WHY IS THE LOUISIANA MUSIC COMMISSION SO DEFENSIVE?
Here we go again! It never ceases to amaze me (although I should be expecting it at this point) as to the lengths you will go to misinform your readers about the leadership of the Music Commission, our goals, and the hard work we put into promoting the music industry around the state and the country. Since the LMC and purportedly, OffBeat, are crusaders for the music industry in Louisiana, I do not understand why you cannot take five minutes of your time to verify information you intend to print.
In your current issue you state that the LMC is lacking when I comes to people with music industry background or experience [see actual quote from last month’s issue, below]. If you had taken a few minutes to look at our web site you would have seen that every commissioner on our board are all more than qualified to have been appointed. Are you familiar with Ellis Marsalis? Jean Knight? Stanley Dural? Maestro Li? Lawrence Sieberth? Tabby Thomas? Jay Weigel? Are you saying that these people are not qualified and do not have the knowledge or experience to sit as a commissioner on the Board? I have taken the liberty of printing the list off our website for you so you can see that they are all involved in the industry and are more than qualified to serve on this board. If you truly feel that our board is made up of less than qualified members then please attend our next commission meeting and challenge their experience. Ask each of them in person why they should be seated on the commission. Maybe you could tell them who you think is better qualified. As for the office staff, our experience individually far exceeds your knowledge or experience in this industry prior to owning OffBeat.
Your column this month is an affront to the LMC commissioners. They have more than paid their dues to become successful artists and deserve respect for their hard work and progress. You are brave sitting behind your pen, are you willing to back up your ignorance in person and face those you attack so easily in writing? I do not understand why we cannot work together to enhance the music industry of this state. Maybe I just don’t tolerate ignorance very well.
–Bernie Cyrus, LMC Executive Director, New Orleans, LA
In our November issue we announced that Johnny Palazzotto had been appointed to the Louisiana Music Commission, and said (and we quote) “Maybe you can get some more music business folk on the Commish…” Currently, 10 of the 14 members of the LMC are musicians or songwriters. Three are parish employees (an assistant district attorney, an assessor and an investigator for a parish D.A.’s office); two are on the board of directors of the Jazz & Heritage Foundation. Besides being accomplished musicians, Ellis Marsalis is also a renowned educator; Xiao-Lu Li is the conductor for the Acadiana Symphony; Jay Weigel is the Executive Director of the non-profit Contemporary Arts Center. There’s certainly nothing wrong with any of these commissioners in terms of qualifications to serve the music community. But since the LMC claims to be supporting the music industry here (we believe “industry” implies business), where are the concert promoters, music attorneys, publishers, record label and studio owners, booking agents, media, engineers, producers, publicists, music retailers? Surely they could contribute positive input into how to improve the state’s music industry? Musicians make the music, but do not an “industry” make. While we all know that music is an art, it’s also should be taken seriously as a business, as it is in other states. In our view, the existing LMC (whose current regime has been in place for almost a decade), perhaps needs some additions to commissioners and/or different management to create a better, more supportive environment for the Louisiana music industry.–Ed.
THE FIFTH POINT
In response to Mr. Robert Schmidt’s “Seven Points” in the October issue, let me make one point–that is, the total inaccuracy of his “Fifth Point” regarding the French Quarter Festival.
Perhaps “few people remember that the first Quarter Fest hired bands from around the country and world but none from New Orleans” because that never happened. The French Quarter Festival began in 1984 with the support and involvement of the local musicians’ union, which sponsored performances by New Orleans musicians through the Music Performance Trust Fund [MPTF]. Not only did local talents such as Ronnie Kole, Al Belletto and Connie Jones perform at the first French Quarter Festival, they helped organize the initial event and continue to play an active role in this uniquely New Orleans celebration today.
Through MPTF funding and sponsorship of Musicians’ Union Local 174-496, FQF showcases approximately 500 member musicians each April. In order to be eligible for MPTF funding, musicians must be members of the local union, which basically makes them “local musicians.” Another 200-300 New Orleans artists grace French Quarter Festival stages through sponsorship by clubs, record companies and businesses. This equates to performance by 500-700 local entertainers on 12 FQF stages and one French Market stage at this free community event. The standing exception to this is one Bourbon Street stage where international musicians from Germany, Australia, England and other countries can play their interpretation of New Orleans jazz. Occasionally, we may have a visiting group that cannot fit on this stage or that might be included in the line-up as a special feature, such as a big band from France during the state’s FrancoFete celebration, but this is not the norm.
To imply that “even now the organizers frown upon hiring New Orleans entertainers for their main stage,” couldn’t be farther from the truth. Last year, our riverfront stages included performance by the New Orleans Nightcrawlers, James Andrews, Jumpin’ Johnny Sansone, Kermit Ruffins, Luther Kent, Irma Thomas and George French. John Boutté, Leah Chase, Quintology and Big Al Carson played in Jackson Square. These are our main stages and they are filled with New Orleans entertainers, as are our other stages throughout the weekend.
We constantly receive emails, phone calls, CDs and promo packages from promoters and musicians around the world who are interested in performance opportunities at the festival. Our standard reply is: “The French Quarter Festival is a local cultural showcase and since we have a wealth of talent here in Louisiana, we only utilize local musicians.” This has been our mantra for 17 years and it will again be the basis for scheduling entertainment for the April 20-22, 2001 French Quarter Festival.
Of course, we are not able to accept all musicians–local or not–due to lack of space or because our entertainment committee doesn’t feel the quality of talent or style of music fits our format, but that’s called being selective, not “hypocrisy.”
Thank you for allowing us the opportunity to reply and to clear up any misconceptions that the uninformed author of “Seven Points” may have unjustly created.
–Sandra Dartus, Executive Director, French Quarter Festivals Inc.
For the record, OffBeat has been a supporter of French Quarter Festivals since the magazine’s inception in 1988. To its great credit, FQF is still the only local free festival of its kind in New Orleans that truly showcases local musicians almost exclusively. Over the past five years or so FQF has grown to the extent that it attracts not only locals, but thousands of out-of-towners who love New Orleans and its cultural heritage. We will continue to support FQF in any way possible–long may it be free, and long may we hear great LOCAL music!–Ed.
THE DISCOVERY CHANNEL
It finally arrived. The album I had been waiting an entire year for. The ¡Cubanismo! CD recorded at the Boiler Room. Reggie Houston had told me how fun the sessions were and I kept checking the local music store for release dates. I wouldn’t be the least bit surprised if the Yockamo Allstars become the latest “most” in-demand session group in the industry. They are as real as you could wish for. I understand they have also done something with Bruce Hornsby (some sort of tribute to Keith Jarrett). This Mardi Gras Mambo disc has met any challenge imaginable. It doesn’t just do a “Cuban” flavor on one track followed by a “New Orleans” flavor on another–it turns each track into the musical gumbo that I like.
Within days after I purchased the disc, I received my copy of OffBeat in the mail. And “How ’bout that!”–the cover story was ¡Cubanismo!. But who was that guy on the cover? You know–the one wearing that shirt that I wish was mine. John Boutté! I wanted to ask you where on earth did he come from, but I don’t need to anymore. I caught the band in Seattle last Saturday night and then on Sunday in Portland at the place I work at–McMenamin’s Crystal Ballroom. I got all the answers I wanted from John. We visited for quite a while. I explained to him about one of the things that appeals to me so much about the music of New Orleans. The Discoveries! Finding all these wonderful musicians and singers who for some bizarre reason are kept out of the mainstream musical awareness. The great good fortune of being exposed to so many beautiful spirits. The many, many discoveries. Reggie was my first. And Charmaine, Amasa, Shannon, Kermit, the Percy Brothers, Mem, Cleary, Mooney, Los Hombres Calientes, Walter Payton… Help! I’m gittin’ dizzy! And now I was able to tell John in person that he’s joined my list of discoveries. Now I need to start my newest collection of music. That of John Boutté. I’ve already got his CD recorded a couple years ago. I’ll be spreading the word. How ’bout you?
–Jim Adair, Portland, OR
WHERE’S THE BEAT?
Hi OffBeaters–recent new subscriber Jim Busch in Seattle here–just got my fourth issue, the Sonny Landreth cover, thanks for the free CDs. I was wondering if there is any news or word on when new subscribers can expect to receive the third CD in your “new subscriber” promotion.
Please get back to me regarding when I can expect to get these freebies. I love the magazine and recently purchased the Zigaboo.com CD after reading the OffBeat article–keep up the good work, best regards to all
–Jim Busch, Seattle, WA
I still have not received my 2000 CD. I know that they were held up. Have you shipped them yet? If not, what is the ETA?
–David Joseph, Berkeley, CA
I know everyone else is asking, but it’s November, When’s the CD coming for Jazzfest!
Great issue this month, I have always thought LeadBelly should have more exposure, what an artist!
–Pensacola, FL, via email
The new CD is expected any day now–we’ve been anxiously awaiting its arrival for the last two months from Louisiana Red Hot Records, which sponsored the CD. LRH tells us their plant production is backed up and that the CDs should be here by Thanksgiving.–Ed.
LIKE A ROLLIN’ JOLSON
A funny story: Last week I was out with my friend Malcolm Burn. As we sat in a bar, I noticed a pile of OffBeats above his shoulder and suggested that he read the review of the [Geraniums] record. When he came to the Al Jolson bit, he stopped dead, laughed, and told me this: Before he and Dan Lanois started working on the Oh Mercy record they waited for a tape of demos from Dylan. It seems that Dan was bugging him pretty bad for the tape, which was slow in coming. When it finally arrived, Malcolm tore open the envelope and he and Dan sat down in front of a tape player for a listen to the demos they were waiting on. Instead, Dylan had sent them a tape of some 20 Al Jolson songs to listen to (his favorite singer).
Great minds think alike.
–Jeff Treffinger, New Orleans, LA
THE SONNY SOUTH AND DOWNUNDER
Thank You!!!! What a great surprise to find our favorite guitarist prominently displayed on the cover and even better that an EP of 5 Sonny Landreth songs from the new CD!!! Being in North Carolina, OffBeat is our only link to all the music that we love so well!! Thanks again. You just keep getting better!! Can’t wait for the 2000 CD to bring more joy to our home.
–Dean Styles, Winston-Salem, NC
Thanks to OffBeat for the Sonny Landreth sampler EP of Levee Town. I’ll be giving it to someone who’ll appreciate it as I bought the new album as soon as it was released. The bonus was indeed a pleasant surprise while eagerly awaiting the Festival 2000 CD. Thanks to Sonny for the new collection, it’s a masterpiece. It’s getting airplay here on a progressive mainstream radio station as well as on my local community radio show, “Blue Monday”. Thanks also to Todd Mouton for the interesting article “Inside the Slide”. On my copy of the sampler the mislabelled last cut is “Z Rider,” not “Spider-Gris” as Todd’s footnote states. Anyway, they’re all great tracks. I’m looking forward to the forthcoming releases described in the article, especially the all-blues album. I recall Sonny referring to the instrumental album project during his interview at the Jazz Fest Heritage Stage in 1999. Good things come to those who wait.
–Al Hensley, Buddina, Queensland, Australia
PRIVATE LESSON
Congratulations to you, OffBeat and writer Todd Mouton for the excellent cover story on Sonny Landreth. I’m a big fan (who isn’t?) and the story really got to the heart of Sonny’s skills and soul.
Years ago I had the privilege of carrying one of Sonny’s Stratocasters for him after he finished a gig at Jazz Fest. What a warm and wonderful guy. He sat me down in his trailer for a quick, private lesson on his unusual slide technique. I never did get the hang of it, but I’ll always remember the experience.
–Scott Aiges, Arts International Group, New Orleans, LA
THREE REASONS
I visited New Orleans for the first time this past weekend [October 5-8], and I fell in love with it! Primarily for three reasons: OffBeat, WWOZ, and the Magic Music Bus. If it hadn’t been for those three things, I would have been doomed to wander Bourbon Street all weekend surrounded by drunk a@#holes, and I’d probably never want to come back (does Bourbon always smell that bad??!). Between OffBeat and the Magic Music Bus (who I found on wwoz web site), I found, and got to go to, great clubs like Donna’s, Tipitina’s, Maple Leaf, Rock & Bowl, and Vaughan’s, and hear great bands that I never would have found on Bourbon: Kermit Ruffins, Tuba Fats, Walter “Wolfman” Washington, the Iguanas, etc. I’d like to thank you for providing such an excellent source of info on local bands and clubs, and I’d like to suggest that anyone looking to club hop safely, and get good suggestions on the local music scene, try out the Magic Music Bus–especially for first-time visitors. It made my trip so much more fun! I look forward to visiting your lovely city again as soon as possible. Kermit–save some red beans and rice for me!!
–Patti Sutkowski, Pittsburgh, PA
We’ll relay your order to Kermit. Bourbon Street’s odor, while not exactly florid, grows on you.–Ed.
BETTER THAN JAZZ FEST
I have been reading all the letters since Jazz Fest about how commercialized it has become–the Acura Stage, no Professor Longhair, the crowds–and how it has lost its sense of heritage.
Well, I just returned from Festivals Acadiens, and it is everything that Jazz Fest isn’t. No giant corporate sponsors, no bands that have nothing with Louisiana or New Orleans music, no mob scene. This festival has it all, good Cajun/zydeco music, good food, friendly people, reasonable crowds and reasonable prices.
I managed to spend time talking to Courtney Grainger and quite a bit of time with Floyd Soileau of Swallow Records, who this festival was dedicated to. This would never have been possible at Jazz Fest.
I’ve been to both Jazz Fest and Festival Acadiens, Jazz Fest is good, Festival Acadiens is better.
For all the people who have been writing about that Jazz Fest is going in the wrong direction, stop complaining. Spend your time and money at Festival Acadiens, where they still care about the roots of the music.
–Ted Albert, Red Hook, NY
PRESSED & WOVEN
At times the fabric of rock music here in New Orleans is rarely pressed and loosely woven into the comfortable wardrobe alongside jazz, blues and funk.
We express sincere gratitude to our family, friends and all artists for your support and participation in revamping the musical canvas of this city.
For those of you saints who search for raw silk, we thank you.
–Erik Corriveaux [Orange Eye], New Orleans, LA
BOBBY WILSON, R.I.P.
It was with great sadness that I learned of the recent passing of New Orleans drummer Bobby Wilson. I came to know Bobby because of his membership in Fats Domino’s band. Although I am no music expert, I thought he was an excellent drummer, and in addition to Fats’ band, he played with Reggie Hall’s fine group and Eddie Bo, among others. More importantly, perhaps, he was a first class raconteur and was always a gentleman around my wife and children.
I hope that you can dedicate some magazine space to say a few kind words about Bobby.
–David D. Lind, Alexandria, LA
