IDENTICAL TASTES

Thanks for taking the time and effort to publish such a great magazine and fighting the powers to be that wish to silence the music of the people (on & off the street). We’ve been coming to New Orleans for nearly 10 years for the Jazz Fest and love it to pieces!! To read your articles about how the politicians are looking to squash the musicians who founded the essence of American music and the JAZZ that the world loves so much is truly devastating. Haven’t these people a soul that the music can reach? Or have they been McDonaldized and Disneyized to the extent that they can’t let the music of the people resound?

PLEASE PLEASE publish a list of the politicians of New Orleans & Louisiana and their addresses so that your readers can write THEM directly in support of the birthplace of American music/Jazz. Identify the politicians as to whether they support or look to squash the city’s music scene and traditions.

There’s no other city in the USA that has the musical heart & soul that New Orleans has. I think you should print this list in every issue as a regular feature like Louisiana Music on Tour.

As a side note, your staff is terrific, from those who answer the phones to the writers. You’re doing a great job, I’ve never looked so forward to a magazine since I used to get Boy’s Life as a kid. Your album reviews cost me a fortune in CD purchases; but it’s always money well spent, your reviewers’ tastes are nearly identical to my own!! I always have New Orleans around me here on eastern Long Island because of all of your efforts to promote the great music of your region & state! It’s a true treasure of the country that too few get to realize. I’m doing my best to spread the good tunes here in New York.

Keep up the good work!!!

-Terry O’Riordan, Amagansett, NY

HOT AIR

Hope all is well…. I just wanted to drop a quick line to give a late thank you for your support of the New Orleans Balloon Extravaganza. Even though the event was at a dreadful time of year with poor attendance that was directly related to the sweltering heat of late August in New Orleans, it was a success and will be back. It won’t be during the summer though…. which probably means it won’t be at the New Orleans Fair Grounds (which did not prove to be the best venue for an event of that nature, but it sure was fun getting everyone worked up about it being there, and I think you know what I mean).

We appreciate greatly the support and considerations given to us by your magazine. With even more appreciation of your dedicated and hard work for the music and entertainment community of New Orleans and the state of Louisiana. Keep up the good work…….Peace.

-Jimmy Mac, Toulouse Enterprises, New Orleans

CAUCASIAN CODGERS

Once again, reading the latest issue of OffBeat was a bittersweet experience. Sweet, because the publication continues to improve with each issue and bitter because I am not in New Orleans to enjoy everything that is going on. Also sweet was your cover story on Tab Benoit. I had the fine opportunity to see Tab perform in Wilmington, Delaware a couple of weeks ago. His show was outstanding and he proved to be a thoughtful and intelligent person to speak with. He represents the best of the new order of blues men and women.

Also bitter, unfortunately, was the Chris Vincent article in Robert Fontenot’s Bluesworthy column. I live in New Jersey and am pretty familiar with the blues scene here, which is more healthy than you might imagine. To my knowledge, Mr. Vincent did not leave much of a mark here, so I am glad to read he is doing well in New Orleans. I must take exception, however, to his unnecessary slap at “old white guys.” Admittedly being of that doddering contingent, I do believe that many capable blues men and women have seen their careers enhanced and prolonged by support from this venerable group. In fact, I spotted a lot of ancient Caucasian codgers enjoying themselves at the aforementioned Tab Benoit performance.

I believe I have also spotted many of them at concerts by Shemekia Copeland, another New Jersey resident who has stayed here and done rather well. I am afraid, Mr. Vincent, the issue is talent, not age, gender or race. Quality is quality, regardless of style. I look forward to hearing Long Blue Night so I can judge it on that standard. While not a card carrying member of the “blues police,” I do admit to taking umbrage with young rockers trying (for some reason) to pass themselves off as bluesmen. But that is another story.

Gotta go. My wife is here to wipe off my chin before I take my afternoon nap and dream of Charlie Patton, Bessie Smith and Blind Lemon Jefferson.

-Dave Thurston, Somerville NJ

BONING UP

I just wanted to thank you guys and your readers for all the support received during the “Mark Mullins Presents” nights I’ve been doing at Tipitina’s French Quarter. I’m sorry to say that after 20 months of a wonderful opportunity and several fun and experimental groups, (The Bonerama Trombone Group, A Night of Led Zeppelin, Porter/Mullins/Lemmler/Brown/Higgins etc…) that I’ll no longer be doing these nights after November. I was flattered and honored to have the night along-side some of my musical heroes and I will always be grateful to Tips and the people that work there for all they’ve done for me while I was there. For now, I’ll be spending more time and effort on MuleBone as well as doing some dates with Harry Connick Jr.’s band. Please continue to support innovative live music. There’s lots of it here beyond the obvious choices, and we need you just as you may feel you need the diversity in the music. Thank you.

-Mark Mullins, New Orleans, LA

NOUVEAU DOUGH

I am a Jazz Fest visitor who has been coming down for the last 7 or 8 years. These days I come down and stay for the full 10 days. At approximately $350 per day that’s an easy $3,500 plus at this point. More than 10 of my friends come down based on my say so. Dino Perucci is now the unofficial digital photographer for Galactic and Dirty Dozen (we are in the digital photography business). I figure each of those visitors is worth about $1,500 or so.

Between my buddies and I, we invest a minimum of $18k into the New Orleans scene in April and May. We come for the music, the food, the totally great vibes, and the pleasure of the it all, not just the Fest during the day.

The venues you happen to mention, i.e. Donna’s and the Maple Leaf, are two of our absolute favorites. We would be hugely disappointed if we couldn’t enjoy the local music and social scene into the middle of the night.

I would be happy to fly down to New Orleans and present myself in front of the Quality of Life board if we think it will help get those people pointed in the right direction. Harrah’s may be waiving a wad of nouveau dough at somebody and trying to become the only entertainment game in town, but nobody I know would step foot in there. We can do that at home.

Let me know if I can help keep the music alive.

-Tracy Rosen, Executive Vice President, Image Info, Inc. New York, NY

BEAUTIFUL MOUTH

I just wanted to tell you that in over 25 years as a professional musician here in New Orleans, I have never read such a succinct, well thought-out and beautifully written editorial [Mojo Mouth] as the one in your December issue. It would indeed be wonderful for musicians here if more people shared your sentiments. Thank you for expressing such important issues in such an obviously heartfelt way. God bless you, and all the best in the new year.

-Jim Markway, New Orleans, LA

CHEAP SHOT

In last month’s Mojo Mouth column, publisher Jan Ramsey made several statements that were undignified and false. Since she would not take the time to verify the facts we are forced to address the issues she misreported.

First, the Louisiana Music Commission strongly supported the LMNOP Music Conference every year and was prepared to do so again in 2000. There was never any talk of withdrawing our support from this event.

Second, how can you criticize the Tulane Law School Digital Music Forum when no one from OffBeat attended the event? The cheap shot comments (hearsay) Ms. Ramsey repeated were totally off base and untrue. The Digital Music Forum was a very useful and professionally run event. All in attendance were knowledgeable and participation between the audience and panelists was strong and insightful.

1999 was a banner year for Louisiana artists with record sales in excess of $250 million in the United States alone. Louisiana music is a major part of the world’s music market.

We are proud of the work we do and of the Louisiana music industry. Not a day goes by without a phone call or email from a working musician thanking us for the work we do. As anyone is welcome to see, we have hundreds of letters of appreciation in our offices. We’re sorry that Ms. Ramsey is not in that number.

If anyone wants to know the truth about the work of the LMC, call us at 504-942-8154, visit our website at www.louisianamusic.org or send us an email to [email protected].

-Bernie Cyrus, Executive Director, LMC

Contrary to Mr. Cyrus’ remarks, several OffBeat employees did attend the Tulane Law School Digital Music Forum and OffBeat never criticized the event. OffBeat pointed out that outsiders (some of whom did attend the Forum) perceive us as rubes, not because we are stupid or ignorant, but because we are arrogant. It is our hope that someone with vision and leadership will recognize this weakness and make the changes necessary to really help our musicians, music businesses, music educators, etc.

Louis Jay Meyers, founder and owner of LMNOP, indicated and we quoted him, “We were told by the Louisiana Music Commission that their support would have to be scaled back because we didn’t show the numbers that the Cutting Edge did.” We never reported that support would be withdrawn. Mr. Meyers has, by the way, never retracted his comments to OffBeat and they have been corroborated by another source. We are pleased that our reporting of Mr. Meyers’ comments has apparently not caused the LMC to scale back their support of LMNOP. -Ed.

REGARDS TO BEAU

I was shocked to hear of the sudden death of the larger-than-life and amazing musician, Beau Jocque. Since then I’ve been looking for an appreciation in OffBeat, but haven’t seen one. Did I miss it? If so, is there anywhere that I could read it?

I remember one particular night at Rock ‘n’ Bowl when he played so furiously and we danced so furiously that I remember saying to my husband “I could never be happier than I am right now.” He was an electrifying presence and his passing takes some of the light out of the world.

-Lynn Hamm, Bethesda, MD

Beau Jocque was eulogized in the October 1999 issue of OffBeat by Scott Billington, producer of Beau’s five zydeco albums.-Ed.

CARR CRASH

Being a monthly OffBeat reader, and a Richard Carr fan, I read with great interest the recent review of Mr. Carr’s third CD, American Quixote. Imagine my surprise, reading Mr. Shapiro’s last sentence. He had completely contradicted his entire critique! This piece is a serious, innovative form of “New Age” acoustic piano music. I suggest if Mr. Shapiro is looking for, in his words, “a showstopper,” he dig up Ethel Merman. As far as walking out of the concert humming songs from American Quixote, I believe the audience will be touched in their heart and thinking more of the particular world they traveled to listening and living this journey created by Mr. Carr’s music.

Richard Carr is on the cutting edge of the music industry, becoming one of the most promising composer/pianist of this time. To carry through a project such as American Quixote and feel the journey in the heart, is remarkable. There are no lyrics to lead us, but only the incredible nuances of the music. I can only compare such an undertaking to Bernstein’s Mass. Just to make this critique more professional in scope, I have been in the music business for more than 25 years. Few musicians excite my imagination as did Richard Carr in American Quixote. I urge all those that can, to listen to this CD.

-Sandy Wilson, Sandy Wilson Productions, via email

A MILLION BILLION

I am writing in regards to Iris May Tango’s nomination for best funk album of the year for Let ‘Em Have It. I think that Iris May Tango is much more than worthy for this award. About two years ago I was walking down Frenchmen Street and heard the funkiest, most soulful sounds emerging from the Dream Palace. I was so overcome by this flow of funk that I started dancing in the street and immediately had to see who and what the source was. That night I boogied like I had never boogied before and prayed the night would never end. But unfortunately it did and I vowed that I would see them as much as I could. I am originally from New Orleans, but I now go to school at Louisiana Tech in Ruston, Louisiana (where good music is extremely hard to find) and since then I make a point to see them every time I come home. Just to read that they are playing in my OffBeat makes my mouth water and causes many memories to return. As soon as Keng and Chaddy let their lyrics flow, backed up with by beautifully funky sounds of Iris May Tango it’s enough to make anyone bob their head and say “damn, that’s some funky shit!” I would vote a million billion times for Iris May Tango’s Let ‘Em Have It for the funkiest album of the year, but, I can only vote once-so I am spreading the word-Iris May Tango plays the funkiest funk in New Orleans and the entire world!!!!!

-Becky Carson, via Inside New Orleans Best of the Beat Ballot

AMAZING RACE

Simply amazing! I cannot believe you added a title to my first response that was not fitting without my permission, then twisted the intent of my response in your reply.

Do not imply that I understand your intentions or agree with your underlying argument as they are completely based on racial issues. You have now made your intent very clear and I am shocked and amazed. You not only insulted the ODJB but the entire musical community.

By the way, I am a professional, performing musician and understand music from a perspective that you, Mr. Hahn, obviously have no handle on. I certainly have not proved your point, but perhaps music history should be written by historians who truly do their research and take an oath not to have a biased and unjust opinion.

Another writer with a one-sided narrow view such as yours could claim that Charlie Parker or Chet Baker actually recorded the first “real” jazz recording as they obviously had far more technique and a different approach to the music than the Original Dixieland Jazz Band or Kid Ory, but then this would clearly be absurd. Again, Mr. Hahn, please don’t distort the essence of this music.

I have included a copy of an article written by Dr. Bruce Boyd Raeburn from The Jazz Archivist, A Newsletter of The William Hogan Jazz Archive Volume VI, No. 1 (May 1991). This well-written article will hopefully enlighten Mr. Hahn’s misconceptions.

-David Hansen, ODJB Manager, Agent & Drummer, New Orleans, LA

It is our understanding that copies of the May 1991 Jazz Archivist newsletter may be obtained from Tulane University, Hogan Jazz Archive, Howard-Tilton Memorial Library, New Orleans, LA 70118-5683.-Ed.

NOT THE NORM

Last weekend I had the pleasure of visiting your New Orleans French Quarter.I easily found your magazine in a vintage music store, by “Louis” the bird. It gave my head a happy feeling to walk up and down those streets and hear Detroit oldies, jazz and blues. There was a short black girl at the Opera House who sang Aretha so well she made my blood run cold. It was Bourbon Street. She was in two different groups on either side of the street. I’m sure you must know her.

I enjoyed reading your magazine but couldn’t help wondering if you would not like to include more pages on rock? I saw two extremely talented young groups at Checkpoint Charlie. There were so loud the customers in the front half of the establishment cleared out immediately as soon as they started playing. They had the energy of Rage Against The Machine and the outrage of Rob Zombie. They were loud, they were edgy, they were gifted and a wonderful inspiring break from the ho-hums of Orlando and the Monday to Friday work grind. The first group was Sans Sobriety at 10 p.m. and the second may have been Blood Orange but I cannot account for the second name precisely because beer began to play a significant role in the exactness of my evening.

Well, if you are ever looking for someone to interview people in or write about the rock scene I would love to volunteer for the position.

Thank you for your time and please have fun living in New Orleans for me!

-Susan Dumas, Orlando, FL

Hey, don’t blame the beer. You got the names right: Sans Sobriety and Blood Orange. We’re sorry things are so ho-hum in Orlando-isn’t there some sort of large amusement park in the vicinity?-Ed.

FLYING HIGH

I am sending this to local music publications who deal with and write about independent promotion in the New Orleans music scene. By independent promotion I am referring to such promoters as Turducken Productions, October Booking, Gun-In-Mouth, and even the more well-known names such as Devil Dolls and Superfly Productions. As you are probably aware, most of these promoters deal with underground music which runs the gamut between indie rock, hardcore metal, punk, and industrial music.

These types of music are much harder to promote than other, more popular genres, and require a lot of street level promotion. Promoters and local bands alike spend a lot of time putting flyers up on telephone poles, which aside from mailing lists, the internet and word of mouth, is a key part in the business of music promotion.

Anyone who’s done this even once or twice knows how difficult it is to put up these flyers and how expensive and time consuming a process it is. If a local band plays regular gigs, then the flyering aspect of promoting yourself becomes almost a full time job, especially when you have to be on the lookout for overzealous police officers and you’re competing with promoters who have bigger acts and bigger budgets to work with.

Which is why I cannot understand why a group like Superfly Productions insists on indiscriminately covering up every telephone pole in the city, regardless of whose flyers are already on it. In spite of the fact that myself and a number of others in the local music community have flyers up for shows that have not happened yet, we constantly find our flyers buried beneath Superfly flyers. Some of the covered flyers have been put up as recently as the night before.

I see Superfly shows advertised in almost every local music publication. Obviously, they have a bigger budget to work with than other promoters and bands do. So is it really necessary that they cover ALL the flyers that so many people work so hard to put up? A number of my friends and associates have called their offices to speak to them about this problem and Superfly assures them that it won’t happen again. In spite of this, it keeps happening. I’m beginning to think that this leaves the rest of us with no other alternative than to tear their flyers down.

In such a roots-music oriented town like New Orleans, underground rock already has a hard enough time thriving, and anyone involved in this scene should be working together and not competing with one another. So when we have a group like Superfly Productions working against us and not with us, it means we have to spend valuable time and energy working against them. In the long run, nobody wins, and New Orleans might be missing out on some great music.

-Joseph Grey, via email

Superfly responds:

It is not Superfly Production’s intention to work against other local promoters and bands. In response to Mr. Grey’s comment that we “cover ALL the flyers” others put up, Superfly has always had a policy not to cover up other current posters with our own. As a young independent promotion company, we too do not have an exorbitant budget to work with. We take pride in our grassroots promotions and they are our main form of advertising. It is our goal that people see our posters and come to our shows, just as this is the goal of Mr. Grey and other local promoters. The people at Superfly have always been avid supporters of the local music scene and have worked with numerous local bands and promoters. We plan to continue working with, not against, our colleagues and hope that Mr. Grey’s accusations will not be taken to heart.