YOUNGER, WHITER, DUMBER
Well, the people are on the tarmac, the car lot is on the grass, and as I predicted some years ago “By the time Quint’s done with it, all the jazz and heritage will be out in the street!”
Do we got your jambands? It’s Phish all over again, except this year we have two bands featuring actual Grateful Dead Survivors, both pale shadows of their old band. Throw in Blues Traveler and we have our own little “High Sierra Festival”—who needs New Orleans anyway?
The fact is that Jazz Fest has devolved into two distinct festivals. On one end of the Fair Grounds, and in the parking lot, we have Jazz Fest, musically rich, funky, somewhat neglected (who can forget, for example, that Sonny Landreth played most of a set last year before the so-called soundman noticed that his guitar wasn’t audible in the audience mix…) At the other end of the infield, past the new car lot, at what was once the Ray-Ban Stage, there is the monolithic rock concert.
Younger, whiter… dumber… it has become a knuckle-headed turf war of edge-to-edge blankets, arm-to-arm beach chairs, sunburn-to-sunburn rudeness. Last year I was two blankets away from the walkway (and freedom) when some drunken 20-somethings decided they couldn’t let my bare feet encroach on their mated-blankets territory. “You bought a Jazz Fest ticket, not real estate,” I offered, as I passed ahead anyway. The only reason I didn’t get flattened by the linebacker-sized uni-brow is because his girlfriend asked him not to hit me. (Thanks darlin’, I owe ya).
It seems that any criticism of Jazz Fest is met with spin or stonewalling. Want to know how much money the Festival brings in and where it goes? None of your bidness. Horrified that an Acura dealership has been dropped down where once there was a Gospel Tent? Hey, things change. Did the crush of 160,000 people on the infield on last year’s final Saturday cause you to fear that the slightest mishap could turn into a re-run of Pearl Jam in Europe [Roskilde] or the Who in Cincinnati? Don’t be ridiculous. Quint and professional mouthpiece Richard Pennington assured us (after the fact) that everything was under control, and besides, the fabled “mellowness” of the Jazz Fest crowd pretty much assured our safety, didn’t it?
Well, no, it didn’t. The whole thing was flat out irresponsible, as a matter of fact.
Here’s my suggestion for a simple way to bring some perspective on the Jazz Fest experience to the big shots who plan it, and profit from it; let Quint Davis experience Jazz Fest the way we mere mortals experience it. Let him surrender his laminate and trademark honky dashiki. No golf carts, hospitality tents, or backstage-onstage access. Let him stand in line with the hoi-polloi for all his food and drinks. Public toilets only. He can maneuver the blanket and chair obstacles course to, say, 50 yards in front of Lenny Kravitz (sans security, of course), and stay there (Watch where you step, Quint).
Jazz Fest has become whatever Quint Davis’ hubris says it is. Let’s see what he’d say after that. See you there.
-Gallivan Burwell, New Orleans, LA
CAN’T STEAL THE MUSIC
As usual, we’re on the road, but we want to express our gratitude to all the musicians and fans who helped us out after the theft of our equipment truck. No, nothing has been found, but they can’t steal the music, and we’re still out there making it happen.
We also want to offer a special “thank you” to all the OffBeat readers who voted us “Best Roots Rock Band” in the annual Best Of The Beat awards. Because of you, we’re still going strong after 24 years. Thanks again, and we’ll see ya at Jazz Fest!
-The Radiators (Camile Baudoin, Frank Bua, Dave Malone, Reggie Scanlan, Ed Volker), New Orleans, LA
ZEBRA-PHOBIC
After reading two paragraphs of the review of Mulebone’s latest release in your January 2002 issue, I definitely want to hear it and I want to see the band. However, I have to question Bunny’s knowledge of popular New Orleans rock bands.
“New Orleans has never produced a great rock band,” is what I read as I immediately thought of my favorite New Orleans rock band which I’m sure has not already been forgotten. They had commercial success beyond any other New Orleans rock band that I can remember, and were generously rotated among the best when MTV actually aired music 24 hours a day. In fact, I remember many mornings watching their videos playing right between Dire Straits and the Police. Of course, I’m talking about Zebra!
Zebra is a great rock band whose music is “performed by white males with electric guitars” and was “played on radio stations from coast to coast.” Yes, their music did contain keyboards! But if keyboards are for pussies, then what are trombones for? Zebra kicked ass and took names right in New Orleans and obviously someone missed it!
I suggest that you forget about breaking new ground in your fine city and give props to those who have paved the way for the Mulebone’s of the world. To promote a record by artificially creating an absence of material in a particular genre is wrong. Just like overlooking great rock bands from New Orleans is wrong (there are more bands than Zebra, but they are the biggest—so far). Please try to make it to the record store and check out some of their stuff, and do yourself a favor by avoiding meaningless generalizations in your reviews.
-Troy J. Percle, Thibodaux, LA
Ed: Allow me to clarify: when I say “a great rock band,” I mean great-the New Orleans equivalent of the Beatles, Talking Heads, the Pixies or Nirvana. Having lived my entire life in the New Orleans area, I am aware of Zebra. They do not belong in the pantheon of rock bands I just cited. –Bunny Matthews
UNCONDITIONAL LENNY
As we sat in our house this cold January weekend, a little warmth was sent our way via the U.S. mail. It was none other than our yearly reminder of the New Orleans Jazz and Heritage Festival. Of course, we don’t really need a reminder. We attend every year and can’t imagine missing this special, annual event. Still, it’s always nice to be reminded that come April, we’ll again be in the Big Easy.
Having said that, I must mention one disappointment we’ve experienced the past few years. It is the absence of our favorite artist, Lenny McDaniel, from the schedule. Bruce Springsteen has been known to say, “The only difference between me and a thousand other guys just as talented, is luck.” Lenny McDaniel is surely one of those guys. Moreover, we feel he has proved it (for the fifth time) with his newest offering, Unconditional Love.
We share OffBeat’s position that Jazz Fest should be more a celebration of local artists than national and even international acts. And, the fix the promoters find themselves in every year trying to decide between worthy acts is not lost on us. We’re sure a more difficult juggling routine hasn’t been seen since Ed Sullivan went off the air. However, we also feel that a talent, and a local one at that, as big as Lenny McDaniel trumps these concerns. We implore you to do whatever you can to make sure our favorite artist isn’t left off the bill for a third straight year.
Thank you very much on our behalf as well as all those we hope gain the chance to discover Lenny McDaniel this spring.
-David H. Burrows, Maria J. Rodriguez, Arlington, VA
LEFT-HANDED DRUMS
Thanks to OffBeat for finally “giving the drummer some.” Especially the article on Baby Dodds, the father of all New Orleans and jazz drumming. However, in Stanton Moore’s article, he stated Earl Palmer played drums on “Keep a Knockin’.” The drummer on that song was a lefty (like myself) named Charles Connors, who you can see in the early films of Little Richard. I had the privilege of meeting Mr. Connors when I was with the late great Ronnie Barron and I had the honor of playing Mr. Connors’ drums when we both shared a bill at the famous Los Angeles nightclub The Palamino. I don’t know if he is still alive because that was in 1983 and he was not a young man then. He did though, play with the strength and power of a man half his age. I enjoyed meeting him and playing his left-handed drums.
Congrats to Bunny Matthews on his Gambit feature.
-Harry Ravain, New Orleans, LA
HONEYBOY
In the “Talkin’ ’bout New Orleans” section of the March publication, Jeff Hannusch introduces the article with a list of great New Orleans R&B drummers, which includes the name Charles “Honeyboy” Otis. I have had the unique opportunity to meet and see Charles perform once; he is quite a storyteller and musician. What is his story and contribution to New Orleans music?
-“Big Chief” David Keiser, Philadelphia, PA
We have forwarded your request to Mr. Hannusch, who is himself quite a storyteller.–Ed.
NOTHING SWEET AS TiJONNE
I have the CD by TiJonne Reyes and enjoy it immensely. I think she has a beautiful voice, and the diversity of the CD along with the wonderful arrangements make it complete. While I agree with the highlight points of the critique, I disagree with other notes, particularly with the two fun cuts, “I Married Money” and “Lundi Gras Night.” As far as being silly and inane, if that were true a number of the popular R&B songs of the ’50s would never have made hit status. I personally would like to hear more of TiJonne in a contemporary jazz feel. P.S. I liked “Nothing Sweet As You” better than the original.
—Jo Wood, New Orleans, LA
Hey, have you ever heard TiJonne Reyes live? Super! She sings with such emotion, her interpretation and delivery of song is awesome. In my opinion the CD titled Finally is a fine professional complement to her career. Maybe I’m just hooked on big bands. OffBeat’s selections off the CD were sound, but there are several others including “Southern Fried Lovin’” and especially “At Sunrise.”
—Robert Rodrigue, Metairie, LA
