KIDS’ WORK
Thank you for including Michael Welch’s article about working with the children enrolled in the My House Center for Learning Safe & Smart After-School Program in the latest edition [April 2005] of OffBeat Magazine. Our collaboration has drawn attention to what is possible for after-school programs to accomplish in their work with kids statewide.
We truly appreciate the support provided by OffBeat for our programs. Seeing their work published was a powerful incentive to motivate our students to improve their writing skills and learn more about the great local music surrounding us in New Orleans. We could not do the work we do without the support of community partners like OffBeat.
— Lori Webster, Executive Directory,
My House, New Orleans, LA
BACK TO REALITY
I think my Jazz Fest hangover may have peaked today, going back to work has a tendency to suck you back into reality, even if you do it kicking and screaming. I can’t imagine, from what I saw on the second weekend and from what I heard on WWOZ the first weekend, that the crowds had to be near—or in my guess—way over record attendance. If this is true I would imagine festival promoters are probably having a circle jerk about now.
On thing that has to be hanging over their collective brainy-atic heads is was it the overabundance of national bands that brought out the crowds or was it the great weather? I did seem to notice that more locals were in attendance. I’m basing this not on race but on the number of young people I saw strolling around the Fair Grounds and the people who I spoke to in the local bars who told me they had gone out to the Fair Grounds because of the great weather. Did the national bands bring them out or was it the new Jazz and Heritage Stage which seemed to feature young brass bands who just happened to be redefining the brass band genre. Great stage, definitely one of the new improvements with its great location. Of course, with every great addition their seems to be a down side, like turning the Sprint Stage into a second Acura Stage. I did like the way they scheduled acts. You might find, let’s say an act in the Blues Tent had moved to the Sprint Stage or someone you might find in the Economy Hall Tent had been moved to the Lagniappe Stage. Also how they used the Lagniappe Stage for the more eclectic music, I saw some very interesting bands there. One problem I did notice was the sound was not quite up to par on a lot of the stages. Lots of shows started late because of sound problems. I actually left Toots because the sound was horrible but that turned into a good thing ’cause I walked over to see one of my highlights—Old Crow Medicine Show.
All in all, myself and my group of many, thought it was one of the best Jazz Fests in recent memory. I would like to propose a Jazz Fest Hall of Fame, with one of the original members being Marcia Ball. What she does to make that festival great goes far and beyond the call of duty. From the concert in the park to the greatest show I ever seen at Jazz Fest, the Sister Rosetta Tharpe Tribute, Piano Night, etc. etc., she just seems to work tirelessly with a big grin on her face. The Jazz Fest at 36 has reached middle age, and a lot like its participants and attendees every year it seems to summon the energy it needs to make for a unforgettable experience. Good or bad, but from the looks of things, good wins.
— Walt Miles, East Lansdowne, PA
CONFUSED AND CONCERNED
I have been a subscriber of OffBeat Magazine for over ten years and absolutely love the magazine.
As a promoter of Cajun and zydeco music, I rely heavily on publications such as OffBeat to keep me abreast of the latest happenings in Louisiana music.
However, I am confused and concerned about why the Rockin’ Dopsie, Jr. band continue to be awarded the Best Of The Beat awards for best zydeco album and band.
Their latest CD Got My Mojo Working has maybe three out of 15 tunes that are zydeco! Even though the band has zydeco in their name, they really are a show band with a lot of theatrics playing R&B tunes.
I have attended many of their live shows and found that three-quarters of their show consists of R&B cover tunes all done without the accordion or frottoir. This is not zydeco! Their type of performance can be found with any cover band. Saying they are zydeco is an understatement.
In giving them these awards it makes me feel that you are insulting my intelligence. I also think that it is disrespectful to the true hardworking zydeco bands in Southern Louisiana who strive to preserve the Creole culture by staying true to their roots and heritage. Band such as Keith Frank, Chris Ardoin, Thomas Fields, and many others put out CDs annually but their efforts seem to go unnoticed.
— F. Jessup, San Francisco, CA
Unlike other publications that choose award recipients by committee, OffBeat Magazine follows a two-tier process. Our nomination process is much like the nominating process for the Grammy Awards. We mail out nominating ballots to the “music industry” in Louisiana. These nominating ballots are mailed to all those professionals listed in the Louisiana Music Directory. The ballots are completed by these music professionals and compiled to determine the top three vote getters in each category. The industry has deemed the zydeco of Rockin’ Dopsie, Jr. worthy by giving him enough votes to garner one of the top three positions. The second tier is similar to the “People’s Choice Awards.” The general public is asked to vote for the best of the year from the three top vote getters in each category as determined by the music professionals. We certainly concede that this part of the process can be seen as a popularity contest. However, the public can only vote on the three top vote getters as determined by the music professionals.
The recipients for the last four years are as follows: Buckwheat Zydeco in 2001; Nathan & the Zydeco Cha Chas in 2002; Rockin’ Dopsie, Jr., in 2003 and 2004.—ED
CLASS ACT
I have been coming down to New Orleans every two or three springs since 1989 to teach my May term course, “Jazz In New Orleans,” on scene. I rotate this class with a one month class “Music In Vienna” (which I have taught four times, starting in 1994). This has made for an interesting springexperience, where I feel at home in two cities that have a special place in my heart. When I’m in New Orleans, I sometimes miss Vienna. And when I’m in Vienna, I miss New Orleans!
After my last New Orleans class, in the spring of 2001, the second Saturday at the Fest produced 165,000 people (topping the previous high which I think had been just over 90,000). I found myself literally stuck in the middle of the infield, reading the paper, as it was not even possible to get to the individual stages. So I made the decision that I could not bring another class down because the Fest had simply gotten too big.
But—my wife Tracey came down last spring for a Fest weekend with several girlfriends; she reported that oddly the Fest did not seem crowded at all. So I’m coming down with a small class of four on April 18 (they are excited!) where we’ll do the daily class for three weeks and be present for all seven days of the Jazz Fest.
You’re doing a great job with OffBeat. It’s an ideal way to keep in touch with the scene in New Orleans from afar.
— Robert T. Allen,
Associate Professor of Music, Staunton, VA
MR. NEW ORLEANS
Just a note to compliment you on your efforts, good thoughts, good insights. The story on Tim Laughlin really hit us. Seventeen or 18 years ago my wife and I were leaving New Orleans after a happy trip to the Quarter (our favorite get-a-way place). Packed our bags with the bellman (Donald) at the Maison Dupuy, breakfast at Brennan’s and strolling down Bourbon Street, hand in hand, honeymoon stuff.
All of a sudden the wind, subtle flowing breeze, floating notes, gentle, as it was, our way, caught my ear… “Lana, listen, that’s a clarinet! Sounds good, where’s it coming from?” The closer we get, the better it sounds, through the open door, a place called Mahogany Hall, sits a red-haired kid with clarinet in hand, a banjo player and piano. Now we are settled in, a Bloody Mary, a squeeze from my wife’s hand, fantastic. We had found the old secret of what made New Orleans, what New Orleans means to be missed. How can you beat it? Well, frankly, you can’t. We stopped listening long enough to call the Maison. “We want our same balcony room, put our bags back. We found Mr. New Orleans, Tim Laughlin.” I can tell you, by the way you express yourself, New Orleans is in your heart. Of course we love Tim and now we have found you. Thanks for doing what you do. Your article makes us want to book a trip. “We know what it means to miss New Orleans—the Isle of Orleans.”
— Glenn and Lana Smith, Ft. Worth, TX
TRUE BLISS
I live on a farm in Vermont. My vote and the votes of all of my pals indicate that this was the best Jazz Fest we have shared ever (Number one of 13). Between the music and the weather it was totally great. Attached is a picture of me in a moment of true bliss. I was listening to Elmo Williams on the Blues Stage. The picture tells the story.
— Tracy Rosen, Richmond VT
