Out with the old, in with the new! Having had enough of the ’80s, we are well into the ’90s, and what’s happening? Quite a bit here in New Orleans, as a matter of fact And we could be setting the musical scene for the next century much as we did for this last one.
POSTMODERN JAZZ DEPT… A local musical columnist recently asked why NOLA doesn’t have any bands like Urban Dance Squad. Because we’re leaders, not followers. We have a great jazz and R&B tradition. And yes, as much as some self-appointed arbiters of taste would try to deny it, a great rock ‘n’ roll tradition too. All these elements have been fused in the sensibility of a new generation.
Grassy Knoll has taken those traditions a step further. Also known as Virul Nihils, the band recently added Eric Beletto on keys and trumpet. Eric had been contributing to compositions for the last six years—something like Ian Stewart, the sixth Rolling Stone. Eric’s brass compliments and counterpoints Keith Krasnoff’s sax and flute, adding yet another layer of sonic texture to an already complex musical structure. Keith was brought up in a musical family, but after violin lessons he learned to play woodwinds on his own. Roland Kirk is Keith’s main man, but he’s also listened to plenty of ‘Trane and Bird as well as Traffic and King Crimson.
Mike Joseph also plays trumpet, but he’s usually laying down a solid but intricately offbeat bottom on bass. A versatile utility player, Mike has also performed with Black Problem, Fucus, and most recently, Dog Teeth. Drummer George Grunewald was in another canine combo, Short Dogs Grow, in San Francisco, but we’re glad he’s back. And besides providing rhythm, John Andrews’ guitar sets an appropriately surreal ambience as well as trading licks with the horns.
Grassy Knoll’s most memorable gigs last fall were benefits for the Coalition Against Racism at City Park and the Green Panthers at Armstrong Park, the outdoor settings accenting the pastoral nature of their music.
Nipples of Isis goes beyond hyphenated fusion, putting on the heat and pressure to metamorphose into a rock of the hardest kind. Michel Navedo has electronically extended the range of the trumpet by using state of the art studio effects on stage. His horn holds its own with the metallic crunch of guitarist Sean Hennessey. If you can imagine Miles Davis meeting the Butthole Surfers, you would still have to hear the band to experience their mindbending transgression of musical genres.
So let the critics say what they will about the state of contemporary music in New Orleans. Go out to the clubs and form your own opinion. Grassy Knoll and Nipples of Isis may be exceptions that prove the rule, but they are so exceptional that they make their own rules. In these bands, the horns are up front, no longer merely sidemen. These two groups have truly brought jazz into the postmodern period, and there’s no limit to what they can do next.
UNDER-APPRECIATED-AND UNDISCOVERED-NOLA TREASURES DEPT… Hot plate lunches at Magazine Po-Boys at First and Magazine streets. Roast beef and mashed potatoes like Mama used to make and only about $3.65 per plate…the “British Pub” at the bar at the China Rose restaurant next to the Robert E. Lee Theater—English pub food in the bar (strange as it may seem) and lunch menu prices for a delicious Chinese dinner in the restaurant on Monday nights if you go early…the broccoli, shrimp and cheese casserole at St. Roch’s Market—divine!…Borsodi’s crazy-quilt comfortable atmosphere, coffee and unique late night desserts.
WOLFBANE DEPT… So you want to open a club downtown? So you think you can go to City Hall and walk out the same day with all the permits you need? Not so, Turbodog Breath! Ask Jack Groetsch of the Howlin’ Wolf. After struggling with our Byzantine bureaucracy for over four months, he’s finally back in business at 828 S. Peters between Julia and St. Joseph Streets in the Warehouse District. The 4,300-square-feet space is much larger and better laid out than his old location in Metairie. But the old atmosphere will be the same, because Jack is a music lover whose personal involvement with both artists and audience makes the Wolf a comfortable no hustle/no hassle hangout. Not only will there be a wide variety of music, but a wider variety of both beer on tap and in the walk-in cooler at reasonable prices. The Howlin’ Wolf has been a long-time coming to the CBD, but it’s well worth the wait.
WILDNESS AND MORE DEPT… Sam Butera, lately of fame acquired through his affiliation with Louis Prima’s band, will be back in New Orleans at the end of January at Club Second Line on Bourbon Street from January 28-31. One of New Orleans’ musical greats, and not to be missed.
Speaking of greats, a double bill at Tipitina’s on January 10 has blues lovers in town all hot and bothered—Buddy Guy and the demonically demeanored John Campbell will perform.
NATIONAL PRESS DEPT… The January issue of Musician magazine, one of the nation’s most prestigious music journals, contains features on two generations of New Orleans talent: young trumpeter Terence Blanchard and legendary drummer Earl Palmer.
FLIGHTS OF FANCY DEPT… You can dance in Art Deco splendor in the lobby of the Lakefront Airport on Saturday, January 4. The New Leviathan Oriental Foxtrot Orchestra will make one of their rare appearances from 8 p.m. to midnight. The theme of the affair is “Flying Down to Rio”, and proceeds will benefit The Church of the Sacred Comforter. Refreshments will be served at popular prices in the sumptuous Walnut Room. For more info, call 282-4593 or 393-9985.
MERRIE MELODIES DEPT… If you hear some looney tunes in the vicinity of Bourbon and St. Peter, it’s probably John Gill’s New Orleans Novelty Orchestra. But if you’re not in that area, you can still listen to their Stomp Off CD Smile, Darn Ya, Smile! The Frank Mapseles title song is taken from a 1931 Harman-Ising Foxy cartoon. Other highlights include “Those Panama Mamas Are Ruinin’ Me,” originally recorded by the Robichaux Orchestra in the early ’20s and trombonist Dave Sager’s impersonation of Eddie Cantor’s singing style on “My Black Birds Are Blue Birds Now.”
VENI VIDI VICI DEPT… Prior to last November’s gubernatorial election, Banu Gibson and her band were glad to find a photo of David Duke at the bottom of a urinal at Phoebe’s Garden Café in Syracuse, New York. Of course, everyone had cast absentee ballots before going on tour in hopes that it wouldn’t be a one-way trip.
YEUX SANS VISAGE DEPT… A book on zydeco musicians is being prepared by writer Ben Sandmel and photographer Rick Olivier. Three photos from this work in progress have recently appeared in 10,000 Eyes published by the American Society of Magazine Photographers. One photo of Marcel Dugas, who played accordion with the late Clifton Chenier, was taken about six weeks before he died. Another called “Jr. Love Accordion” was taken at Slim’s Y-Ki-Ki in Opelousas. And then there is young Gerard Delafose pretending to play a plastic guitar in front of his grandfather John’s band. Passe le saliere, s’il vous plait.
AMPHIBIOMORPHIC DEPT… The Fraternal Order of Gollywogs needs submissions to the definitive publication of the True Church of the Great Green Frog. Original and found photos, illustrations, articles, accounts, songs, stories and one-liners concerning the worship of Our Frog and similar froggy subjects should be sent to FROG, PO Box 70829, NOLA, 70172-0829 by January 30, 1992. Artwork should be photocopyable; B&W line illustrations preferred. Originals need not be sent. Include SASE for return of originals and contributor’s copy. The predominant theme seems to be Frog as fertility symbol judging by the buxotic graphics that Frater Frogalogus has in his hot webbed hands. Anyone interested in participating in the annual Mardi Gras rites should contact Brad Ott at La Madeleine Bakery. Remember, Frog croaked for you.
BITS AND PIECES DEPT… Sacred Cow Productions and NOVAC are hosting a presentation of local experimental videos at True Brew later this month in conjunction with NATPE, the national TV program executives convention… Vocalist Laurie Sumrall, who acquired a feminist following on the West Coast, has returned to NOLA to perform with Tribe of the Goddess… Louis Lump of Black Problem is now a homeowner who teaches high school English but may make a few guest appearances at local gigs once he is settled… Drummer extraordinaire A.P. Gonzales is getting a new group together and promises they will be loud… A video chain letter on un-American activities called Uncommon Sense is being distributed at local laundromats and other unlikely outlets—a fine example of samizdata… A group of NOLA’s musical entrepreneurs will leave January 16 for Cannes, France to attend the annual MIDEM conference there, and to represent the city and state of Louisiana’s musical interests worldwide. If you have recorded product, or if you have services you want to market to Europe or the Far East, you can still participate in the ”New Orleans International Exhibit”. Call Mary Duvall at New Orleans En Avant at 524-5277 before January 7 for more info.
Dale Ashmun will be returning to Spare Parts next month. After his tour of Europe, the jaunting journalist will have a whole new outlook on what’s happening in the Crescent City. But for now, we’d like to thank everyone who gave us such good scoops the last couple of months. And to all the creative people in town, we offer our encouragement and appreciation. We love you, and know that the rest of the world will too once they get to know you. And it’s our job to make sure that they do.
CORRECTION
While one of our contributors thought highly enough of the Rounder Records compilation Keys to the Crescent City to include it in his Top 10 of 1991, he unfortunately misinterpreted the cut “Another Blue Stringer”. The song is a tribute to Stevie Ray Vaughan, not Jimi Hendrix, as was stated in the article.
No less an authority than the tune’s author—Art Neville—called the OffBeat office to good-naturedly point out the mistake. “I was sitting here reading the magazine with my wife, and I had a big grin on my face until I got to that part,” chuckled Neville. “The song is remembering Jimi Hendrix, but it’s really a tribute to [the Hendrix-influenced] Stevie Ray Vaughan.” Our apologies to both Art and his friend, the late great Stevie Ray.
