SLAGGED ‘N’ STOKED
I would like to address the recent slagging of Michael Murphy from the perspective of an insider. Although primarily a record producer (Fingerbowl, G. Love, Alex Chilton, ReBirth, Iguanas, subdudes, King Sunny Ade, Son Volt, etc.), I have had the opportunity to record hundreds of acts over the years at Jazz Fest, mostly on behalf of Michael Murphy Productions. The recording of these acts have included the most obscure to most mainstream, literally as diverse as the fest itself.
Although it may not occur to the lay person, the reality of these recordings is they were all market driven. When the client was Blues Stage or NPR or WWOZ or WGBH radio, the client’s demands were different than VH-1 or the High Definition division of Japan’s NHK. Believe it or not, producers have bosses too, and those very clients often make the final call on who gets recorded, and who makes the finished cut on the show.
That said, I have personally witnessed Michael and his associate producer Cilista Eberle lobby strongly in favor of more “obscure” artists on many occasions. Some clients accept advice better than others. Some are more ratings driven than others.
An example of this might be demonstrated by noting that riffage.com webcast many, many artists from this year’s Jazz Fest. Michael Murphy also produced those. Did those of you who were outraged by the content of the VH-1 show log on for the riffage webcasts? If you did, you understand that Murphy’s production of this year’s fest is (as usual) truly vast and varied. If you did not catch the webcasts, it might say more about your personal demographics as a consumer than Murphy’s as a producer.
When I talked about the uproar with Ms. Eberle, she noted that at least we managed to get some close-up shots of Sonny Landreth playing slide live on VH-1. Have you ever seen that before?
It was my pleasure to note as I mixed the audio for that show that he strikes the strings with the RING finger of his left hand whilst damping overtones with his index finger. Having played slide for over 30 years, I personally was astounded by his technique. It is as unusual as, say, Snooks Eaglin’s. Forever, any fan of guitar now has video showing how Sonny gets those wild sounds.
I understand everyone has a vested interest in the media representation of “their” Jazz Fest. To me, this is a variation of the half-empty/half-full quandry. Some were outraged that VH-1 wanted Sting, Bonnie Raitt and Jimmy Buffett.
DUH!!!!!
Me, I’m stoked about seeing Sonny, Kenneth Blevins and Reggie Toussaint on major TV. I understand Murphy may have deals in the works for more Jazz Fest TV, featuring a broader representation of the acts. I know he personally would love it. We recorded LOTS of acts, (each of whom got a pay day because of it). Let’s hope he gets the go-ahead for more material. It sure beats whining because a major network chose mainstream artists for their demographics.
–Keith Keller, Gnarlins, LA (dude!)
JUBILATION
The article/interview [“Backtalk with DJ Jubilee”] misrepresented DJ Jubilee’s comment and distorted the content of his thoughts. In reply, DJ Jubilee and Take Fo’ Records are strongly advising OffBeat Magazine to retract the aforementioned misquoted statement from “Backtalk with DJ Jubilee” that appeared in the September 2000 issue.
The retracted statement should read as follows:
“In last month’s issue of OffBeat there was a misquoted statement that was printed in the article ‘Backtalk with DJ Jubilee’ without the consent or permission of DJ Jubilee. The following is his reply: ‘I am not in agreement with a statement that was written in the aforementioned article, under the sub-heading: Has local radio been receptive to your records? The statement was misinterpreted. The implication of the statement included in the article did not reflect the views of myself nor Take Fo’ Records. Neither Take Fo’ Records nor I, have ever been solicited to pay for radio airplay, nor have we ever paid for radio airplay. We apologize for any inconvenience this statement may have caused. Both Take Fo’ Records and I strongly support the local radio stations in the New Orleans area that have been supporting our music and we will continue to support them in their future endeavors.–DJ Jubilee.”
–Earl J. Mackie, President/Executive Director, Take Fo’ Records, New Orleans, LA
We have listened to the tape of Jeff Hannusch’s interview with DJ Jubilee and Hannusch accurately quotes DJ Jubilee’s words concerning local radio, which DJ Jubilee prefaces with the admonition: “You can write this–I don’t give a damn.” – Ed.
NINTH WARD ATTITUDE
I would like to start by saying that I love OffBeat and consider it the Bible of New Orleans entertainment. However, I am writing to you because I am curious to know why I haven’t seen any features done on the Morning 40 Federation (whose moniker epitomizes the philosophy of nearly all of this city’s well attending bar inhabitants). As well as being one of New Orleans’ best kept secrets, they are, in my opinion, one of the most truly unique and entertaining bands on the scene, and have been for some time. Not only have they managed to mix influences such as Tom Waits, the Rolling Stones, Ween, and others, they have incorporated some Ninth Ward attitude and lighthearted lyrics that address that different world that lies within the confines of this magnificent, yet sometimes dark city. I am sure that I not only speak for myself, but also for the Forties’ loyal following (who are quite entertaining themselves) when I say that a feature would not only be appreciated, but it is in our opinion long overdue. Thank you for your consideration.
–Lois E. Sprague, via email
BEAUTIFUL BABY
We enjoyed the article Bunny Matthews wrote on Bobby Blanque, the well-remembered singer in the Blue Room, Pat O’Brien’s days and now entertaining us at the Treasure Chest. It was not surprising to read that Bobby was inducted into the Hall of Fame. My husband and I have tried to keep up with his performances as we love hearing him sing ballads, which Bobby does so beautifully.
I understand he now has a CD out. Please write more on Bobby Blanque. Would an article on him and his CD be possible or a question and answer article would be good. I read his book and it is terrific.
–Mr. and Mrs. Montgomery, New Orleans, LA
See the CD review in this issue.–Ed
INCREDIBLY COOL
Here’s my $60 for a signed Ernie K-Doe Fest Poster. Is it signed by Bunny, too? Hope so.
Love your magazine. It’s always “great” to see all the incredible shows I’m missing by being here upstate.
Having those Bunny prints all over the pages along with his reviews and the incredibly cool Vic and Nat’ly make a perfect read even better.
Is there a collection of Mr. Matthews’ work available?
–Stan Carpenter, Shreveport, LA
Unfortunately, the three published collections of Bunny Matthews’ cartoons are currently out-of-print. A deluxe, coffee table volume of his drawings exists in Bunny’s dreams. – Ed.
SAINTHOOD
I just gotta say that you are helping the rock community GREATLY with your “St. Rock” column. The Supagroup and Suplecs story was great. If you need some more bands to take a look at, my band The Violet Era recently opened for My Life With The Thrill Kill Kult to a sold-out house thanks to Chris from Supagroup. We got an AWESOME response which makes me think that sometimes New Orleans is not so anti-rock ‘n’ roll. The Violet Era is just finishing up our debut EP and we should have a press kit to OffBeat in the next month or so. While we are a new band, all members have been in the New Orleans rock scene for a long time and things seem to be kinda looking up for us.
–Paul Distler, New Orleans, LA
HELP! NEVER RECEIVED AUGUST ISSUE!
Thanks for your quick reply. We can only hope that whoever did get my August issue has fallen madly in love with your magazine as I have and has immediately sent you a check to be a subscriber as well!!!!
Desperately missing the wonderful city of New Orleans.
–Nicolle Hahn, Baltimore, MD
MONEY HONEY
Which New Orleans musical group has a song titled something like “Gotta get my money right”? I am looking to purchase it, but I don’t know the name of it.
–Keith Harris, via email
It sounds like you’re referring to “Gimme My Money Back,” composed by James Andrews and recorded by the Tremé Brass Band in 1995 for the Arhoolie Records label. – Ed.
THE KILLER AT COSIMO’S
On a recent visit to New Orleans this year I went in search of the J&M Recording Studio up on Rampart Street. I found the building and took a photo of the plaque on the wall outside the entrance.
It mentions all the great New Orleans artists, but I noticed that Jerry Lee Lewis’ name was included. I am not aware that Lewis did any recording at Cosimo’s. Can someone correct me if I’m wrong. Has there been a mistake? I also met the great Fats Domino on my trip. Fats is the first man of rock ‘n’ roll.
–Jimmy Taylor, Sydney, Australia
During the early 1950s, Jerry Lee Lewis (a.k.a. “The Killer”) recorded some tracks at Cosimo’s. These songs were never released and are presumed to be lost forever. – Ed.
SANS FERRARI, MONEY & WIFE
What a month this has been. First the Ferrari broke down, then my broker lost all my cash on a real ham deal. Next my wife runs off with my best friend. But the bummer of the month; I still haven’t received my August issue of OffBeat. Please, rush another copy to me. I can do without the Ferrari, money and my wife, but not my monthly fill of the good Louisiana life.
–Rick Meek, Norfolk, England
SEVEN POINTS
There are some points in your article I would like to take exception with. One of the major reasons that pay is so low for musicians here is twofold.
The first is the cutthroat attitude of the musicians themselves. A band may try to hold out for more money, but there is always someone else willing to work the same job for less money. Secondly, the union here is worthless. I paid my union dues in December and as of this date I have not received my union card, phone book or newsletter. If a union cannot service their members on the most basic scale, how do you expect them to represent their membership on contract negotiations? The only union that could work for their members ( I imagine) would be the same one as the beer and liquor delivery drivers. If the club owner does not want to hire a “union” band at a decent scale, then there are no deliveries.
Thirdly, the city itself is a major detriment to the music industry. Call the city hall revenue department and find out how many hurdles you must jump through to receive a live music permit.
Fourth is the politicians succumbing to “outside” influences moving into the Quarter. The French Quarter is a loud and rowdy place. But yet if you are a musician playing an outdoor venue (or just a casual jam session in a bar) you must shut the music down at ten o’clock or face being ticketed, arrested or having your instrument impounded. Several of these influences I speak of are attorneys that do not have to pay legal fees to harass club/restaurant owners and the musicians that perform. Whereas the bands and owners must spend what little money they have to get legal representation for themselves.
Fifth, the hypocrisy of the French Quarter Fest. Few people remember that the first Quarter Fest hired bands from around the country and world but none from New Orleans. Even now the organizers frown upon hiring New Orleans entertainers for their main stage ( at which there is a p.a. louder than all the horns combined in New Orleans).
Sixth, the Mardi Gras krewes that deal with unscrupulous agents that pay late, not as agreed or not at all. The Mardi Gras krewes should hire bands only with a WRITTEN CONTRACT, stating times, number of musicians and equipment requirements (is there a generator for amplification, etc.) signed by the krewe, agent and band.
Seventh, establish an independent music counsel, to fight for the rights of musicians traveling abroad.
I know of these things I speak firsthand. I live it with many other musicians. Until changes are made, live music will continue its slow and agonizing death in this city.
–Robert S. Schmidt, New Orleans, LA
MIND AGAINST BODY
First of all I love your magazine and look forward to every issue. Whenever me and my friends want to go out we just pick up a copy of OffBeat. My question is concerning a rock band called either Mind Vs. Body or Mind Against Body. I saw this band play once at Tips Uptown. Since then it seems they have vanished. Are they a New Orleans local band? I can’t find them in any music listings. I have searched all New Orleans web pages(nola.com, insideneworleans.com, bigeasy.com, and tipitinas.com) and have been unsuccessful. Your magazines have listed them once. Do y’all have any information concerning this band? Any information would be great! Thanks.
