“First person: KPLU’s Robin Lloyd tells the story of Dr. John, a 45 and ‘A Losing Battle’

I see my primary care provider once a year.  He shows up at Seattle’s Jazz Alley with his band, the Lower 9-11.  His name is Mac Rebennack, known to the world as Dr. John.

Dr. John, an expert at the kind of “feel good music” that sells out concerts and clubs, is also a deep repository of the history of New Orleans and its musical culture.  His songwriting and producing abilities made him a valuable studio asset in the early days of rhythm and blues in the Crescent City, and he’s still in demand for those skills.

Spending just a few minutes in conversation with him before or after a show is certain to make you feel connected to the entire musical universe.

Photo by Robin Lloyd

Having been at the Alley for opening night on Thursday, I decided to treat myself to a second helping of Dr. John and the Lower 9-11 on closing night.  I brought with me an antique-shop treasure:  a 45-rpm record from New Orleans label Ric Records from 1962, Johnny Adams singing two songs co-written by Mac Rebennack.  I’d fallen deeply in love the first time I heard Johnny Adams sing.  He had the most beautiful voice I’d ever heard, and he knew just how to use it.  I’d been meaning to ask Mac about the song, about the co-writer and about the session in general, because the A-side (A Losing Battle) was Johnny Adams’ first appearance on the national charts (I know, I know, but radio geeks like me live for that kind of thing).

I showed the record to Mac, and he uttered an unmistakably New Orleans-style expression of amazement, which is too, um, colorful to include here.  He set me straight on the co-writer of A Losing Battle, but then confided:

“I actually wrote the song with that guy’s girlfriend.  She was showin’ me a stack of love letters that had passed between them, and that’s where I got the idea of fightin’ the losin’ battle, but havin’ so much fun tryin’ to win.”

Hmm…there’s obviously much more to that story.  You dawg, Mac.

Asked about the band on the session, the infamous AFO Studio Combo, he started to reel off names of New Orleans musical royalty, like Battiste, Boudreau, Lastie and so on.

I reminded him that this song he wrote when he was 21 years old had made it to the national charts, and he said, yes, Berry Gordy had wanted to sign Johnny Adams to the Motown label based on this very record.  But a meeting with Mr. Gordy went poorly, then Ric Records threatened legal action, and everyone back home said “there goes Johnny’s career” –and they were pretty much right.  Johnny Adams did some great recordings in Nashville after that, but didn’t really get the national recognition he deserved until Rounder Records started to showcase him in the 1980s.

Photo by Sarah Colt

Overwhelmed by this wealth of information from The Source, I said, “It’s so wonderful that you remember all of this from back in 1962!”  Mac flipped the record over to the B-side, and deadpanned, “What’s this?  I don’t remember s**t about this here song!  Did I write this?”

The good Doctor topped off my annual check-up with a booster shot from the stage, dedicating a great version of Basin Street Blues to me and my friend Sally.  I’m vaccinated and verified, inoculated and indoctrinated for another year.  Thanks, Doc!

 

HBO’s “Treme” kept music a centerpiece in Season 2

Season 2 of the HBO television series Treme just came to a close, and was renewed for a third season.

While one might say that an ongoing theme in Season 1 was immediate recovery and adjustment for the city of New Orleans immediately following Hurricane Katrina, and Season 2 examined issues with violence and corruption a year later, music remained a vibrant focal point throughout.

Far from simply offering an enjoyable soundtrack, Season 2 of Treme shows the overwhelming importance of music in New Orleans on a variety of levels. Keeping with the mission in the first season, Treme continues to use New Orleans musicians as reoccurring characters playing themselves, in venues they might normally be found, as well as great cameo appearances from jazz and folk superstars.

Season 2 featured musical highlights including scenes and performances by NOLA locals and non-locals, including Dr. John, Donald Harrison, Henry Butler, Kermit Ruffins, the Hot 8 Brass Band, Galactic, Dirty Dozen Brass Band, Dr. Lonnie Smith, Ron Carter, John Hiatt and Shawn Colvin.

Kermit Ruffins and the Barbecue Swingers

These performances and appearances were not only entertaining, but keep in stride with the attempts of the program to offer a certain element of “real”. Kermit Ruffins is regularly found leading groups in NOLA bars and clubs to packed crowds. Donald Harrison is recruited late in the season to perform on a record designed to mix modern jazz with the sounds of Mardi Gras Indians. As KPLU’s Robin Lloyd pointed out to me, this is very appropriate for Harrison. He is the Big Chief of the Congo Nation Afro-New Orleans Cultural Group which keeps alive the secret traditions of Congo Square, but has also spent a great deal of time being involved in everything from smooth jazz to hip-hop.

In the Season 2 finale, hope was offered after a tumultuous season, where Jazz Fest takes center stage, and the program closes out with an emotional montage set to the Louis Armstrong recording of Wrap Your Troubles in Dreams.

While the close of Season 2 suggests more optimism than the finale of Season 1 did, several elements of pain and struggle to come for the city of New Orleans in Season 3 are indicated. No doubt that it will be set to the wonderful sounds and music of a city that continues to struggle in recovery.

Dr. John, Tom Waits among Rock Hall of Fame inductees

There are a handful of jazz musicians who have been inducted into the Rock and Roll Hall of Fame. These musicians include Louis Armstrong, Charlie Christian, Nat “King” Cole, Miles Davis, Billie Holiday, Jelly Roll Morton, Les Paul, and Dinah Washington.

Crossover artists Dr. John and Tom Waits will be inducted into the Rock and Roll Hall of Fame next Monday, March 14th.

Bios from the Rock and Roll Hall of Fame website read:

New Orleans’ own Dr. John has been recording for more than 50 years. He is steeped in the rhythms and traditions of the city, and has spent his career championing its music. As he told New Orleans rhythm & blues historian Jeff Hannusch, “[New Orleans music] is part of whatever I’m about. The importance of it is beyond anything I do.” Born Malcolm John “Mac” Rebennack, he learned piano and guitar as a child. Schooled by Crescent City legends like Walter “Papoose” Nelson, James Booker and Cosimo Matassa, Rebennack began recording in 1957; between 1956-1963, more than 50 of his songs were recorded in New Orleans. In 1965, Rebennack moved to Los Angeles and worked as a session player. Working with Harold Battiste, he created the Dr. John the Night Tripper character, a tribute to New Orleans’ musical and spiritual traditions that meshed perfectly with psychedelia. His first album, Gris-Gris, was a masterpiece, evoking voodoo legends over a funky mix. In the first half of the 1970s, he released a series of albums that mixed New Orleans classics with his own original material, all driven by his remarkable piano playing and great bands, most notably his collaboration with Allen Toussaint and the Meters on “Right Place, Wrong Time,” a smash funk hit. He has produced albums for Professor Longhair and Van Morrison, collaborated with Doc Pomus on a group of songs recorded by B.B. King on There Must Be a Better World Somewhere (1981), and released several acclaimed solo piano records. In recent years he has become a spokesman for New Orleans and its musical history, all the while continuing to record creative, challenging music.

Only one songwriter could be covered by the Ramones (“I Don’t Want to Grow Up”) and the Eagles (“Ol’ ‘55”). Beginning with his first album in 1973, Tom Waits has carved out a unique place in rock and roll.  His music mixes Chicago blues, parlor ballads, beat poetry, pulp-fiction parlance and – when you least expect it – heart-breaking tenderness.  His enormously influential live shows combine elements of German cabaret, vaudeville and roadhouse rock.  After establishing a successful early style as a wry singer-songwriter, Waits went through a dramatic expansion with Swordfishtrombones (1983). Disregarding musical borders and commercial considerations, he set off in wild pursuit of the Muse.  Waits has composed film scores, musical theatre and an operetta. He has co-written with Keith Richards and William Burroughs.  His songs have been covered by Screamin’ Jay Hawkins, Solomon Burke, Marianne Faithfull, the Neville Brothers, Robert Plant and Alison Krauss and the Blind Boys of Alabama. He has recorded with the Rolling Stones, Bonnie Raitt, the Replacements and Roy Orbison.   A tribute to his great influence is how many of his songs have been recorded by artists who usually write their own – including Bruce Springsteen (“Jersey Girl”), Tim Buckley (“Martha”), Johnny Cash (“Down There by the Train”), Bob Seger (“16 Shells from a Thirty-Ought Six”), T-Bone Burnett (“Time”), Tori Amos (“Time”), Steve Earle (“Way Down In the Hole”), Elvis Costello (“Innocent When You Dream”) and Rod Stewart (“Downtown Train”).

Other inductees include Alice Cooper, Neil Diamond, and Darlene Love.

Dr. John will be presented by John Legend. Tom Waits will be presented by Neil Young.

Groove Notes Top 10 Jazz CD’s of 2010

People love lists. And Groove Notes isn’t shy about posting them. There were some great albums that came out in the last year, and in no particular order, here are my ten favorites from 2010.

1. Highway Rider by Brad Mehldau (Nonesuch, March 16, 2010) CLICK HERE TO BUY

2. Decisive Steps by Tia Fuller (Mack Avenue, March 16, 2010) CLICK HERE TO BUY

3. Jasmine by Keith Jarrett/Charlie Haden (ECM Records, May 25th, 2010) CLICK HERE TO BUY

4. Music Redeems by The Marsalis Family (Marsalis Music, August 24, 2010) CLICK HERE TO BUY

5. Tribal by Dr. John (429 Records, August 3, 2010) CLICK HERE TO BUY

6. Straight Ahead by Hadley Caliman (Origin Records, January 19, 2010) CLICK HERE TO BUY

7. Stanley Clarke Band by Stanley Clarke (Heads Up, June 15, 2010) CLICK HERE TO BUY

8. The Cycle of Love by Maurice Brown (Brown Records, April 20, 2010) CLICK HERE TO BUY

9. Groove Alchemy by Stanton Moore (Telarc, April 13, 2010) CLICK HERE TO BUY

10. Whirl by Fred Hersch Trio (Palmetto Records, June 21, 2010) CLICK HERE TO BUY

Honorable Mentions:

Providencia by Danilo Perez CLICK HERE TO BUY

Orchestrion by Pat Metheny CLICK HERE TO BUY

Reverse Thread by Regina Carter CLICK HERE TO BUY

Mirror by Charles Lloyd Quartet CLICK HERE TO BUY

Home by Jane Monheit CLICK HERE TO BUY

A Time For Love by Arturo Sandoval CLICK HERE TO BUY

My Interviews from 2010…Two Doctors and Nikki

The latter half of 2010 allowed me the opportunity to interview three very different musicians. I’ve decided to re-post these interviews with some photos.

September 7th I found myself in our performance studio for an interview and live performance from Dr. John.

CLICK HERE TO LISTEN TO THE INTERVIEW AND PERFORMANCE WITH DR. JOHN

A month later I had the opportunity to interview legendary bandleader, and another “doctor”, Doc Severinsen by telephone. Doc was on tour with El Ritmo De La Vida.

Doc Severinsen Interview – 5 1/2 Minute Feature

Doc Severinsen Interview – 28 Minute Full Interview

After interviewing two music legends, I would switch gears a week later and meet a rising star. Teenage jazz vocalist Nikki Yanofsky joined me for an interview and live performance.

Listen to the Session Here

I hope you enjoyed these interviews, and I’m looking forward to many more in 2011!