THE VALET OF ARROGANCE
I have been in your city on business recently from Los Angeles, which is my hometown. I have gotten around at night to hear as much of your local jazz scene as possible. In a recent editorial you very arrogantly state: Los Angeles could never produce a Kermit Ruffins, a Wynton Marsalis or a Harry Connick, Jr. Well, we have produced a Dexter Gordon, a Billy Higgins, a Charlie Haden, a Ray Brown, a Blue Mitchell, a Chet Baker, Art Pepper, Hampton Hawes, Anita ODay, Chris Conner, Frank Rosolino, Horace Tapscott, Eric Dolphy, Frank Butler, Lawrence Marable, Pete Christlieb, the Dandoli Brothers, Leroy Vinnegar, Red Mitchell, Don Cherry, just to name a few off the top of my head.
I have had occasion to hear Kermit Ruffins and the Barbecue Swingers twice since Ive been here. Mr. Ruffins does not even play his horn up to mediocre professional standard. He plays sloppy, out of tune, the band drags and rushes the tempos and the repertoire seems to be mostly trite, worn out Dixieland standards. As for Wynton Marsalis, he is vastly overrated as a jazz trumpeter is an opinionated blowhard who has used his lofty position to be cruel to other musicians and will probably go down as the most hated jazz musician in history, having done the music a disservice. Harry Connick, Jr., is a great singer/arranger/pianist. You know, you do have some great trumpet players here in New Orleans but have not heard them mentioned in your magazine, a Wendell last name starts with a Br whew! As good a player as there is to be heard, a Charlie Miller and Mr. Leroy Jones. Why arent you touting them in your magazine? Perhaps inevitably ignorance is the valet of arrogance.
G. Norman Higgins, Los Angeles, CA
Just completed another trip to your town. What can I say? This town never fails me. Music is our main interest, food and culture are a given. Its all here.
What upsets me is your lack of knowledge about a long-rooted history of blues, R&B, jazz and all in the middle music coming out of Los Angeles. Youre rightwe didnt produce Harry Connick, Jr., or Wynton Marsalis. But we did produce Chuck Berry, William Clarke, Bonnie Raitt, Don Sugarcane Harris, Smokey Wilson, Finis Tasby, Michael Mann (a.k.a. Hollywood Fats). The list goes on and on. A lot of your local artists dating back to the early 50s couldnt make any money in New Orleansthey didnt reach musical heights until they came to L.A., New York and others in between. Before you run my fair city down overcome your fears of L.A. Come out and enjoy what we have to offer. You might be surprised. Also what about George Smith, Rod Piazza and the Flyers? Papa Crayton called L.A. his home, so did T-Bone Walker. Look at the jazz history along down on Central Avenue in Los Angeles. Howlin Wolf couldnt wait to get back to L.A. The Nite Tripper didnt make it big until he got to the shores of this West Coast. We do enjoy our music out here and we love New Orleans.
You should invest in a book by author Tom Reed called The Black Music History of Los Angeles Roots. Education is a wonderful thing, its good reading.
Oh, I forgot Johnny Otis, boy did he have an impact on music. Im sure you wont publish your magazine. But if you do, drop me a line. I do love your town. Thank you for taking the time to read this.
Carl Tucker, Granada Hills, CA
Given that Los Angeles is the entertainment center of the world, it is hardly surprising that the city has produced numerous musicians, although Blue Mitchell was actually born in Miami, Florida, Red Mitchell was born in New York, Chet Baker was born in Yale, Oklahoma, Anita ODay was born in Chicago, Frank Rosolino was born in Detroit, Horace Tapscott was born in Houston, Leroy Vinnegar was born in Indianapolis, Don Cherry was born in Oklahoma City and Finis Tasby was born in Dallas. Whatever your opinion of Kermit Ruffins, Wynton Marsalis or Harry Connick, Jr., these three musicians couldve emerged from nowhere but New Orleans. Unless you grow up attending Carnival parades, eating boiled crawfish, dodging potholes the size of Lake Borgne and cheering for the Saints, you will never possess the indefinable quality that makes thousands of people flock to New Orleans every year to hear our sloppy (sometimes known as funky) and/or overrated musicians. If Mr. Higgins had perused the entire February issue of OffBeat, he wouldve encountered a profile of Charlie Miller on page 78. Ed.
THREE GROUPS
In your club listings for January 12, the Dixie Taverne has Shakespeare in Hell plus Piss Shit Fuck and Eat a Bag of Dicks. Is Piss Shit Fuck one group and Eat a Bag of Dicks a second group, or is Piss Shit Fuck and Eat a Bag of Dicks one group? Thank you for your attention to this matter.
R. Dusk Lipton, Washington, D.C.
Heres the lowdown: Shakespeare In Hell is one band, Piss Shit Fuck is another band and Eat a Bag of Dicks is a third band. And now, as our mom once suggested, its time to wash our mouth with a bar of soap.Ed.
POT SHOTS
Regarding your January issue, I am writing in response to Spike Perkinss suggestion number two for improving the New Orleans music scene: specifically, working to end the turf wars between individuals and organizations who advocate for musicians and music business in the city. These wars are indeed a problem in New Orleans. I would like to suggest that the first step toward a solution should come from OffBeat magazine, whose editor does not hesitate to take pot shots at anyone and everyone, from Jackie Harris to the Music Commission to the Music Business Institute (whose director she will drag through the mud at the drop of a hat), even though they espouse many of the same goals and concerns she does. This behavior is not what journalism is about, certainly not professional journalism. A ceasefire would do a lot to alleviate the turf war problem and eliminating the editors personal vendettas against certain people and their organizations from her column would make OffBeat a better magazine.
Hild Creed, New Orleans, LA
Our editorial opinions are constructive criticisms, not attacks. OffBeat is widely considered to be the only consistent media voice that the music community has, and as such we have a responsibility to our musician/music industry readers to advocate on their behalf. Its been our opinion that the commissions have not performed to the level that we should expect for our tax dollars. OffBeat assisted in establishing the Cutting Edge/Music Business Institute when its director was still employed by the city as the head of the Music & Entertainment Commission. Over the decade its been in existence, this conference has, in our opinion, done little to improve the music community, despite the tens of thousands of dollars it has received in government support. Remember, those dollars ultimately come from us. OffBeat has a responsibility to voice its opinion and not sanction inferior public commissions or publicly-supported endeavors. OffBeat will continue to support effective, well-managed and operated music conferences, commissions, events and endeavors of all types. When they show results, then well cheer them on.Ed.
NO CAJUN-ZYDECO LIMOUSINES
In Cree McCrees very well written and informative article Knock, Knock, Knockin on Grammys Door in the February 2002 edition of OffBeat, the author highlights a decision by the National Academy of Recording Arts and Sciences (NARAS) to establish a Grammy Hall of Fame in New Orleans. Certainly the Crescent City is an appropriate locale for such a prestigious honor. Given the rich musical history of New Orleans and the surrounding parishes of the entire State of Louisiana, a Grammy Hall of Fame would serve to recognize the areas historic contributions to the musical and cultural art forms of jazz, blues, swing, Cajun and zydeco.
But, there is irony in the possibility of a Grammy Hall of Fame being situated in the state of Louisiana. As McCree appropriately highlights, there has been a significant grassroots effort to petition NARAS to establish a specific Grammy Award category to honor the contributions of Cajun and zydeco music to our musical landscape. As McCree points out again, this effort has been lead by zydeco artist Terrance Simien, and he has been joined and supported in his efforts by such Cajun-zydeco luminaries as Stanley Dural, Jr., Ted Fox, Michael Doucet, Chubby Carrier and others. It would be a wonderful prerequisite to the start of construction on a Grammy Hall of Fame in New Orleans to have it coincide with a decision by NARAS to honor the Cajun-zydeco performers who have contributed so much to the musical culture of our society, with a new CZ Grammy Award category.
As McCree points out, it is imperative that those Cajun-zydeco performers who travel the zydeco road between New York and California support the work of the National Academy of Recording Arts and Sciences. It is clearly recognized that the majority of zydeco and Cajun artists dont pull in millions of dollars from record sales and international touring. There are few if any private jets, and no limousines to shuttle the artists from the airport to the arena. There are countless Chevy Suburbans, trailers and vans that carry these purveyors of Louisiana roots music to dance halls and festivals throughout the country. But, despite the lack of phenomenal wealth, it is a matter of belonging to an industry and having a vote and a voice in how your industry operates that beckons our Cajun-zydeco artists to become members of NARAS. A Grammy Hall of Fame in New Orleans is a great step. The recognition of Cajun-zydeco music as a specific Grammy Award category is a giant step. The participation of Cajun-zydeco artists in NARAS is an important step.
Paule Pachter, Zydecoroad.com,
Long Island, NY
BROTHER, IM BAKED
Many thanks for sending the OffBeat 2001 CD. Your monthly magazine is always very welcome and gives me specials feelings from my second home. Many greetings from Germany.
Elmar Hoff, Gronau, Germany
I just today received the two OffBeat CDs [OffBeat Festival 2001 and OffBeat Best of the Beat 2002] and wanted to write to thank younot only for the recordings but for your wonderful magazine. It helps me feel tuned in and connected to New Orleans and its musicplus sweetening the anticipation for my next visit.
I also wanted to tell you how much I appreciated your coverage of [Wardell Quezergues] A Creole Massboth the performance and the recording. I ordered the disc from the Louisiana Music Factory and have enjoyed it immensely. I only wish I good have been in the Cathedral that evening.
Karl Holzmuller, Anacortes, WA
Just wanted to say you folks have done it again BIG TIME with this years OffBeat Festival 2001 CD! I mean from beginning to endan excellent compilation! Starting with Wolfman Washington howling hungrily, it was one sweet dish after another, a veritable 17 course feast!! A dash of Beau Jocqueoooh yeahthats how I like it. By the time ReBirth is done, Im second lining around the kitchen with a wooden spoon, burning and boogieing and brother, Im baked!!
Brett Brumbaugh, Arcata, CA
REALLY A JERK
Is Bunny Matthews really a jerk or is his head screwed on too tight? Issue March 2002, page 14, last sentence [Which explains why New Orleans drummers such as Charles Hungry Williams or Earl Palmer could musically murder such lower members of the species as Ringo Starr or Mickey Hart.]. Why does this clown feel its necessary to put down Ringo Starr to try and make New Orleans drummers look good? This is not the first time hes made this same crack. Drummers here are the best in the world but is it really necessary to stoop to third grader tactics to prove it to the rest of the planet? I guess if Ringo would have laid into a few Zigaboo grooves over some of those crappy Lennon/McCartney numbers that sold millions, Mr. Bunny would have something nice to say.
Sean Tauzier, New Orleans, LA
Actually, that was the first time I made that particular crack. Lest anyone forget, the Beatles singlehandedly destroyed the New Orleans recording industry during the early 60s (and Mr. Tauzier is a local recording engineer). I do agree with his remark about crappy Lennon/McCartney numbers. The only Beatles song I ever liked was Anna, written by Arthur Alexander.Bunny Matthews
MANY MASTERS
Thanks to you and the staff of OffBeat, as well as the music community and music lovers for recognition of my efforts as a saxophonist. Also, thanks to the many masters that Ive listened to and learned from, and the many band leaders, composers and producers whove invited me to their stages and sessions to add my voice to theirs. Ive been very fortunate to be able to pursue my interest and passion for music, and to be able to share that passion with listeners. Thank you OffBeat for keeping music lovers aware of Louisiana music.
Tim Green, New Orleans, LA
EVO DEVO
As an attendee at last nights Forum [Mayoral Candidate Forum on Music & Economic Development] I want to thank both of you and OffBeat and Loyolas Music Business Program for helping to organize the event.
If: A) music is one of our underdeveloped economic sectors; and B) infrastructure development is seen by many eco devo gurus as a more effective tool than, say, tax credits in an eco devo arsenal; and C) our music infrastructure is in need of development; Then: a) it stands to reason that public sector support of economic development can and should filter its way toward music industry infrastructure needs (recording, pressing, distribution, etc.). I see no reason why traditional eco devo tools (e.g., TIFs, Economic Empowerment Zones, financial institution incentivesboth carrot and stick, industrial park development with communication infrastructure incentives, Finance Authorities powers, etc.) cannot benefit development in sectors other than traditional manufacturing, retail, transportation, workforce, and housing.
Thanks to all who helped with last nights event. (Oh, and by the way, Ive seen those that stayed last night leave other events early because of the multiple scheduling nightmares that this truncated campaign season causes).
Linda Santi, New Orleans, LA
Eco devo? Has Devo re-formed with a new emphasis on ecological songs? Just kidding.Ed.
THE SAME
A native of New Orleans, I had moved my family to Fort Lauderdale some 15 years ago. My wife brought with us a calendar that had been created by Bunny Matthews. She loves it and still has it. We are planning to move back home soon, and have gone back to New Orleans every chance we get. She has looked everywhere for a new calendar, and no one carries them. Is your Bunny Matthews the same gentleman that drew the Vic and Natly cartoons for the Times-Picayune many years ago? If yes, does he still do the cartoons? If no, does anyone know where this talented artist has gone? My wife had me all over New Orleans looking for his artwork. I appreciate your help.
R. Rody, Fort Lauderdale, FL
Whether or not Bunny Matthews is a gentleman might be debatable but he is the one and only creator of Vic and Natly, who now reside in the pages of OffBeat.Ed.
