Take Me To The River New Orleans

We decided to skip day two of Jazzfest as the weather was rather cold and wet, instead walking around the French Quarter. When the rain came we went into a bar to escape it, only to discover that a free burlesque show was about to take place in front of about 12 customers. An interesting diversion and the sort of thing that could only happen in New Orleans.

In the evening we went to the Joy Theater for Take Me To The River New Orleans, the third such show I've seen, after London and Lafayette a few years ago. It starred three of the all time greats, but first we had an hour of NO bass player and former member of the Méters George Porter and his band Running Partners. It was high quality funk and included numbers such as "Cissy Strut', 'Sneaking Sally Through The Alley' and 'I Wanna Get Funky' but the set was too long.

After a lengthy break the show resumed with the first of a trio of legends, the ageless and irrepressible Bobby Rush. Now 88 he said he has been recording for 71 years but he still looks much the same and has the energy of a man half his age. His short but brilliant set began with one of his early songs "Chicken Heads" and an acapella version of his humorous song 'Garbage Man' on which he accompanied himself on harmonica. After an amusing monologue about his long and full life he finished with his Grammy winning 'Porcupine Meat'. It was all too short but great to see him again. Long may he continue to entertaim us as only he can. He is due to play Porretta in July. I can't wait.

Next on stage was the Soul Queen of New Orleans, the wonderful Irma Thomas. I've seen Irma dozens of times and spent many happy evenings at her former club the Lions Den. It"s always great to see her and this time was no exception. She is 82 now but her voice remains magical as she demonstrated on "You Can Have My Husband But Please Don't Mess With Man', her first hit, the exquisite 'Wish Someone Would Care', which she wrote herself, and the up tempo 'Breakaway'. Again her set was far too short.

She made way for probably the greatest living soul singer William Bell. Another age defying singer he still looks and sounds great at the age of 83. His voice is pure and soulful and after a medley which included 'Stand By Me' was quite magnificent on 'I Forgot To Be Your Lover'. What a voice and what a trio of great artists all in the same place. Wonderful.

It was back to solid funky New Orleans music from then on with the next act as the modern face of the city's music was showcased featuring Iván Neville, son of Aaron, on keyboards and Ian Neville, son of Art, and Luther Dickinson of the Mississippi All Stars on guitars. Iván is keeping the spirit of the Neville Brothers alive and was excellent on numbers such as Lee Dorsey's 'Yes We Can' and Professor Longhair's 'Hey Now Baby'. Next up was Bo Dollis Jr of the Wild Magnólia who seemed pretty good but we left at this point after a long night. It was a great night of legendary artists. Too much George Porter perhaps but definitely worth catching.

New Orleans Jazzfest day one

I am back in New Orleans for Jazzfest 34 years after my first visit. I used to attend this huge eclectic festival nearly every year, but as my NO musical heroes passed on one by one I stopped coming and it's been ten years since I was last there. Any thoughts that day one of the festival might disappoint were quickly dispelled. It was a fantastic day with perfect weather and a line up of mostly older acts which was a real pleasure.

First up was zydeco star Geno Delafose who seemed on fine form but I couldn't stay as I had to hurry over to the Blues Tent for Tommy McLain and C C Adcock. Ive seen them several times since they started promoting Tommy's new album 'I Ran Down Every Dream' a year or so ago and really enjoy Tommy's swamp pop with CC's guitar accompaniment and support. This time they were a little disappointing. They started late due to Tommy's keyboard having to be changed and the sound in the big tent didn't do justice to his soft melodic voice.

The following set, the New Orleans Classic Recording Revue, was another matter. It was fabulous,featuring as it did several performers from the sixties who are in or approaching their eighties but still have a lot to offer. First up was Al 'Carnival Time' Johnson. Dressed bizarrely in a robe and what looked like a bishop's mitre on his head with letters AL written on it, he sang two Fats Domino numbers, 'Hello Josephine' and 'Ain't That A Shame' plus his signature song 'Carnival Time'. It was good to see him, as it was with the next act, the very lively Wanda Rouzan who had a hit in 1966 as part of the Rouzan Sisters with 'Men at War'. Other numbers included 'Ooh Poo Pah Doo' and 'Don't You Just Know It'.

Next was a real highlight, Clarence 'Frogman' Henry, in a wheelchair and lacking quite a few teeth but still in fine voice and clearly enjoying himself. He was note perfect on 'But I Do' and 'You Always Hurt The One You Love' and showed he can still 'sing like a girl and sing like a frog' on 'Ain't Got No Home'. Completing the legends slot were the Dixie Cups who were excellent on 'Stand By Me', 'Chapel Of Love', 'Iko Iko' and 'When The Saints'.

Next, on the small Lagniappe Stage were more legends introduced by the swamp pop band the Delta Kings led by Gregg Martinez. After a couple of band numbers including 'Big Chief' he introduced 85 year old Johnnie Allen to the stage. Now using a cane (not for medical reasons but as practice for when he gets old, he said) Johnnie's voice was fine on 'Big Bayou', 'A Lover's Question', his first record 'Lonely Days Lonely Nights' and his surprise (to him) big hit 'Promised Land'. He was followed on stage by T K Hulin, a swamp pop artist known as The King (hence T K) who showed off a surpringly soulful voice on 'Mr Pitiful', 'Warm And Tender Love' and 'To Love Somebody'.

Following on the same stage was Mem Shannon, a late replacement and an excellent blues guitarist and singer whose set included 'Ain't Nobody's Business' and 'Ain't No Sunshine'. From there it was back to the Blues Tent for the ever reliable if slightly predictable Charlie Musselwhite, another music veteran who is a great harmonica player but rather unexciting.

RIP Harry Belafonte & Billy 'The Kid' Emerson

Farewell to one of the great singers, actors and activists of the last century - Harry Belafonte, at the age of 96. There will be many obituaries of the man over the next few days so I won't attempt to summarise his very full life. Except to say that he richly deserves all the praise and attention he will receive. It was a life well lived and his contribution to civil rights and anti-racism is second to none. RIP.

Another nonagenarian who has died, at the age of 97, is Billy 'The Kid' Emerson, who was a member of Ike Turner's band in the fifties and recorded for Sun in Memphis. Born in Tarpon Springs, Florida, his records for Sun included 'Red Hot', which has been recorded by many artists including Billy Lee Riley and Robert Gordon, and 'When It Rains It Pours', which was covered by Elvis. He relocated to Chicago where he recorded for Veejay, Chess and his own Tarpon labels. While there he met Denise Lasalle and there is some interesting material in her autobiography 'Always The Queen' about how Billy became her mentor and manager and how they eventually fell out violently. Billy turned to religion and gospel music in the seventies and became a minister in Illinois.

In what has been a terrible week for nonagenarians the latest to pass on is British rock and roll pioneer Wee Willie Harris at the age of 90. Willie was never the most sophisticated of performers and most of his late fifties records were covers, except 'Rocking At The 2is', but he got himself noticed with his pink hair and brightly coloured suits and he made regular appearances at Tales From The Woods shows in recent years. RIP Willie

April Stevens RIP & Chuck Badie & Otis Redding III

April Stevens, (real name Caroline LoTempio), who has died aged 93, was best known for a series of duets with her younger brother Nino Tempo, but also had solo success in the fifties with records such as 'I'm In Love Again', 'Give Me A Little Kiss, Will Ya, Huh?', 'And So To Sleep Again' and, in 1959, the sexually suggestive 'Teach Me Tiger'. It was her collaborations with Nino Tempo that she will be best remembered for, as they transformed standards into exciting pop songs with innovative harmonies and up tempo backing. Nino was a talented jazz saxophone player who impressed Atlantic boss Ahmet Ertegun when he was backing Bobby Darin in a recording session. This led to Nino and his sister recording a series of successful records for Atco, including 'Sweet and Lovely', 'Deep Purple'. 'Whispering', 'Stardust' and 'The Coldest Night Of The Year'. Later records, for White Whale, included 'All Strung Out', 'The Habit Of Loving You Baby' and 'My Old Flame', plus a revival of 'Sea Of Love' combined with 'Sitting On The Deck of The Bay'for Bell. Later the duo had a Northern Soul hit with 'Wanting You'.

Another death to report is that New Orleans bassist Chuck Badie. His career stretches back to 1950 when he played with Roy Brown and spent time in the Paul Gayten and Dave Bartholomew bands. After periods with the Lionel Hampton band and the New Orleans based American Jazz Quintet he joined up wiuth Harold Battiste when he formed the All For One (AFO) label. He played on many Minit records by the likes of Ernie K-Doe, Irma Thomas, Benny Spellman and Jessie Hill and on Chris Kenner's recordings for Instant. He also played and recorded with Sam Cooke's band for ten months and created the intro for 'A Change Is Gonna Come'. The photo below shows Chuck during one of the panel sessions at the Ponderosa Stomp in 2015.

Sad news too that Otis Redding III, son of one of the greatest soul singers of all time, has died of cancer aged just 59. He appeared at Porretta in 1996 and in 2008 (pictured) and I commented at the time: 'A first for me was Otis Redding III. Although clearly not in the same class as his dad, he’s a pretty competent guitarist and singer who ran through a selection of his hits including a moving version of 'Dreams To Remember' (written by his mother Zelma).' RIP Otis.

Jazzfest according to AI

I will be going to the New Orleans Jazzfest next week - my first visit for around ten years. I first went in 1989 and visited nearly every year for about 20 years, so although there are far fewer acts that I am keen to see this time, I'm sure there will be plenty of things of interest. And of course it's always great visiting New Orleans. My friend's son has been extolling the virtues of Artificial Intelligence so I thought I would test it by asking for the history of Jazzfest. Here's what AI wrote - all in about ten seconds!

'The New Orleans Jazz and Heritage Festival, also known as Jazz Fest, is a music and arts festival held annually in New Orleans, Louisiana, United States. The festival was first held in 1970, and since then has become one of the most iconic and beloved cultural events in the country. The idea for the festival was first proposed by George Wein, the founder of the Newport Jazz Festival, and local radio station owner Fred Kasten. They envisioned a festival that would celebrate the unique cultural heritage of New Orleans and showcase the city's rich musical traditions. The first Jazz Fest was held on April 22, 1970, in Congo Square, a historic gathering place for African Americans in New Orleans. The lineup featured local musicians such as Mahalia Jackson, Professor Longhair, and the Preservation Hall Jazz Band, as well as national acts like Duke Ellington and Fats Domino. Despite some logistical challenges and financial difficulties, the festival was a success, drawing an estimated 350,000 attendees over its 10-day run. In the years that followed, Jazz Fest grew in popularity and expanded its scope to include not just jazz but also blues, gospel, Cajun, zydeco, and other forms of music. Over the years, the festival has featured an incredible lineup of performers, including legends like Aretha Franklin, B.B. King, and Ray Charles, as well as up-and-coming artists like Trombone Shorty, Hurray for the Riff Raff, and Tank and the Bangas. In addition to music, Jazz Fest also features a wide range of food vendors, arts and crafts vendors, and cultural exhibits. Despite its success, Jazz Fest has faced some challenges over the years. In 2005, the festival was canceled due to the devastating impact of Hurricane Katrina on the city of New Orleans. However, Jazz Fest returned in 2006, and has continued to thrive in the years since. Today, the New Orleans Jazz and Heritage Festival remains one of the most important cultural events in the United States, drawing hundreds of thousands of visitors to the city each year. Its focus on celebrating the diverse cultural traditions of New Orleans and Louisiana has made it a beloved institution for music lovers and cultural enthusiasts around the world.'

Errol Dixon RIP

A music death that seems to have gone under the radar somewhat is that of Jamaican/British singer and pianist Errol Dixon, who died while on a visit to Jamaica on January 31. Born in Clarendon Parish, Jamaica, in 1939 Errol came to the UK in 1957 and recorded several blues influenced ska records in the early sixties for a variety of labels, including Blue Beat, Island, Carnival, Oriole, Rainbow and Ska Beat. These included 'Midnight Train' (a hit in Jamaica), 'Bad Bad Woman', 'Rocks In My Pillow' 'You're No Good' and 'I Need Someone To Love'. He was a member of the Ram Jam Band prior to the arrival of Geno Washington and may have recorded 'Shake Shake Senora' with them in 1965, although the label references Geno. His material moved towards blues and soul and his recording of 'True Love Never Runs Smooth', produced by Mike Vernon and released on Decca, is deep soul at its best. He also recorded an EP of Fats Domino songs for Decca. Errol formed the 'Big City Blues of Errol Dixon', with musicians from Chicken Shack, including Stan Webb and Andy Sylvester, and recorded 'Blues In The Pot' - one of the best British blues records of the sixties, again produced by Mike Vernon. The album included several instrumentals showing off Errol's keyboard skills, and his 'Back To The Chicken Shack' was a homage to Amos Milburn. Sleeve notes mention the influence of blues pianist Lloyd Glenn on Errol, along with his similarity to artists such as Nappy Brown, Charles Brown, Johnny Otis and Louis Jordan. Later in 1969 he recorded an album of piano blues for Transatlantic called 'That's How You Got Killed Before'. In the seventies he recorded a number of blues albums for Swiss and German labels, including 'Blues Is Trouble' , 'In The Groove' and 'Listen To the Blues' and at some point moved to Switzerland. Other albums included 'Mr Boogie Woogie' and 'Boogie Woogie Party'.

Memories of Shakedown Blues

I am indebted to Tony Burke for forwarding to me an article that appeared in a local Peterborough magazine entitled 'Shakedown Blues - end of an era'. This told the story of the regular blues shows that were organised by Gerard Homan for many years, which saw American and British blues artists appear in a village hall near Peterborough. The article told how Gerard organised his first show way back in 1965 and how, with a hiatus in the middle, these shows continued for over 50 years. Gerard died in 2018 but his co-organisers Martin Chillcott and Ian Sheldon continued to put shows on until deciding recently to bring them to an end. The early shows included artists such as Alexis Korner, the Artwoods, Champion Jack Dupree, Juke Boy Bonner, Arthur Big Boy Crudup and Mississippi Fred McDowell while more recently performers have included Lazy Lester, Maria Muldaur, Texas Johnny Brown, Little Willie Littlefield, Doug Macleod and Big George Brock. The shows attracted visitors not just from the local area but from much further afield. Living in London at the time I went there only once, in January 2007, to see Artie 'Blues Boy' White and Travis 'Moonchild' Haddix. I was accompanied by two attractive black women - my late girlfriend Maxine and one of her friends - and they turned heads as we arrived at the village hall. According to Dave Carroll I failed to mention in the report I wrote for The Vinyl Word a 'delightful cameo at the gig when he assumed the role of Richard Pryor as Daddy Rich and arrived with a Pointer Sister on each arm.' Here they are with Travis (Maxine is on the right).

Here's the review, which on reflection is somewhat uncharitable as I later learned that Artie had suffered a stroke and was jet lagged. 'It's not easy turning an English village hall into a Mississippi juke joint but it nearly happened at the Longthorpe Memorial Hall in Peterborough last night. Former Ichiban blues men Artie 'Blues Boy' White and Travis 'Moonchild' Haddix put on a show which would not have been out of place in Chicago or the deep south, with off colour jokes from a bemused looking Artie and searing guitar from Travis, and the locals were politely enthusiastic. Not many people could get away with wearing a bright pink jump suit on stage and Artie isn't one of them. He was far from dynamic, sitting on stage like an immobile Mr Blobby, but his deep soulful voice carried him through, as did his slightly lewd stories. Travis, meanwhile, bounced around beside him and showed that he is an excellent guitarist and blues singer. They were well supported by the Mike Carr Allstars, whose jazz routes showed through at times but who proved themselves well able to transfer their talents to the blues. Travis, who is from Cleveland, said that he had never played with Chicago-based Artie prior to the show the previous evening in Stamford, but you wouldn't know it. They seemed like old friends, even if Artie did seem to be in a trance most of the time. This was my first visit to one of the Shakedown blues gigs in this unlikely corner of the UK, but full marks to promoter Gerard Homan for putting the shows on and attracting blues artists of the first rank. I will definitely go again.' Sadly I didn't go again as, having moved to Hampshire, the distance was just too great. A great memory though.