Thanks so much for writing up my book Creole Trombone: Kid Ory and the Early Years of Jazz [Jan. 2013, Vol., 26, No. 1, Reviews]. Not to look a gift horse in the mouth but the article carried a number of errors. First of all the book was not written twice. I stashed my research notes before Katrina but did not write the book until after the storm. Barbara GaNung did not assemble the autobiography after Ory’s death in 1973, rather she took it in dictation form in 1950. Also one of the facts the book establishes, ending a controversy, is that Ory made his first recordings in 1922, not 1921. Also it was not the first recording of an African-American jazz band, it was the first by an African-American jazz band from New Orleans. Further I am not a Pulitzer Prize winner per se, I was part of the staff of the Times-Picayune which was awarded a Pulitzer for coverage of Hurricane Katrina.
—John McCusker, New Orleans, LA
Ed. note: OffBeat regrets the errors.
A SOUND IN THE AIR
In reference to “Louisiana Music: A Primer: Jazz,” I was pleased to be cited in the paragraph about the birthplace of jazz, but would like to clarify my getting credit for naming Buddy Bolden as “the first man of jazz” [Jan. 2013, Vol., 26, No. 1]. I submitted the manuscript to LSU Press with the proposed title In Search of the Bolden Legend. When they accepted it for publication, they observed that the name Bolden was not well enough known in general, so they changed the title.
I had no objection to that, however, nowhere in the book do I declare him that title. In my years of going through Tulane Jazz Archive’s oral histories plus personal interviews with musicians and people that knew him, a number said he was the first, but it was not unanimous.
My personal belief is that no one person invented jazz. It was a sound that was in the New Orleans air.
On the same page was a picture and mention of Ellis Marsalis. Ironically while sorting through memorabilia, I found an album cover of Ellis which was signed: “To Don: For the good old days. Ellis Marsalis, 16, January 1986.
Thanks for a great magazine.
—Donald M. Marquis, New Orleans, LA
A RICH HISTORY
I am a musician, though not from New Orleans. I am from the Lafayette area. Music has brought great joy and understanding into my life. I know for a fact that I would not be a musician if it wasn’t for the rich “living” culture around me when I was growing up.
Besides the music here in my area, I would go to New Orleans (and still do) often. The city always inspires me. In my mind I cannot disconnect South Louisiana and music. It is everywhere. It’s in the flow of the bayous, and rivers, it’s in the city traffic, it’s in the rhythm of the daily commuter, it’s in the spices in the food, and it’s in the air we breathe.
The fact that the people with the power to bring this obvious fact to the forefront dismiss it boggles my mind. How is it that these people do not understand the power of music? Just like Mr. Rowe wrote, it is the glue that holds it all together.
I recall a time, not very long ago, when the police were coming down on street musicians. During this time I remember walking through the Quarter, and having the feeling that the city felt so cold. Music is literally the heartbeat of New Orleans. Gone are the days when people needed the ports, with access to the Mississippi, and the Gulf to do commerce. Gone are the days of the military stronghold protecting the country at the mouth of the Mississippi. The cash that flows through the economy now is in large part generated by people who come to New Orleans to experience the magic of the city. Without its heartbeat the city would die… and with it, the money that lines the political pockets.
There is more history in one block of New Orleans than most other places put together… and it is still being made. Maybe not on Bourbon Street (unfortunately… yet I do remember a time when there were a few clubs that still had the real deal… Now it’s just bad renditions of old hits… and not even the ones that were made in the city itself! (Although a lot of it is being played by talented, frustrated musicians just trying to make a living) But in the neighborhoods around town, the music is still evolving, and flourishing… even though it is neglected.
Unfortunately all I have to offer are words. It would be nice to see music brought to the forefront in advertisement for tourism and education of the public. The decision makers are either ignorant to its rich history, or simply take it for granted. Like they say, you can’t see the forest through the trees. My wish is that everyone would have a chance to travel extensively. The more you get out and experience, the more you begin to appreciate how incredibly unique and wonderful New Orleans, and all of South Louisiana, really is… and how important music is to that experience.
Lastly, I just want to say that it isn’t just jazz music (although it certainly is important)—all genres of music as well as some that are unknown, but currently being cultivated in someone’s garage, [are] alive and well in the city, and deserve to be recognized in a big way.
—Michael Juan Nunez, Erath, LA
THANKS TO AARON
As a former classmate of Aaron Neville at the Cohen School, he has always attempted to give music lovers the great sound of doo-wop music [Jan. 2013, Vol., 26, No. 1, Reviews]. It’s a tribute to all the great black entertainers of the past that sang this great music. The Orioles, the Flamingos, Clyde McPhatter, the Platters were only a few of the great entertainers. Many thanks to you, Aaron, for keeping doo-wop alive.
—James Williams, New Orleans, LA
THE LADIES STILL HAVE IT!
What a wonderful, heartwarming interview! [Jan. 2013, Vol., 26, No. 1, Legends of New Orleans R&B: Best of the Beat 2012]. As a teenager in Southwestern Louisiana enjoying the Dixie Cups’ music, I never dreamed that they were teenagers, too! We had them on a pedestal and still do! The ladies still have it!
—Mousie Clark, New Orleans, LA
JIMMY’S
So many of us owe so much to Jimmy Anselmo [Jan. 2013, Vol., 26, No. 1, Best of the Beat 2012 Lifetime Achievement in Music Business]. As local musicians, he provided us a place to work at our craft and build an audience. As music lovers, he brought many genres of acts from around the world that we wouldn’t have had the opportunity to see live. Jimmy’s was also a gathering place for groups of friends that you could find on any given night. The ’80s just wouldn’t have been the same without Jimmy Anselmo. And for all of this, I owe him a personal debt of gratitude!
—Leonard Jenkins, New Orleans, LA
25 YEARS
The cover for the December 2012 issue of OffBeat is fabulous—of course because of its cover girl, not to mention [photographer Elsa Hahne’s] bonus shot showing you [Jan Ramsey] chugging back that champagne! That bright red hair is great, and those bubbles… mucho sexy.
I also really got a kick out of reading the Backtalk interview. You really need to let loose with a whole page (at the very least) with your wit and wisdom in each and every issue.
The half-page Mojo Mouth column isn’t enough. Not just because you have so many truly vital things to say, but because you have an exceptional way of wording things—and this is coming from a published novelist who doesn’t give praise lavishly. Please write more—you really do have an audience—and you also do have such an important mission with which nobody else can compete. Only a fool would begrudge you more column length, since you deserve the right to the pulpit having survived all the trials and tribulations of the magazine for a whole quarter century.
Your work is very important. I just wish more people in New Orleans would listen to what you have to say.
—Lawrence David Moon, Los Angeles, CA
Congratulations on 25! I well know how difficult that is, how much work, stubbornness, sweat and love, and how much sleep deprivation it takes to make that milestone. Fact: It’s all much appreciated.
—Jim Beal, San Antonio, TX
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.
