A century in ivory
Among the sacred instruments of New Orleans music, piano comes next to the iconic brass instruments. The Crescent City counts numerous influential pianists who brought an essential contribution to the unique New Orleans sound for a century.
Nevertheless, beyond his sulfurous reputation, the man remains as a key transition figure between ragtime and early jazz, and one of the early patriarchs of a long and rich string of New Orleans piano “professors”...
(1) The real “inventor” of jazz (or “jass” as it was first called) is considered by most music historians to be cornet player Buddy Bolden (1877-1931).
Get A Taste (Audio Only)If Morton is so famous it is because he was intensively recorded by Alan Lomax for the Library of Congress, but other early 20th Century pianists from the Crescent city also played a significant role in establishing the New Orleans piano style : the renowned barrel-house and boogie-woogie pianist Joseph Louis “Red” Cayou (1904-1947), Louis Gallaud (1897-1985), Alton Purnell (1911-1987), Burnell Santiago, dubbed “King of Boogie” and mentor of R'n'B pianist Leon T. Gross aka Archibald (1912-1973) who stopped recording in 1952 but whose style influenced younger musicians as Fats Domino, Huey "Piano" Smith or Dr. John. And blues singer & pianist Edmond Joseph aka Kid Stormy Weather, who is known for two titles only, “Short Hair Blues” and “Bread and Water Blues”, but had a major influence on Professor Longhair and Allen Toussaint…
"Red" Cayou |
"Tuts" Washington |
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► “Just A Closer Walk With Thee", BBC, mid 1980's : https://youtu.be/P4TYMMH2qf8
Champion Jack Dupree (1909 or 1910-1992), born in New Orleans, did all his career far from the Big Easy where he had studied piano with “Tuts” Washington and Willie Hall. He left in 1930 for the North : Chicago, Detroit, Indianapolis where he became a local boxing champion, hence his nickname “Champion Jack”. His appealing straight barrel-house and boogie-woogie style was first recorded in Chicago in 1940.
After WWII (captured by the Japanese, he spent two years as a prisoner of war), he moved to New York City where he put out an impressive number of singles and LPs.
From 1959 he relocated in Europe, living successively in Switzerland, Denmark, England, Sweden and, finally, Germany where he died in 1992.
In 1990, he returned to New Orleans to perform at the Jazz & Heritage Festival, and recorded an album (see below). It was his first visit to his native town in 36 years.
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Pianist, vocalist and songwriter extraordinaire Henry Roeland Byrd (1918-1980) aka Professor Longhair or “Fess” can be considered as the main creator of the New Orleans rhythm'n'blues. He wrote songs that became icons of the musical culture of New Orleans : ““Going to the Mardi Gras”, “Bald Head”, Big Chief”, “Tipitina” (1)... His influence on his followers like Fats Domino, Allen Toussaint, James Booker or Dr. John, is undisputed.
The legend says his distinctive style came from learning on an old piano with missing keys. Most of all, his unique hybrid “mambo-rhumba boogie” with a heavy, percussive left hand, resulted from his introduction of Caribbean rhythms (calypso, rhumba) in a mix of blues, barrel-house boogie-woogie, jazz and second-line rhythms. He forever changed the sound of New Orleans rhythm'n' blues.
Add to that his inimitable hilarious vocal fantasies close to yodeling (for example on “It's My Fault, Darling” or “Whole Lotta Lovin'”) and an unforgettable but charismatic face… Few artists have equaled the span of his influence on modern music.
Though playing with different bands in the 1930's, he soon found out there were better ways to make money than music. He worked as a cook, then as a boxer, and eventually became a professional card player. It wasn't until the late 1940s that he returned to music.
He started to record in 1949 and in the following decade, jumping from one label to the next, putting on disc some of his most famous songs : “Mardi Gras in New Orleans” with his backing band The Shuffling Hungarians, “Bald Head”, his first and only national R'n'B hit in 1950, under the name Roy Byrd & His Blues Jumpers. the immortal “Tipitina” in 1953, “In the Night”, “Ball the Wall”...
But he never received much exposure outside of Louisiana and the 1960's were a dark decade for Longhair. After the release of “Big Chief” in 1964, he stopped playing and took a janitor's work and returned to professional card playing to support himself.
Fess' career was resurrected in the early 1970's by his new manager Allison Miner who was also working at founding of the New Orleans Jazz & Heritage Festival with Quint Davis. His memorable performance at the 1971 Jazz Fest suddenly attracted the music industry : Atlantic (“House Party New Orleans Style: The Lost Sessions” in 1971-72), Rhino Records (“Mardi Gras in Baton Rouge” also in 1971-72), Blue Star (“Rock 'n Roll Gumbo” in 1974), Harvest (“Live on the Queen Mary” recorded in 1975 but released in 1978), Alligator (“Crawfish Fiesta” in 1980).
Meanwhile Miner sent him touring abroad, especially through Europe where he headlined in particular the renowned Montreux Jazz Festival in 1973. In 1974, he triumphantly appeared on PBS-TV with Dr. John, Earl King and the Meters.
On January 30th, 1980, on the eve of the release of “Crawfish Fiesta”, Professor Longhair died in his sleep at the age of 62.
Ironically, the decades following his death saw an incredible burgeoning of “new” releases, unissued recordings and compilations, as illustrated in the list featured below.
(1) Tipitina's, the famous music venue in New Orleans, was baptized after the song. A bust of Professor Longhair, sculpted by bluesman Coco Robicheaux, is displayed in the entrance hall.
Fats Domino (1928-2017) : is it really necessary to introduce the father of rock'n'roll, Antoine Dominique Domino Jr., who recorded what is considered as the first rock'n'roll song in 1949 : “The Fat Man” written with Dave Bartholomew ?
Fats & Bartholomew |
Jerry Lee Lewis, Fats Domino & James Brown |
With his accomplice Dave Bartholomew, another iconic figure of the New Orleans music scene, Domino wrote an impressive number of hits, making him the second biggest hit-maker, just behind Elvis Presley.
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► This Is Fats (1956) : https://www.youtube.com/playlist?list=PLU3gVY50mDYlghJvtoRqbmHeg8APgUP6e
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► Antibes Jazz Festival, France, 1962 :
Eddie Bo in the late 1940's |
Unfortunately, a strange curse bewitched him away from the success he deserved so that he remained greatly under-estimated for most of his career. Was he ahead of his time or late ? When recognition rightfully came, Bo was already 70 years old. Yet, his mix of jazz and funk was totally innovative and he now appears a pioneer of the New Orleans R'n'B funk, well ahead of his time.
Bo, who was a carpenter, began to record in 1955 on the Ace label, and he is known for recording the biggest number of singles next to Fats Domino, working for about 40 different labels ! He also became a busy producer working with artists like Irma Thomas, Chris Kenner, Johnny Adams, Al "Carnival Time" Johnson, Art Neville, Chuck Carbo, Mary Jane Hooper, Robert Parker...
Though several artists became rich and famous covering his songs, it looks like his royalties were falling in somebody else's pocket. Disillusioned, he got away from the music business for several years and went back to his carpentry trade. In 1977 he re-surfaced with a self-produced album on his own label Bo-Sound, “The Other Side Of Eddie Bo”, followed with “Watch for the Coming” in 1980.
His next opuses came out in the 1990's on different labels including his Bo-Sound : the excellent “Shoot From The Root” or “Back Up This Train” both in 1996, "Hole In It" and "Nine Yards Of Funk" in 1998, “We Come To Party” in 2001.
In the late 1980's and 1990's, he recorded and toured with Willy Deville, The Dirty Dozen Brass Band, and in the Louisiana Legends with Raful Neal and Tabby Thomas.
From the 2000's, Bo started to be “rediscovered” and acknowledged as a major actor of the New Orleans funk and R'n'B sound. After his death in 2009, compilations of his early singles and other unissued recordings started to flourish like flowers in Spring...
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Ellis Marsalis and his son Wynton |
Always dressed with class but always with a little fancy exotic touch, able to play neo-classic pieces and the next minute a Mardi Gras Indians' song, Allen Toussaint (1938-2015) was one of the most influential musicians in New Orleans. Pianist, songwriter, arranger, producer and label manager, he turned everything he touched to gold.
Lee Dorsey & Allen Toussaint |
The Meters at their beginnings |
Marshall Sehorn |
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Huey "Piano" Smith (1934-2023) : his "Rockin' Pneumonia and the Boogie Woogie Flu", recorded in 1957, sold over one million copies. The next year he and his Clowns did it again with the hilarious "Don't You Just Know It". Second gold disc. Both became classics.
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At age 18, James Booker (1939-1983) could play Bach, Chopin, Rachmaninoff or Erroll Garner with an amazing technique, but he was more interested by rhythm'n'blues and learned some keyboard tricks from “Tuts” Washington. He was strongly influenced by Professor Longhair, Ray Charles and above all Fats Domino.
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► “Will the Circle Be Unbroken”, 2008 : https://youtu.be/kYxDuSJtUUI
► “Tipitina”, Crescent City Blues and BBQ Festival, New Orleans, 2011 : https://youtu.be/xZSMvSAkXNk
► The Brick House Brewery, Long Island, NY, 2011 : https://youtu.be/SJs2qWYMS7g?t=66
► Interview + performance, Loyola University School of Music Industry, New Orleans, 2011 : https://youtu.be/KS7OkwB3kZI
► "Hey Now Baby"-"Will it Go Round in Circles"-"Hey Now Baby", NYC, 2012 : https://youtu.be/KNeMeRaertE
► Bourbon Street Music Festival, Sao Paulo, Brazil, 2012 (feat. Vasti Jackson on guitar) : https://youtu.be/bp266K5jqg0
► With Steven Bernstein & The Hot 9, North Sea Jazz Festival, Rotterdam, Netherlands, 2014 : https://youtu.be/i_Exi_XRWKA
► “Get Out Of My Life Woman” (Allen Toussaint), WWOZ's Piano Night, House of Blues, New Orleans, 2016 : https://youtu.be/mkvCZmB8qYY
► Bird's Basement, Melbourne, Australia, 2018 (a few weeks before his death) : https://youtu.be/R9Q5WZqT8Qk
Tom McDermott, born in 1957 in St. Louis, moved to New Orleans in 1984. His encyclopedic knowledge of New Orleans music since the pre-jazz era makes him a real “pianologist”.
More info on :
→ https://web.archive.org/web/20081007072243/http://offbeat.com/artman/publish/article_3007.shtml
→ https://web.archive.org/web/20120415063900/http://www.strdigital.com/mcDermott.htm
→ https://web.archive.org/web/20060724025444/http://depthome.brooklyn.cuny.edu/isam/sp99art7.html
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The Absolute Monster Gentlemen |
Cleary with jazz guitarist John Scofield |
(1) John Porter long list of production work includes illustrious artists like Roxy Music, Bryan Ferry, B.B. King, Ryan Adams, Taj Mahal, Buddy Guy, Otis Rush, Maria Muldaur, Keb' Mo', Lucky Peterson, Jimmy Smith, R.L. Burnside, Stephen Stills, Carlos Santana, Elvis Costello, Tommy Castro, Ana Popovic...
But a surprise is always possible...
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