New Orleans Piano Legends
Short Description
Descripción: Piano Jazz...
Description
U.S. $11.a5 ISBN
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CONTENTS
Discography
2
Biographies
3
BIG CHIEF
BLUEBERRY HILL
PROFESSOR LONGHAIR
FATS DOMINO
14
9
PROFESSOR LONGHAIR
23
JAMES BOOKER
30
JELLY ROLL MORTON
72
POP'S DILEMMA
JAMES BOOKER
40
TICOTICO
JAMES BOOKER
52
TIPITINA
DR. JOHN
85
TIPITINA
PROFESSOR LONGHAIR
92
TUTS WASHINGTON
66
PROFESSOR LONGHAIR
98
DOIN' IT
GONZO'S BLUE DREAM
THE PEARLS
WHEN THE SAINTS GO MARCHING IN
WILLIE FUGAl5 BLUES
3
JAMES BOOKER James Booker was arguably the most accomplished pianist in New Orleans rhythm and blues history. Born James Carroll Booker III in New Orleans on December 17, 1939, he was classically trained in piano from the age of six; he was considered a child prodigy. He entered the local music scene as a young teenager, recording his first single, "Doing the Hambone," at fourteen . Despite failing commercially, Booker got extensive studio work from it, including uncredited "ghost" piano tracks for Fats Domino. Throughout high school, Booker played regularly with many local and regional bands, while still maintaining an excellent academic record. After graduating, Booker hit the road with Joe Tex, and spent the next several years gigging with various bands, including Earl King, Dee Clark and Huey "Piano" Smith and the Clowns (actually replacing Huey, who preferred not to tour). In 1960, Booker recorded what would be his most commercially successful song, the organ-driven instrumental "Gonzo." Despite reaching number 10 on the Billboard R&:B charts, the single failed to spawn a successful solo career for Booker, who spent the rest of the decade backing up many obscure acts and several better-known ones, including Wilson Pickett and Aretha Franklin. In 1970, Booker was arrested on drug charges, and went to prison for several years . Upon his release, he spent some moderately successful years in New York and Los Angeles. He performed with such diverse artists as Ringo Starr, T-Bone Walker, Jerry Garcia and Lionel Hampton. At some point during this period, he lost his left
After returning from Europe in 1978, Booker took a turn for the
eye. There are varied stories as to how this happened : a street fight
worse. He took up drugs again after being clean for several years.
over a financial dispute, a prison brawl, the use of a dirty syringe.
With the return of the habit came erratic behavior and paranoia.
Ultimately no one knows for sure.
Local folklore is rife with stories of him passing out on stage, soliciting drugs from the audience, and stopping in mid-song to
Booker returned to New Orleans in 1975 and played a highly
rant about the CIA, to name but a few examples. In 1982, he made
successful solo set at that year's Jazz and Heritage Festival. That
one last album, Classified, which, despite some fine moments,
performance proved to be a turning point in his career, leading to
certainly showed a once-great artist in decline. Several months after
a European tour and a recording contract with Island Records . The
its release, on November 8, 1983, Booker suffered what appeared
resulting album, Junco Partner, featured Booker in top form,
to be heart and lung failure, and died while awaiting attention at a
showcasing his talents on a solo piano and vocal set that includes
local hospital.
originals, standards, R&B covers, and even a Chopin waltz. Although the album's sales were limited, it was critically acclaimed
The past few years have seen increased awareness of Booker and his
both domestically and abroad, and announced the presence of a
importance. His popularity has been boosted by the praise of a
major talent.
number of well-known pianists who were influenced by him,
Booker made many European tours in the late seventies, cutting a
release of several previously unavailable recordings and a two hour
including Harry Connick, Jr., Dr. John and George Winston . The handful of live albums which are regarded as the high point of his
radio documentary has made more of his music accessible than ever
recorded output. His blistering performance at the 1977 Boogie
before, and his original songs have recently been performed and
Woogie and Ragtime Piano Contest in Zurich is captured on the CD
recorded by such contemporary bands as the Afghan Whigs and
New Orleans Piano Wizards : Live! Two equally outstanding albums
Medeski Martin &: Wood. An entire book of transcriptions of Booker
made during this period for German labels are now out of print.
is now available. Booker may one day receive the kind of worldwide recognition that he always sought, but never found in his lifetime.
4
ANTOINE "FATS" DOMINO Although early rock and roll borrowed much from New Orleans
Fats went on to record several regional hits (including a cover
rhythm and blues, the only one of the early rock and roll stars to
of Professor Longhair's "Mardi Gras in New Orleans") and a number
come from New Orleans was Fats Domino. He was born Antoine
of national hits; his "Goin' Home," recorded in 1952, was a number
Domino, Jr. on February 26, 1928 into a musical family in New
one R&:B hit. 1955's "Ain't That a Shame," besides becoming a big
Orleans . He dropped out of school in the fourth grade, at which
R&:B success, was the first song by a New Orleans rhythm and blues
time he could already play some blues piano. In addition to the
artist to break the Billboard Hot 100, the so-called "white music"
inspiration provided by the wide variety of music around him, he
charts. It was Domino's next single, "I'm in Love Again," that truly
had the guidance of his older brother-in-law Harrison Verrett, who
put him in the national spotlight, reaching number five on the pop
had played guitar and banjo with many of the city's early legends,
charts and establishing him as one of the central figures of the new
and encouraged Fats to pursue music.
rock and roll craze. He appeared on the Steve Allen Show and American Bandstand, and in rock and roll movies such as The Girl
As a teenager, Domino worked various jobs, but was frequently out
Can't Help It and Disc Jockey Jamboree.
playing and listening to music as well. He was especially drawn to the music of a particular bandleader, Dave Bartholomew, who
In 1956, Fats recorded the most successful song of his career,
would later have an immense impact on his career. Fats began
although it was almost never released . "Blueberry Hill" was a
sitting in with Bartholomew's band, and was playing with them on
country and western song that had been recorded by many
the night that the president of Imperial Records stopped in to
performers over the years (including the Glenn Miller band), and
hear the group. He liked Fats' playing and singing and signed him
Dave Bartholomew, still producing Fats' recordings, was convinced
to the label.
the record would be a flop. At Fats' insistence the recording was made and sent to Imperial. But Barthlomew was not happy with it;
Bartholomew already had ties with Imperial, and when Domino
he called Imperial to tell them not to release it. By the time he
went into the studio for his first recording in 1949, it was
called, the record had already been released . It went on to sell over
Bartholomew who arranged and produced the session. The song
two million copies.
cut, "The Fat Man," served as an all-too-suitable introduction to this rising young talent. Although the form of the song was ordinary,
Following "Blueberry Hill's" huge success, Fats recorded a number
Fats' voice, atypically rich and warm for an R&:B singer, made it
of other Country &: Western covers, including "Jambalaya" and
instantly recognizable, and his driving piano and "imitation
"Your Cheatin' Heart." While none of these records met with the
trumpet" scat solo in place of a horn solo made the recording truly
same success of "Blueberry Hill," they did well enough to keep
unique. The record quickly became a hit, reaching number six on
Domino in the public eye. In the early sixties when the rock and roll
the R&:B charts.
trend seemed to have subsided, he recorded covers of pop and jazz standards, including "I'm in the Mood for Love" and "My Blue Heaven." In 1964 he left Imperial and signed with ABC Records. Although he had a few modest successes, the "British Invasion" made his new music seem dated and tame. It's ironic that his last chart single was a 1968 cover of the Beatles' "Lady Madonna." Although he produced no new hits, his historical popularity enabled Fats to fill concert halls throughout the seventies and eighties. He was one of the original inductees into the Rock and Roll Hall of Fame, and in 1986 a tribute concert was held for him in his hometown of New Orleans, where he was joined on stage by fellow piano-playing rock pioneers Ray Charles and Jerry Lee Lewis. Since then, he has all but retired completely from public performance, and spends most of his time with his family in his mansion in New Orleans. But he still makes very occasional, and usually very brief, concert appearances, and whenever he does, fans of all ages turn out in throngs for the rare chance to see and hear the fat man.
5
DR. JOHN (MAC REBENNACK) It's ironic that Mac Rebennack, widely considered one of the greatest blues-oriented pianists alive today, began his musical career as a guitarist. Born in New Orleans on November 20, 1941, he started playing piano at the age of three, and although he showed great aptitude for it, he quickly outpaced his lessons and grew bored with them, shifting his attention to the guitar. By his teenage years, Mac was hanging around legendary producer Cosimo Matassa's recording studio, where he would run errands and talk to as many musicians as he could. He also began taking guitar lessons from Walter "Papoose" Nelson, guitarist with Fats Domino's band, and by the age of fifteen was being called to do studio sessions. Shortly thereafter, he formed his own band and began touring the Gulf South. He also gained a reputation as a songwriter, and his songs were recorded by local artists (although Mac rarely received royalties). In 1961, Rebennack suffered a major personal and professional setback: his left index finger was shot off during a dispute with a club owner. Although doctors were able to reconstruct the finger, he never regained full use of it. Thus deprived of his prior facility on the guitar, he returned to the piano, and under the tutelage of james Booker, the Hammond organ. Although he quickly gained an impressive command of the instruments, a variety of legal and
Having established himself, Rebennack continued to perform and
financial problems held his career back until he moved to Los
record as a leader and a guest artist. To this day, he remains among
Angeles in the mid-sixties.
the most active and successful of New Orleans musicians. Over the years, his albums have covered a wide stylistic range, alternately
It was in L.A. that Rebennack, along with his musical partner and
incorporating elements of New Orleans roots music, funk, jau,
fellow New Orleans transplant Harold Battiste, came up with the Dr.
Latin music, and of course, the original Dr. john sound ("voodoo
john concept. The original Dr. john was a famous voodoo priest in
rock"). Highlights include two solo albums recorded in the eighties
New Orleans in the 1840s, a feared and respected man said to
(Dr. john Plavs Mac Rebennack and The Brightest Smile in Town), the
possess mystical powers. Mac would take on the character of Dr.
big band-backed standards collection In a Sentimental Mood, and
john, utilizing the voodoo mythology in his music and stage
the appropriately titled Goin' Back to New Orleans. Although Mac
appearance. The first Dr. john album, Gris-Gris (1967) was full of
has lived in New York for years and has long abandoned his voodoo
dark, haunting rhythms and lyrical references to spells, potions and
stage costumes for more conservative attire, he remains th e
chants. Rebennack further played on the image in his live shows,
embodiment of New Orleans music, and continues to spread its
appearing in feathered robes, headdresses and chicken-bone
sound all over the world.
necklaces. The voodoo theme remained central to his music and persona until Gumbo (1972), an album of classic New Orleans R&B covers that put Mac's piano playing in the spotlight for the first time. His style reflected the influences of many pianists before him, while still sounding uniquely his own . Although Gumbo sold well and gave a great boost to his career, it was his next album, the more funkoriented Right Place, Wrong Time that would be his biggest commercial success. The title track reached the top ten on the pop charts.
8
ISADORE 'TUTS" WASHINGTON
Isadore Washington was born January 24, 1907 in New Orleans.
When Tuts left the Lewis band in 1951, it marked the end of his
While he was still a child, his mother started calling him Tuts, and
touring and recording for a long time. However, his local reputation
that remained his nickname. Although he was constantly exposed
and influence were undiminished. He was at his most comfortable
to music as a child (mostly from the streets around his
playing in local clubs, which he did until 1979, when he
neighborhood), he didn't start playing piano until the relatively late
participated in a video documentary called Piano Players Rarely Ever
age of ten. He was completely self-taught and picked up the
Play Together. The video captured the interaction of three
instrument quickly, playing professionally in silent movie theatres
generations of New Orleans pianists-Tuts, Professor Longhair and
and private parties within a few years.
Allen Toussaint-all playing together for the first time . Although Fess died before the performance that was to be the video's focal
After completing the sixth grade, Tuts left school and worked as a
pOint, the rehearsal footage is more than enough to show the
shoe-shine boy in order to help out with his family's expenses. At
respect, admiration and musical bond between the three men.
about the same time, he started playing in local juke joints with a number of Dixieland bands. He observed other pianists on the scene
In 1983, at the age of 76, Tuts finally recorded his first and only
who could play nothing but blues and boogie woogie, and knew
album under his own name, New Orleans Piano Professor. It was a
that he did not want to fall into that rut. So his repertoire included
grab-bag collection of standards and old blues numbers, along with
ragtime, traditional jau and ballads in addition to the blues. His
a rendition of "Tee-Nah-Nah," by now a legendary song. Apart from
main musical influence was another local pianist named Joseph
one song on which he sang (which he could rarely be persuaded to
Louis "Red" Cayou, known as one of the most talented and versatile
do), the album is all solo piano, and shows the kind of versatility and
pianists in town .
stylistic range that kept him far from being " just a blues player."
During the '20s and '30s Tuts was a mainstay of the New Orleans
Tuts died in August of 1984 while performing at the New Orleans
club and brothel circuit, where he made a comfortable living and
World 's Fair. Although we have few recordings to remember him by,
was treated well. He was mistrustful of record companies and made
he remains an important part of New Orleans' musical heritage; he
no recordings during this time, preferring to let his reputation
can safely be counted among the city's most influential pianists.
spread by word of mouth . However, in the '40s he worked with local R&B vocalist Smiley Lewis, and recorded a number of songs as a sideman. The most significant of these was "Tee-Nah-Nah." Besides being a substantial regional hit and providing the band with tour opportunities, it would provide the inspiration for Professor Longhair's classic "Tipitina. " In fact, Fess was one of the many younger pianists to receive inspiration and instruction from Tuts - a list which includes Fats Domino and James Booker.
BLUEBERRY HILL Words and Music by AL LEWIS, LARRY STOCK and VINCENT ROSE E
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TICO TICO (TICO NO FUBA) Words and Music by ZEQUINHA ABREU, ALOYSIO OLIVEIRA and ERVIN DRAKE
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