A ROAD MAP
I received my first magazine last week, and I wanted to tell you how impressed I was with the publication. I haven’t lived in New Orleans since 1978, and when I left there was no local music magazine that supported the music scene. About a hundred years ago (1974 to be exact), I was circulation manager for Jim Glassman’s weekly, Figaro, and while they did pay homage to what was happening in New Orleans, it wasn’t a music magazine per se.
I loved the in-depth accounts of just about everyone who performed at Jazz Fest this year. Also, when I showed the magazine to my North Carolina musician friends, they didn’t understand why the musicians in the magazine were talking about food, and their favorite places to eat. Once I get the band down there, I think they’ll understand.
I will be in New Orleans for a couple of days (mainly to visit Gatemouth Brown), and plan to use OffBeat as my road map for my evenings out.
—Joe Sunseri, Raleigh, NC
ELVIS DEFENDS ROCKIN’ DOPSIE, JR.
In response to F. Jessup’s letter in the June 2005 issue, I would like to comment that David Rubin a.k.a. Rockin’ Dopsie, Jr. is a great chef in the world of music and zydeco is one of his best dishes. I have seen him as a young man in the background of his late and great “King of Zydeco” father who was one of the inventors of zydeco and watched David’s evolution into one of the best entertainers in the world. I have been at some of his shows that were 100% zydeco (at Tipitina’s for the Travel Channel) to others that were a “gumbo” of many different tunes. To paraphrase Chef Paul Prudhomme who once said, “When the first bite tastes as good as the last one, that’s Cajun;” I say, from the first time you watch Rockin’ Dopsie, Jr. and the Twisters and the last time you see them, you’re still amazed at David’s brilliance, stamina and athleticism and his band’s talent, you realize that’s “zydeco and a whole lot more.” Zydeco is one of David’s best dishes in a seven-course gourmet meal and depending on what his customers (fans) ask for he gives it to them depending on what they are hungry for on that day.
When David puts out a CD or when he prepares for a show, he’s following his father’s instructions to “set the table for the zydeco.” Too much wine or dessert can ruin even the most gourmet of meals. As I said to his mom a few months ago what I’m proudest of is the fact that David chooses to stay in Louisiana with his brothers and family instead of going to Vegas and live where he could be making many times more money. He’s like his dad, she said, “He does it ’cause he loves his job and his roots and his fans.”
—Gary W. “Elvis” Dugas, Lafayette, LA
THE FOOD ISSUE
I loved the June food issue… quite tasty! The fine magazine Oxford American also has a Southern food issue out now that should be interesting to OffBeat readers. And while I certainly agree with you on your selection of John Folse, Paul Prudhomme and Susan Spicer as the “Holy Trinity” of chefs, New Orleans’ own Frank Davis should have been mentioned. His 1989 book, Frank Davis’ Seafood Notebook, should be in everybody’s collection! Descriptions of all manner of fish and shellfish, cleaning techniques, recipes, cooking hints, how to preserve fresh seafood, it’s all in there. I’ve referred to it possibly more than any other book on cooking. And, by the way, my copy was signed by Mr. Davis at the ’89 Jazz Fest! Maybe an interview with Frank Davis (I’d like to know what he’s up to!) in a future issue?
—Scott Baker, Prairieville, LA
Thanks OffBeat and Bunny Matthews for a most interesting food issue. Keep up the good work.
I have made reference in conversation to the articles and made a copy for friends—maybe the ultimate compliment.
We receive inquiries all the time: “What’s happening in New Orleans?” OffBeat is a real assistance.
—Norman Vickers, The Jazz Society of Pensacola, Pensacola, FL
MOORE VS. BONHAM
Mr. Matthews, let me just get right to the point. Your comparison of Stanton Moore’s drumming to John Bonham’s in your review of the Corrosion of Conformity record is one of the most ridiculous things EVER written by anyone. Being a drummer myself and a friend of Stanton’s, I share this opinion not because I dislike Stanton or his drumming, but because you are obviously ignorant to just how great John Bonham was. To call any drummer more creative and rhythmically clever than John Bonham is a mistake that very few who have actually studied the Zeppelin catalogue make, but obviously, you’re not very familiar with their music, or with what great drumming sounds like. Maybe you should take more caution when making such bold statements about an obvious legend, and keep in mind that Stanton Moore had many great Zep albums to listen to and emulate growing up… and Mr. Bonham was flying by the seat of his pants every step of the way!
—Chad Gilmore, New Orleans, LA
That’s my opinion, of course, and Mr. Gilmore’s got a right to his own. I am very familiar with Led Zeppelin’s music and saw them play live several times. I’ve also been a drummer for more than 40 years. I’m not quite sure what constitutes an “obvious legend,” unless he means “dead.” But, at the very least, recording technology (and specifically the recording of drums) has greatly improved since the days of Bonham. It should be noted that Mr. Gilmore is the drummer for Bonerama—except on those occasions when Stanton Moore is available.—Bunny Matthews
FUTURE TREASURE
Your publication is absolutely essential to a lover of blues, R&B, zydeco, Cajun, brass band, Dixieland, traditional and modern jazz, gospel, and even the Caribbean/South America and Third World musics that were affected by New Orleans and vice versa. Through saving all of my issues (along with the prior Wavelength publication), I am privileged to hold a major reference resource that covers the history and ongoing evolution of New Orleans and Louisiana musics in more depth and with greater perception than any conceivable other source. I know your work will be treasured by future music scholars and historians. Keep up the great work.
—Walker Coleman, Charleston, SC
REFRESHES HIS DREAM
As a serious and consistent “tourist” and a subscriber to your magazine I was disappointed to see that you never mentioned the large involvement Jamil Shariff played in the movie Ray.
He played in the movie and had a few cameo appearances but his real involvement was behind the scenes as the “New Orleans Music Director.” I apologize if that title is not exactly correct. His responsibilities were large enough that in the credits at the end he was listed alone and was one of the first people listed.
As a local musician on Bourbon Street, who I make a point of seeing every trip, and a musician who is dedicated to playing traditional New Orleans jazz I thought it was fantastic that he got that kind of much deserved recognition.
I love OffBeat Magazine because it always refreshes my dream of living in the French Quarter some day. It is a piece of New Orleans in the mail. I visit an average of 20-30 days a year and use your magazine as my source of what music to see. Best wishes and say hi to Jamil for me.
—Seth McLaughlin, Rockaway, NJ
