifth anniversary, the idea of honoring some of our “Living Legends of Jazz” came into being with the New Orleans Jazz Legacy Awards. The event was such a success that it’s become an annual event, and will take place this year on December 22 at Mahalia Jackson Theater for the Performing Arts.

Al Jackson, Executive Director of B.M.O.L., introduced the idea to his fellow members of restoring the Negro Musicians Union Hall building (on the corner of North Claiborne and Columbus Streets) and converting it into the Treme District Musicians’ Museum and Gallery. Funds raised from this year’s Jazz Legacy Awards will support renovating this building, which is on the National Register of Historic Places, and which plays a crucial part in the cultural and musical history of the city’s African-American musicians. This was the first place African-American musicians could meet, hone their skills and get organized as a united musical entity. Jeff Hannusch will write about the Hall in next month’s issue of OffBeat, and we’ll keep you posted on the acts that will perform at this year’s Jazz Legacy Awards. Let’s “Save The Hall, Y’all!” For more information, call 504-523-1625.

Longhair’s Legacy Exploited?

Just after we went to press last month, we received a sheaf of letters from Justin Zitler, the local attorney who is the spokesperson and legal representative for Songbyrd, the corporation formed by the heirs of Professor Longhair.

Many Jazz Fest-goers noticed that Professor Longhair’s image didn’t bless the Acura Stage this year, as it has for every year that we can remember (recall the “Fess State,” y’all?). Apparently Songbyrd and the Jazz Fest had negotiated on a nominal sum ($1/year) for the use of Longhair’s image in return for the ability to market Longhair memorabilia. When Fess didn’t appear this year, the Songbyrd board expressed “outrage and betrayal,” since Fess really embodies the spirit of the Festival, but his image didn’t make it. Both the Foundation and Festival Productions protested that the absence of St. Fess on the stage was merely an oversight that happened because the stage was redesigned this year–in a “hurry.” To make a long, sad story short here’s what this opinionated publisher sees: The Jazz Fest appears to be selling out its roots heritage for money (guys, it would have been SO easy to put up Fess’ image on the Acura Stage! Surely they wouldn’t have pulled their multi-million dollar sponsorship!). But we all know that. Check out some of the comments on our message board at offbeat.com to get some feedback on the Acura tour.

But perhaps Songbyrd is just as guilty of exploiting Professor Longhair’s image, which has threatened legal action against the Foundation and Festival, and which is demanding that a license be obtained for all future use of Fess’ image at the Jazz Fest. Where were you guys when Longhair was alive?

But then–money makes the world–and the music business–go ’round….

Louisiana Music Directory Expanding

Look for additions to this year’s Louisiana Music Directory, which should be out towards the end of September. We’ll include several editorial features as well as a list of all the CDs released by Louisiana artists in 1999 (455 total) and to date through 2000 (as of press date, 229). Publishing this list will assist users of the LMD (such as booking agents, etc.) when they are trying to determine which bands and/or performers have recently issued product. The list also serves as a reference for the LMD user. When the LMD is published, if your CD isn’t there–you didn’t send us a copy! Remember, when you send us a copy of your CD, we will try to review it, within our space limitations. The printed version of the LMD is still free to listees, but updated versions will be available on our web site (offbeat.com) by a $33 subscription (which also includes the print version).

Of Note…

The members of Crönk (see feature, this issue) were involved in a van accident in Colorado on the way to a gig, but fortunately no one was seriously injured.

Sista Teedy will celebrate her birthday at a House of Blues gig on September 1 with Cool Riddims, the Revealers and more…

The Baton Rouge Blues Week TV special will be broadcast in New Orleans on Cox Channel 10 from September 7-9. (9:30 p.m. September 7; 7 p.m. September 8; and 8 p.m. September 9). The special features Gatemouth Brown, Tabby Thomas, Henry Gray, E. Rodney Jones and more…catch more about the line-up for this year’s festival in this issue.