THE REAL BIRTHDAY
Recently, myself and other members of The Living Folklore Medicine Show were contracted to create an opening second-line parade for Dr. John at the High Sierra Music Festival in Northern California.
Through your magazine, we learned that Louis 100th birthday was on the 4th, (the same weekend of High Sierra). So our krewe of giant puppet makers and clowns created a huge, 12-foot tall Louis Armstrong puppet (complete with a giant cornet, and Zulu King Crown, we had also made a happy birthday banner). While I was recruiting horn players for the second line, I asked Tony [Dagradi] from Astral Project to join us. He said that historians have proven that Louis real birthday IS August 4, 1901.
Needless to say, we went on with the parade (without the banner) and Louis looked great, the good Doctor looked on with a smile.
If you want any information on us, look up our site at www.livingfolklore.com. Well be in N.O. in September for the Cutting Edge Music Gathering and our annual visit with Rev. Goat, Tootie and Miss Joyce. See ya there!
Jacob, via email
Tony Dagradi was absolutely right: Louis birth date was August 4, 1901. In this issue, Tad Jonesthe local historian who discovered Louis Armstrongs baptismal certificatetells the story of his detective work. Ed.
METER MAIDS
I thoroughly enjoyed reading your review of the Meters albums. I especially enjoyed reading what you had to say about Rejuvenation. But, you know what, listening to that particular album is second only to being in the studio when it was being recorded. A lot of people dont know it but, Rejuvenation was the first and only album on which female background singers were used. I know because I was one of them. The ladies were: Dot Wilson, Doreen Miller, and yours truly, Mercedes Davis. I had done many sessions in Sea-Saint Studios, but none like this one. I thought Zigaboo was going to break the heads on his drums; Georges bass seemed to make the walls vibrate; Leo was putting out some of the hottest licks Id ever heard him play; and Art must have earned the name Papa Funk that night!
These guys were playing with each other, at each other, for each other and vibing off each other. It was as if each man knew just when to take a solo and when to step back for the next solo. I wholeheartedly agree with youthat was one of the best albums they ever recorded.
Mr. Matthews, the next time you listen to Rejuvenation, listen for the girlswe were there and proud to say so.
Mercedes L. Davis, New Orleans, LA
DEFINING FUNK
At lasta definition of the word funk that is worthy of Webster himself:
If you didn’t grow up in New Orleans, amidst the eternal ramshackle imperfection, attending rickety schools with urinals destroyed by cherry bombs, constantly eating red beans sullied with stringy remnants of pickled pork, marching down St. Charles Ave. whacking a bass drum and avoiding the piles of horseshit dropped by the mounts of Carnivals pseudo-royalty, torturing lizards with a magnifying glass, licking nectar-cream snowballs, tormented by sadistic maiden aunts, perverted by bachelor uncles, indoctrinated by sinister nuns and living in shotgun houses where privacy is an unknown luxury, you will never be funky. There’s no sense in even trying.
If you printed this up poster size I bet you could get $15 a piece.
Yea Bunny Matthews!!
Excuse me, I have to stir my pot of red beans.
P.S. I cut this quote from the magazine and have it on my fridge.
Harry Ravain, New Orleans, LA
APPEASING DEMOGRAPHICS
After having gone to eight or nine Jazz Fests over the last dozen years I’ve noticed a couple of trends I feel are worth commenting on. When I first started to attend I was pleasantly surprised at the realization that I was one of the youngest people in the crowd. I know time doesn’t stand still, but it seems the average age is creeping lower and lower, along with any kind of actual deep interest in the native New Orleans musicians and the culture they represent. I also noticed Sting with his weekend closing spot got two hours of performance time while the funky Meters got an hour and 15? Does this make sense to anybody, other than Sting and his management? On Friday I had my first contact with the Japanese carmaker stage, friends and I walked around the track to the very far end of the mess/mass of people gathered, the combination of the hideous change of staging and the tent of cars stopped all movement towards that stage for the rest of the event. Putting an automobile showroom on top of the Fests most hallowed ground seems to prove that the event has moved away from its spiritual roots into an zone where money is all that matters. Like many of your critics I spent most of my time at Congo Square, with its lack of corporate endorsement, wonderfully eclectic line-up, and generally laid back feel, it was the place to be. Im not sure turning it into the setting sun is easy on the performers, and I noticed a decline in the number of people from the community in the house, but that pretty much goes for the whole Fest. I know Jimmy Buffett, the Allmans and Sting attract the demographic (young, white and wealthy) that Acura is looking for, but lets reunite the original Meters and give them two and a half hours to close out the first weekend, give Dr. John whatever time he wants to close Saturday, this could go on and on, how about ReBirth, Allen Toussaint played at 1:50, Fats Domino should close a day every year, how about a little more black contemporary R&B, that list of people is fairly long, more Africans, give a little something up for Etta James, Leon Russell, J.J. Cale, Bunny Wailer, Lee Perry, Johnnie Taylor, Wicked Wilson Pickett, Booker T and the MGs, roots and culture, not appeasing a demographic. I had a young girl walk by me and grumpily complain about the music, music, music, and I told her, Well, you can always eat. I hope the contract with the carmaker is not a long term deal, someone get it out to the kids that the jazz and heritage is not the cool thing to do, and keep eMpTV as far away as possible, I had the misfortune of running into them at the ReBirth, Coolbone show, and Ive never seen such a blatant disregard for performers as I did shown by the people involved in the eMpTV show, not one once of respect, never should they be allowed inside the city limits again. But hey, I love the town and its people, thank you Bo Dollis, Kermit Ruffins, Henry Butler, Zigaboo Modeliste, Olu Dara, War, the Wailers, the Uptown Allstars, Wardell Quezerque, Los Hombres Calientes, Thunderstorm Brass Band, Monk Boudreaux, and all the beautiful musicians involved, love is in the house. Peace.
Andrew Towne, via email
DIFFERENT DRUMMERS
I just read your July issue. I realize I am a little late, but I must sound off just a bit.
I attended Jazz Fest this year and thoroughly enjoyed myself. I went to three days and my friend went to four. I found it to be a logistical marvelplentiful and reasonable transportation, no excessive lines at the concessions, reasonable prices, friendly staff, plenty of go-cans, etc. I was one of the idiots who ventured to Woodstock 94. I wont even bother to bore you with what a chaotic mess that was.
What I find astounding is the whining and crying from your readers regarding the scheduled artists. I thought there was an amazing amount of diversity. I caught gospel acts, the funky Meters, C. J. Chenier, BeauSoleil, Dr. John and many others. I also caught Sting’s set. The guy put on a really good show period! I dont particularly care for Lenny Kravitz or Better Than Ezra, so I didn’t go to their shows. That doesnt mean they shouldnt be scheduled. A diverse line-up is wonderful because of the choices it offers. In my CD player as I write are Beck, the Carter Family and James Brown. Each are fantastic in their own way.
I believe a lot of the whiners are egotistical souls attempting to come across as purists. Open your minds, folks! If youre such purists, why didnt any of you mention Eddie LeJeune? That man is truly a treasure. My opinion is that he, more than any other artist there, justifies the word heritage being used in the festival name. I was very surprised there weren’t more people at his show. I suppose they mustve all been gathering somewhere whining among themselves about the Acura stage HA!
The bottom line is Jazz Fest is a great party! Enjoy yourselves, and dont be bitter that other people may be doing the same to a different drummer.
Eddie Jones, Detroit, MI
YO! FLOW! YO!
What Jazz Fest did y’all go to? This was a happening Jazz Fest this year! A wonderful mix of local, national, and international talent. The weather was great, the people were diggin it… Yall need to loosen up and get the stick out yo ass and flow with it man! Acura monopolizing the web cast, replacing Professor Longhairhorrendous acts against funkiness. However, Lenny Kravitz was funky! Erykah tore down the house! Check the attendance records yo! But I guess were just mere imbeciles for enjoying mindless pop crap instead of real roots music. Wake up! Musical elitism is not funky, man! Forget your small minded local political stereotypical uptightness and flow with the spirit of the music! From Joe Black to Astral Project to Ile Ayie to Diana Krall and Ani and Nicholas and Dopsie, Jr. to Sting… Jazz Fest 2000 was the bomb, I’m sorry you missed it. Free yo mind… Peace.
Saadir Williams, via email
CURIOUS CD
Just out of curiosity: in reply to a readers letter in the April 2000 OffBeat you mentioned an annual OffBeat Fest CD as being part of subscribers bonuses. Is this correct? And if so: when will it ship?
Nicole en Boi Janssen, Sittard, Netherlands
Have you shipped the Festival 2000 CD yet? I have not received mine.
David Joseph, Berkeley, CA
We are currently compiling the cuts for the OffBeat Festival 2000 CD. It still has to be mastered and pressed. We usually ship at the end of August, beginning of September. Be patient, its worth the wait. Ed.
CARELESS AND REGRETTABLE
I would like to thank OffBeat for the favorable write up I received in the July issue. There are couple quick things Id like to add.
Besides being somewhat put off by repeated references to my appearance (stemming from a careless and regrettable joke I made in an email to the publisher Jan Ramsey), I was disappointed by the fact that Deltabilly Boys, Paul Santopadre and Greg Schatz, had their faces cut from the photo accompanying the article (after taking time out of their busy schedules for the shoot), and that they received little play in the text. I am partly to blame for allowing myself to be the center of the limelight, so I wish to say a little about my band mates for the record.
The Deltabilly Boys are more than a back-up band. Both Paul and Greg both have a good deal to do with arrangements, and I’m fortunate to have them as my sidemen, and as my friends. Greg Schatz is a talented upright bassist, vocalist and accordionist; he also plays piano and guitar and is a prolific songwriter, fronting his own original band Schatzy (of which Paul and I are a part, as well as bassist Dave Stover). Good band. Check it out.
Former Songdog Paul Santopadre is, in my opinion, one of the finest in a city full of great drummers. He has worked with Coco Robicheaux, Steve Riley, Mamou, Kenny Holladay, Lil’ Queenie, Butch Trivette, and Jon Cleary, to name a few. Again, I am very fortunate to be able to work with him. To his credit, and my possible loss, Paul has recently been offered a position in Tommy Malone’s new band. If OffBeat ever decides to dedicate an issue to drummers (for which New Orleans is famous), Paul would be a worthy subject.
Thank you for letting me add to the record, and thanks again for the press (any of which is good press, as they say).
Jeremy Lyons, New Orleans, LA
Only in New Orleans would a musician object to compliments regarding his appearance. Jeez! -Ed.
