A couple of nights ago, I was honored at the Varsity Theatre in Baton Rouge by the Louisiana Music Hall of Fame with a “Lifetime Achievement” Award, something for which I am truly grateful, but feel so unworthy.
The awards were held in conjunction with a blues jam, the likes of which I haven’t seen for quite a while—the royalty of the state’s blues scene was there and performing: Raful Neal, Kenny Neal, Tab Benoit, Guitar Gable, Deacon John, J. Monque’D, Larry Garner, Luther Kent, Jumpin’ Johnny Sansone, John Fred, James Johnson, Li’l Bob, Li’l Ray Neal, Walter, Jr., and Troy Turner, who’s been absent from the music scene for a long time.
The inductees were Herman E. Johnson, Brian “BB” Bruce, James “Butch” Cage, Willie B. Thomas, Robert Milburn, Matthew “Boogie Jake” Jacobs, “Schoolboy” Cleve White and Larry Garner.
Gary Daigle, the Executive Director of the Louisiana Blues Hall of Fame, started the event just four years ago to honor the “less-than-appreciated” musicians in the state.
What struck me—and the point of this column—is that this was an absolutely fantastic show. And there was hardly anyone there. The musicianship, the heart and soul, the talent that night was astounding. And not enough people heard it.
What is wrong with this picture?
For the many years I’ve been working to promote the music of New Orleans and the state in general, I’ve had to remind myself many times that just because everyone I hang with (including, of course, the staff at OffBeat) loves, really loves music, especially our music. We think it’s a treasure, the best thing in our universe. But not everyone is like us. Your average John Q doesn’t give a damn about local music—because he (or she) listens to the crap that’s played on commercial radio, which is homogenized, pasteurized and blanded out for mass consumption. How can you make people care about music?
There is no way a kid can learn appreciation for Louisiana’s musical treasures, because no one tells them that our music is unique. No one teaches them about it, or has them listen to it on a regular basis. There are very few (if any) music programs in public schools anymore, and certainly none that focus on Louisiana’s treasure trove of jazz, blues, Cajun, zydeco, swamp pop and rhythm & blues.
What is wrong with this picture? Why aren’t we focusing on preserving and promoting our music? I’ve heard a lot of government folks talk about it, but frankly, they talk the talk, and don’t walk the walk.
I won’t start my rant against the Music Commissions (huge sigh of relief from readers!). The reason is that I think—I hope—that things are changing. We have a music-friendly Economic Development Department at both the state and city of New Orleans level. I understand that Baton Rouge is resurrecting its Fest For All celebration and Baton Rouge Blues Week in April 2003. There’s talk of creating a James Burton International Guitar Festival in Shreveport (those of you who don’t know who James Burton is should be ashamed of themselves). So slowly, slowly, we’re waking up.
How long will it take?
CATALYSTIC
Anyone who attended the first Music Community “Town Hall” Meeting had to be encouraged by the city’s new emphasis on improving the music community.
Scott Aiges, the new Director of New Orleans’ Office of Music Business Development, and the city Economic Development Arts & Entertainment Office, along with OffBeat, will sponsor a monthly Professional Development Seminar on the first Monday of every month, beginning on October 7.
The Professional Development Seminars will take place at the New Orleans Public Library Auditorium (Third Floor), 219 Loyola Avenue, from 6:30 p.m. to 8:30 p.m. Aiges says that these are intended to be “professional development” seminars—an opportunity for musicians and those involved in the business to polish their professional skills. The topics scheduled so far are: October 7: press kits and cover letters: November 4: booking convention gigs and other high-paying private parties; December 2: copyright protection. Speakers will be invited to address each topic.
Starting on October 17, the Music Office and OffBeat will host “Catalyst,” a monthly networking happy hour for the entertainment industries. “I got the idea for the networking from a friend of mine in Austin,” said Aiges. “The events there grew huge and really became a place for scouting employees. These events are simply a chance for people in show business to get together socially and exchange information,” he said.
The first Catalyst will be from 5 p.m. to 8 p.m. at the Blue Nile (534 Frenchmen St.), but the location will change every month and will be held on the third Thursday of each month. There will be a cash bar and proper attire is required.
Both events are free and open to the public. For more information, contact (504) 565-8100 or [email protected].
THE CAT AND THE RECORD LABEL
Even before OffBeat was a reality, I was friends with a local musician and music producer, John Autin, the co-founder, along with songstress Nora Wixted, of Rabadash Records.
In 1981, the musical partnership of Wixted and Autin gave birth to Rabadash—just like so many other independent artists that spawned a record “label” out of the need to have a recorded product to represent them.
Autin recently told me: “A lot of people ask about the name Rabadash. It’s a good story. After applying for several names to the trademark office and getting refused because the had already been taken, we were desperately trying to come up with a name or phrase that couldn’t have already been taken so the almost completed 45 could be released. Nora, being the creative partner, says ‘Rabadash!’—her cat’s name and proceeds to explain that in an LSD-induced state of mind, her cat had explained to her that the cat’s name was Rabadash.”
Autin thought it was so great that a cat thought up the name he went with it. If you look and know it you can tell that the logo is a cat with two of the A’s of RABADASH being the ears surrounding the word BAD which of course in 1981was brand-new slang for Good. It all seemed to fit. Well, that was an appropriate beginning to one of the most unique of little businesses.
The scope of Rabadash was soon to expand beyond just promoting Wixted’s and Autin’s careers. Opportunities presented themselves. While Autin was producing the debut representation of his producing capabilities, he wanted to produce an LP for Wixted that could stand next to the biggest major label releases of that time, Other easier products were put out to finance the huge undertaking of Wixted’s release Before the Feeling is Gone. Al Broussard, a then 70-something solo piano player, was playing in the same club (The 711 Tricou House). Broussard had never recorded—fearing, like a lot of older musicians, that if people could listen to him at home over and over again why would they come see him live where they had to buy drinks. Wixted and Autin worked on Al and finally he consented to doing an LP. “We are very proud,” Autin says, “that before the LP, Mr. Broussard had only played in bars in New Orleans and in his junkyard for friends and passersby (that’s a whole other story). After the LP came out Mr. Broussard played all over the world, including in Buckingham Palace for the royalty of England.”
Another LP was made shortly thereafter for a pre-Subdudes John Magnie, Live at Tipitina’s. Another 45 was released from two original songs by then engineer trainee and fledgling songwriter Louie Ludwig.
Thus the goals and legacy of Rabadash Records were established.
Rabadash was, and still is a stepping stone for artists’ first opportunities at recording. The list of people who Rabadash has helped is a very recognizable list of some New Orleans favorites who without Rabadash’s help might very well be living in obscurity. A post- Meters George Porter, Jr., hired Nora Wixted to sing in one of his many musical experiments. Autin soon started working with Porter on keyboards and persuaded him to quit putting together different bands, and become his own artist, with his own band, and the rest is history.
Around the same time a young Swedish kid named Anders Osborne gave Autin a demo tape which launched the careers of Anders Osborne and Theresa Andersson. A little later an unknown harmonica player came to Autin and he soon produced Rockin’ Jake’s first CD.
This past year Autin has produced a CD on a rare find in the shape of Big Daddy “O” Again at Autin’s insistence, Big Daddy quit playing with bands and became his own artist. Big Daddy “O” is a cross between New Orleans and the Mississippi delta blues with thr unique addition of a beautiful voice. Also this year marks where Autin took his own advice and stopped playing behind the scenes to become the artist known as John Autin. For Rabadash’s 20th anniversary Autin produced his own debut CD Piano Face.
Autin says “Rabadash has never made a profit, but we have launched many careers of great artists that have made tons of money for themselves, and enriched everyone in New Orleans and music enthusiasts’ lives. We are very, very proud of that fact.”
Rabadash’s 20th Anniversary Celebration will be at the Rock ‘N’ Bowl Café on Friday, October 18 and will feature Autin, Big Daddy “O,” John Magnie and more.
BENEFIT FOR WILL
On Wednesday October 9 at 8 p.m. the Maple Leaf will host a benefit for local bass player Will Ainsworth, who has been diagnosed with a particularly rare and aggressive type of cancer. Admission is $10 and includes food, door prizes and the evening’s entertainment including Coco Robicheaux, Sunpie Barnes, Irene Sage, Kim Carson, Leslie Smith, Walter “Wolfman” Washington, Chris Thomas King, Nancy Buchan, J. Monque’D and many more.
Will, who has played with many of the musicians performing that night, has been unable to work for most of this year. Because of his musical ability and his ego-less nice-guy attitude, Will has been a valuable asset to various local and national touring bands including, most recently, the Kenny Wayne Shepherd band.
Food will be provided by Rockin’ Jake and Chef Emile. Door prizes will be given out during the evening and all proceeds will go to help Will with his expenses. Donations can be made directly to Will c/o P.O. Box 57812, New Orleans, LA 70157.
