Browsing Category Music

Review: New Orleans Jazz & Heritage Foundation’s Tom Dent Symposium: Culture and Regulation

Posted on April 5, 2013 by staff

Slide from David Woolworth’s presentation

Opening the New Orleans Jazz and Heritage Foundation‘s Tom Dent Congo Square Symposium series, the foundation’s Scott Aiges begins with a call to “turn down the heat,” at least for one evening. Amid continued rancor over permitting for live music venues, says Aiges, the Jazz and Heritage Foundation decided to focus tonight’s event on the experiences of other cities, and on New Orleans’ historical precedents.

Councilwoman Kristen Palmer takes the podium first and presents a power point on recent efforts to work with venues and neighborhood organizations. The Candlelight Lounge in Treme, Bacchanal in the Bywater, Congo Square, the Backyard Ballroom on Poland Avenue, the Mother-in-Law, an expanded House of Blues—all examples of government’s successful intercession in the name of live music and community. We wonder: what were the total taxes collected by the City in 2012 from those establishments? If we set aside the cultural import, and simply ask about the responsibilities of city-to-businesses, how cost effective were those efforts? How many man hours were expended and how robust is each of these cultural revenue generators, as pieces of the cultural economy? How much do they contribute to the general fund? Despite the cries of a “war on live music,” a lot of time is being spent on these small businesses, and it would be good to hear about the money, not simply the spiritual necessity for protecting such spaces. That’s what cultural economy is all about.

Film Fest Edition 2012: Meschiya Lake & Louis Michot (Video)

Posted on January 8, 2013 by staff

For the 2012 New Orleans Film Festival, we brought together two rising stars in Louisiana music for a conversation at the Louisiana State Museum’s beautiful new venue at the Old U.S. Mint. Singer/songwriter Meschiya Lake and Lost Bayou Ramblers frontman/fiddler Louis Michot spoke with People Say Creative Director Brian Boyles about their careers and their involvement in recent films (Meschiya w/True Family, Louis with Beasts of the Southern Wild). Part of the festival’s Keeping Score series, the conversation covered everything from Cajun Pawn Stars to busking to issues of authenticity and cultural economy.

Thanks to Greg Lambousy at the State Museum, DJ Maxmillion for the opening set, and Jolene Pinder of NOFS for another year of partnership.

Filmed by the State Museum & Grant Ingram, audio by Steven Grace, edited by Jarret Lofstead for NOLA Fugees Press/Productions.

Rabbits and Reggae Salesmen: Voodoo Sunday

Posted on November 1, 2012 by staff

Before today, Amy Garner of Alexandria had never heard of bounce music or Cheeky Blakk, but she tells me she likes it. On the final afternoon of Voodoo Festival, she has time to listen.

“I’m still having people ask, ‘Where’s the bunnies?’”

Garner works for Mitchell Brothers and Sons, the Slidell-based amusement company that provides the ferris wheel, roller coasters, and carnival games that fill the festival’s “midway.” From a distance, her stand looks like any you’d see at a county fair: a square of wire mesh fencing, about three feet high, with a cluster of stuffed animals dangling from a multi-colored vinyl roof. Inside, ping pong balls float between plastic lilly pads in a blue kiddie pool. The wood chips on the ground tip you off to the stand’s former occupants.

Amy Garner. Photo: Sergio Lobo-Navia

On Friday night, after rewarding at least 8 winning contestants with live rabbits for successfully landing balls on pads, Amy received word from Voodoo that she needed to remove the animals from her selection of prizes. Left rabbit-less and with her booth sign inexplicably torn down, she earned $15 on Saturday, only $10 so far today. As we talk, people keep stopping by to ask where the rabbits are. Reports on NOLA.com after the first day sparked interest, says Garner. During our interview, three different visitors walk up, make inquiries, and walk away disappointed. “I had people that night that said ‘We’ll be back tomorrow, we’re gonna come get a bunny and leave.’”

Grant punctuates her sentences with a slight arch of her eyebrows and pursing of her lips, as if to ask, “I’m mean, really?” She says everyone has the right to their own opinion, but that she’s an animal lover and that no one was mistreating these animals.

“You could be drunk or high and go to a pet store,” she argues. Behind us, Cheeky Blakk is killing it: “Hit it with the one eye/hit it hit it with it!”

The People Say Project 1.8 Holiday Shakedown w/ Dee-1 & George Porter, Jr

Posted on December 19, 2011 by editors

We closed out 2011 with a Holiday Shakedown, featuring the legendary George Porter, Jr. (Meters, Running Pardners) and rising star Dee-1.

Recorded at the Maison, 12.17.11

The People Say 1.6 Film & Music: Ben Jaffe & Gabriel Velasco

Posted on October 28, 2011 by editors

Co-sponsored by The New Orleans Film Festival, Ben Jaffe (Creative Director, Preservation Hall, Producer, Louisiana Fairytale) and Gabriel Velasco (Composer, La Hora Cero, Henry Rollins: Uncut from New Orleans) discuss the business of scoring film.
Recorded live @ the Louisiana Humanities Center, 10.18.2011

Gabriel Velasco Biography

Posted on October 24, 2011 by clodonn0388

In 1980 Gabriel Velasco was born to a Cuban father and Venezuelan mother in Florida, where he lived until he was two. He was raised in Caracas, Venezuela. Here he began his musical education, which was greatly influenced by his brother, with the guitar and drums. He began his professional music career after arriving in the United States at seventeen.

               Velasco moved to New Orleans to experience the unmatched degree of musicianship of the city. At the University of New Orleans Velasco received his formal musical education, and graduated with a music degree from the school’s Jazz Program. The artist studied under many talented musicians, including Terence Blanchard, Steve Masakowski, Michael Pellera, Ed Petersen, Harold Batiste, Matt Lemmler, Jason Marsalis, Ricky Sebastian and Johnny Vidacovich. The music Velasco composes and plays is often influenced by his diverse background, as well as elements like family, friends, nature, and art. About his work, the musician has said, “Given my heritage, my inspiration and influence for music is now defined by the understanding that music serves as a vital tool for communication and life. Music often expresses that which cannot be said or written into words.”

               Currently, Velasco lives and works in New Orleans. He has played percussion in bands like Government Majik, E.O.E, Otra, Vivaz, and Los Poboycitos. The musician has performed on the stages of many infamous venues, such as the New Orleans Jazz Fest, the Heritage Festival, and the Las Vegas Casino Strip. In 2005 he transitioned into film. Concerning this crossover Velasco said, “I think the only [difficult] transition was to become story-driven, serve the director's needs in accomplishing his/her vision, and to tell a story with minimum distraction and maximum effectiveness.”His music can be heard in the short film “Day Shift,” which won Best Soundtrack at the Gotham City Film Festival in New York. Also, his work is featured in Henry Rollins Uncut: New Orleans, as well as La Hora Cero, the highest grossing movie in Venezuelan history.

Alex McMurray and Truth Universal: Culture, Money, and Music in New Orleans

Posted on May 10, 2011 by Chris Kehoe

Truth Universal and Alex McMurray are both veterans of the New Orleans music scene, and discussed living and working as musicians in New Orleans at The People Say Project’s live event. Truth Universal is a seasoned performer in New Orleans’ underground rap scene, while McMurray has been performing as a guitarist and vocalist for 20 years. Two performers from such different music scenes gave a variety of perspectives on living and working as a musicians in New Orleans.

The event started with Truth and McMurray talking about first getting into the music scene. McMurray talked about starting in out in college in the 80′s, and being so poor at one point that he nearly sold his guitar, until he was saved by getting a job in a gospel band. He went onto tell how he got his first real gig at the New Orleans’ music club; The Dragon’s Den by bluffing the owner and how that led to the name of his band.

Truth gave a snapshot of the underground rap scene in the 90′s. He also talked about the making his first mix-tapes and giving them out for free as a way to promote himself.

McMurray also talked about Chazfest, a music festival of local musicians that goes on during Jazzfest and is in many ways the antithesis of the commercialized Jazzfest. McMurray, along with his wife and several other musicians, started Chazfest after Katrina. Chazfest was created to give a cheap alternative to Jazzfest. McMurray also discussed how setting up and booking the festival has made him sympathetic to concert promoters.

Alex McMurray and Truth Universal’s discussion on culture, money, and music in New Orleans gave two very different perspectives on what it is like to live and work as a musician in the city. But the common thread that the two shared was how each of them generated a grass roots following through the self promotion of their music.

Chazfest Twenty-Eleven

Posted on May 9, 2011 by Justen Cheney

Each year, strategically scheduled between the two consecutive weekends of the New Orleans Jazz Festival, Chazfest is held in the ninth ward and is home to both local musicians not afforded a place on the jazzfest roster and fans that are sick of being financially insulted by it’s unwarranted ticket prices.

This year, the beautiful Chazfest site, which is located in the New Orleans bywater on St. Claude Avenue in between Montegut and Clouet Street, was host to such local acts as the Valparaiso Men’s Chorus, King James and the Special Men, Helen Gillet, Schatzy, Narcissy, and many many more.

The festival, which was organized by several New Orleans musicians, including Alex McMurray, is intended specifically to serve as an alternative to Jazzfest. For more information, visit the festival’s website, and if you’ve never had the opportunity to make it to an annual Chazfest, be sure not to miss out next year.

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From the Backyard to the Web: Chaz Fest

Posted on May 8, 2011 by klvillav

How much of what you read on the Internet has a direct influence on your daily choices? Do you take bad restaurant reviews whining about lukewarm entrées and grumpy waiters to heart or do you dub the commenters as persnickety nobodies with too much time on their hands? Would you buy a book or attend an event just because of the abundance of Facebook “likes” and “fans” next to its link? With the Internet, especially social media, taking over how grow as a culture, interviews reviews often have a big impact on the very success of a product, event, or even a single person. In this article we will discuss how the Chaz Festival matches up with the New Orleans Jazz Festival in regards to conversations and reactions via the web.

If you’ve read any entries on this site regarding Alex MCmurray, the singer/songwriter recognized as “the embodiment of the downtown New Orleans lifestyle,”* you’ve probably heard about “Chaz Fest”—a 10 hour event of nonstop music and culture founded by McMurray to celebrate local artists unable to make the New Orleans Jazz and Heritage Festival roster. So how does this localized grassroots gig match up to the big time event attractive to both locals and visitors from around the globe? Lets first take a look at the brief history of the festival and move into how it is has gained reputation on the Internet. (*Source: alexmcmurray.com)

Named after washboard genius “Washboard” Chaz Leary, the Chaz festival began just after Hurricane Katrina when many local artists were “frozen out” of the New Orleans Jazz Fest lineups. Many believed the big festival had slowly drifted from its roots of artistic celebration and unfortunately evolved into an over-priced and commercialized event. While many New Orleans’ artists had claimed the Thursday event days as their own, this day had been cut from the schedule all together that year. Refusing defeat, rejected artists gathered outside the fairgrounds at what is known as the “Truck Farm”: four houses of which were quickly transformed into recording studios, party venues, and concert stages for the local musicians. (These houses are owned by: Trina Shoemaker (Grammy-winning producer), Karen Brady (former manager of the legendary Kingsway recording studio), David Pirner (of the band Soul Asylum) and Jeff Treffinger (a producer and engineer.) The event has since grown into a full-blown musical festival complete with permits, volunteers, food stands, and of course great jazz music.

So is the festival just considered a success to the families and friends of the “uninvited” local musicians? Absolutely not. Whether taking a break from the crowds of Jazz Fest or skipping the big event altogether more visitors find their way into grassroots experience each year as it gains more recognition and even more coveted artists. This years event garnered great reviews:

One member of www.nola.com wrote: “Been to every one of them and its truly one of the greatest annual events we have in New Orleans…Alcohol selection is far superior to Jazz Fest.” Another remarked about the hype which has grown over the years for the event: “I’ve heard good things about this shindig, but I’ve been living away for a while and haven’t been able to get a first hand experience…that is until this year.” Some spoke of their appreciation for the laidback atmosphere surrounding the Chaz fest: “Go on by, take your shoes off, enjoy some music & meet the neighbors” only going on to point out “That, in & of itself, is a vanishing American Tradition, kept alive here by these intrepid & friendly people.”

On yelp.com, a New Orleans native wrote: “It was like paradise for hipsters young and old.” Facebook fans of the event also had their fair share to say about the event this year: as one fan wrote: “Thanks everyone for all your hard work and giving us one of the best days of the year!” as others dubbed it the best Chaz Fest to date. The Chaz Fest Facebook group enjoys 721 “likes”, 20 Facebook check-ins (this year) and 68 followers on Twitter.

If you attended Chaz Festival this year or you plan to head over for your first time next spring, make sure you to help raise awareness for the event by joining in the conversation whether its commenting on your anticipation for next years lineup, uploading a mobile photo of the event or even simply tweeting how it feels to be a part of the new Orleans musical grassroots movement.

For more information on Chaz Fest such as lineups and updates click here.

To become a Facebook fan of the Chaz Fest click here.

To follow Chaz fest on Twitter click here.

For pictures of this years Chaz Fest click here. (courtesy of Flickr and Offbeat Magazine.)

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Cultural Economy?

Posted on May 8, 2011 by jmgriff1

At the LEH’s The People Say Project that featured Truth Universal and Alex McMurray, the conversation, moderated by host Brian Boyles, included a discussion on Mayor Mitch Landrieu’s development of the city’s “cultural economy.” What is this project and what are the Mayor’s goals for supporting New Orleans’ culture? Can the local government successfully implement programs to assist the musicians, artists, filmmakers and writers of the city?

On April 28, 2011, Landrieu gave his State of the City address which included a tangent on cultural economy:

“The positive economic momentum is growing every day. Our cultural economy and tourism industry continue to thrive. More than one million revelers celebrated one of the biggest and safest Mardi Gras seasons the city has seen. Huge crowds came out for French Quarter Fest and we are gearing up for another amazing Jazz Fest, Zurich
Classic and Essence Festival. New Orleans is one of the leading centers in the world for the intersection of culture and commerce.

The cultural economy in New Orleans employs 12.5 percent of our workforce – 28,000 jobs – pays $1.1 billion in wages, drives our tourism industry, and nets $8.6 million in local sales taxes, contributing to the life of the city both culturally and economically.

Film is also becoming another major economic engine. In the last year, the city played host to 35 feature films that produced $360 million in revenue for the region. We have earned the nickname “Hollywood South” and, in just the past four months, we have already surpassed last year’s economic impact. At this very moment, nine more movies are in production in your city.”

Landrieu acknowledges the important economic impact this sector of the economy plays in New Orleans. He did not propose any specific programs to further invigorate the cultural economy; rather, he extols how profitable the cultural field is for the city. If Landrieu realizes this economy is significant and seemingly long-lasting, then government programs that support the underpaid artists who create such an economy should be created. Andrew Vaught of Cripple Creek Theatre Company suggested that the many empty spaces that populate New Orleans should be remodeled for artists to use.

Despite the lack of specific announcements, perhaps plans are still in the works. Landrieu’s office does include a position that that will, in part, oversee the cultural economy. According to NOLA.com, Judy Morse will “manage policy development and strategic planning for economic development, education, social innovation, international affairs, coastal and environmental affairs, and the cultural economy.”

A few years before this speech, in December 2004, the Mayor organized Louisiana’s first cultural economy conference. The press release states, “the primary goal of this historic two-day event is to engage attendees in a discussion of the strengths, weaknesses, opportunities and challenges associated with developing a business infrastructure that can add value to arts and cultural enterprises across the state. Areas to be covered include visual art, film, music, performing arts, culinary arts, design, and others.”

This goal realizes the key obstacle in this pursuit of developing a cultural economy: how to add a scaffolding of commerce to the amorphous, unpredictable artistic scene that encompasses a diverse range of expressions. With money short for Louisiana’s various art initiatives, having drastically been cut, on what funding do these proposals hope to build? Will the state only generously support the arts when it is guaranteed a portion of any profits? The role of the government should not be to commodify art and its practitioners but support them in as my ways as possible so that the role of artist can be sustained in New Orleans.

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Sea Chanties: McMurray on the High Seas

Posted on March 14, 2011 by kellerfisher

Alex McMurray is not new to the music scene, but neither are sea chanties or “shanty”. Thought to originate from the 15th century, only those sung on the steamboats of the 19th and 20th century had survived to be sung today. However, they were sung on the high seas in order to break the monotonous lap of the sea and the songs also provided a rhythm for the seamen toil and work to. In some cases, like in her majesties Royal Navy, singing was banned aboard vessels as it was believed they would not allow for commands to be heard. Sea chanties incorporate quite a few different cultures and styles into their lyrics and rhythm. Some of these include galliards, West-African work songs, polkas, waltzes, blues and folk songs.

Sometimes these were sung in different fashions, an example is the “call and response” shanty, in which the chantyman would sing a line and the sailors would call out in a response in unison. Here is a short list of other styles of sea chanties taken from wikipedia:

Long-haul (also called “halyard” or “long-drag”) shanties: Sung when a job of hauling on a line was expected to last a long time, hoisting topsails, for example. Usually there are two pulls per chorus as in Way, hey, Blow the man down! Examples: “Hanging Johnny”, “Blow the Man Down.”
Short-drag (also called “short-haul”, or “sheet”) shanties: Sung when a job of hauling on a line was expected to be quick but required great force. These are characterized by one strong pull in each chorus as in “Way, haul away, haul away Joe!”. Examples: “Boney”, and “Haul on the Bowline.”
Capstan Shanties: Raising the anchor on a ship involved winding the rope along a giant winch, turned by sailors walking around it. Capstan shanties are anchor-raising shanties. They are typically more “smooth” sounding than other types (no pulling required) and, unlike many other types of shanties, frequently have a full chorus in addition to the call-and-response verses. Examples: “Santianna”, “Paddy Lay Back”, “Rio Grande”, “South Australia”, “John Brown’s Body” (adapted from Army marching song).
Stamp-’n'-Go Shanties: were used only on ships with large crews. Many hands would take hold of a line with their backs to the fall (where the line reaches the deck from aloft) and march away along the deck singing and stamping out the rhythm. Alternatively, with a larger number of men, they would create a loop—marching along with the line, letting go at the ‘end’ of the loop and marching back to the ‘top’ of the loop to take hold again for another trip. These songs tend to have longer choruses similar to capstan shanties. Examples: “Drunken Sailor”, “Roll the Old Chariot”. Stan Hugill, in his Shanties from the Seven Seas writes: “(Drunken Sailor) is a typical example of the stamp-’n'-go song or walkaway or runaway shanty, and was the only type of work-song allowed in the King’s Navee (sic). It was popular in ships with big crews when at halyards; the crowd would seize the fall and stamp the sail up. Sometimes when hauling a heavy boat up the falls would be ‘married’ and both hauled on at the same time as the hands stamped away singing this rousing tune.”
Pumping Shanties: All wooden ships leak somewhat. There was a special hold (cargo area) in the ships where the leaked-in water (the bilge) would collect: the bilge hold. The bilge water had to be pumped out frequently; on period ships this was done with a two-man pump. Many pumping shanties were also used as capstan shanties, and vice versa, particularly after the adoption of the Downton pump which used a capstan rather than pump handles moved up and down. Examples include: “Strike The Bell”, “Shallow Brown”, “Barnacle Bill the Sailor”, “Lowlands”.
Fo’c's’le (Forecastle) Songs, Fo’castle Shanty (Chantey) or Forebitters: Shanties (Chanteys) are worksongs and were sung only for work. However, sailors also sang for pleasure in the fo’c's’le where they slept or, in fine weather, gathered near the fore bitts (large posts on the foredeck). Examples include “Spanish Ladies” and “Rolling Down to Old Maui”. While songs with maritime themes were sung, sea songs were not the only sort sung off watch.
Menhaden Shanties: These are work songs used on menhaden fishing boats, sung while pulling up the nets. Typical examples are “The Johnson Girls” and “Won’t You Help Me to Raise ‘Em Boys”.

None of these categories are permanent and could be altered by the chantyman at any point. The shantyman was a sailor who led the others in singing. He was usually self-appointed. A sailor would not generally sign on as a shantyman, but took on the role in addition to their other tasks on the ship. Nevertheless, sailors reputed to be good shantymen were valued and respected.

A Sea Chanty by Alex McMurray

Citations:

http://en.wikipedia.org/wiki/Sea_chanties

The People Say 1.1 Music: Alex McMurray & Truth Universal

Posted on March 8, 2011 by editors

In our first installment, two veteran musicians discuss their careers in New Orleans.

Recorded at the Louisiana Humanities Center, 02.22.2011

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“Protect and Serve” & Police Accountability

Posted on February 22, 2011 by becmrd

In Truth’s music video “Protect and Serve” Truth expresses how he experienced altercations with the New Orleans Police Department in his earlier years while living here. He continues to support police accountability and believes that police should be responsible for their actions. His life growing up in New Orleans and his strive to express his life in his music is presented here in a cumulative collaboration of information gathered from the web.

Truth is originally born Tajiri Kamauin in Diego Martin, Trinidad; he moved to the Big Easy in 1977 at age four. Initially wanting to DJ, he dove head first into hip-hop culture in the mid-‘80s. His parents’ tastes in political reggae and calypso, including that of Mighty Sparrow, Calypso Rose, and Bob Marley, informed his hip-hop collection and guided him towards artists influenced by the Islamic Five Percent Nation.

Truth uses personal experiences and observation to put this professional educational analysis into perspective. On the creation of the song and video Truth says, “I’ve been through quite a bit with police growing up in New Orleans. I’ve had firsthand experience with everything from outright harassment and assault, to wrongful incarceration at the hands of NOPD officers. It’s easy to write an F…The Police (anti-police) song being Black, (to whatever degree) disadvantaged, and a resident of New Orleans. I wanted to bring something different to the table, and I feel I accomplished that by presenting the incidents in the song, questioning police motives, and attempting to intelligently answer those XXXX questions.”

Truth Universal’s “Serve & Protect” music video is heavy on the content and visuals depict a gripping companion piece. Protect and Serve focuses on police accountability and examines the roles of police forces in the United Sates and around the world. The song is based on the book, The Velvet Glove and the Iron Fist: An Analysis of U.S. Police by Tony Platt et al. The book is a highly informative history and now classic analysis of the U.S. police from a critical perspective. It addresses all aspects of the subject, from special weapons teams and political surveillance to pacification programs and women on patrol.

Truth cites October 22^nd as the National Day of Action Against Police Brutality and Terrorism. In honor of this day, he has released his music video Protect and Serve just in time. The October 22 Coalition to Stop Police Brutality, Repression and the Criminalization of a Generation has been mobilizing every year since 1996 for a National Day of Protest on October 22, bringing together those under the gun and those not under the gun as a powerful voice to expose the epidemic of police brutality. http://www.october22.org/index.html

Police accountability involves holding both individual police officers, as well as law enforcement agencies responsible for effectively delivering basic services of crime control and maintaining order, while treating individuals fairly and within the bounds of law. Police are expected to uphold laws, regarding due process, search and seizure, arrests, discrimination, as well as other laws relating to equal employment, sexual harassment, etc. In a democratic society, the political process and elected officials serve to keep the police accountable and that they reflect the “will of the people”. In turn, holding police accountable is important for maintaining the public’s “faith in the system”.

Truth has dedicated this song to all of those who have been wrongfully victimized by police. Most of all, this song and video is dedicated to those innocent citizens who have lost their lives at the hands of the police.

Citations:

Universal, Truth New Orleans Hip Hop Artist Universal’s ‘ Protect and Serve Video Release Tuesday, October 26, 2010 readersupportednews.org/…/3737-new

en.wikipedia.org/wiki/Police accountability

music.aol.com/artist/truth-universal/biography

http://www.october22.org/index.html

Chaz Fest Vs. Jazz Fest

Posted on February 21, 2011 by Chris Kehoe

Alex McMurray started Chaz Fest as an alternative to New Orleans’ Jazz Fest. In 2006 Alex and other local musicians were left without gigs in Jazz Fest, so Alex decided to create a festival that showcased the talents of real New Orleans called Chaz Fest. Named after local musician, Washboard Chaz, Chaz Fest is an alternative to Jazz Fest in almost every way. Jazz Fest is crowded, expensive, and commercialized. Where as Chaz Fest is held at a small, personal venue, tickets only cost $20, and all of the acts are have cut their teeth living and working in New Orleans. Chaz Fest is the festival for someone who wants to find real New Orleans music in a real New Orleans venue.

CHAZ FEST:

[Show as slideshow]

VS.

JAZZFEST:

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