FOR THE RECORD

A new beat in Big Easy

New Orleans musicians are thriving on hot sounds

NICHOLAS JENNINGS May 22 1989
FOR THE RECORD

A new beat in Big Easy

New Orleans musicians are thriving on hot sounds

NICHOLAS JENNINGS May 22 1989

A new beat in Big Easy

New Orleans musicians are thriving on hot sounds

FOR THE RECORD

Steeped in voodoo lore, New Orleans has a reputation for casting a spell on visitors. Known to its residents as “the Big Easy,” the city has a tropical climate and a French and Spanish colonial history that give it an atmosphere unique in North America. Tourists are charmed by its annual Mardi Gras festivities and its world-famous Cajun cuisine. But for many people, music provides the city’s most potent magic. Although it has long been associated with such traditional styles as Dixieland, New Orleans also produced some of the liveliest rhythm and blues of the 1950s. Later, its musicians provided rock 'n’ roll with exotic flavorings. Now, the city is experiencing a musical boom that extends from jazz to such regional forms as zydeco. Earlier this month, as it celebrated the 20th anniversary of its popular Jazz and Heritage Festival, New Orleans artists presented a feast of recordings on major labels. And the best, Yellow Moon, by the veteran Neville Brothers, is a musical gumbo that draws heavily on local styles.

Produced in New Orleans by Canada’s Daniel Lanois, whose credits include albums by U2, Peter Gabriel and Robbie Robertson, Yellow Moon promises to introduce The Neville Brothers to a new, wider audience. The four siblings—Art, Aaron, Charles and Cyril—have long attracted an ardent following with their mix of rugged rhythms and tender vocals. Such early albums as The Wild Tchoupitoulas and Fiyo on the Bayou, rooted in infectious Mardi Gras chants, Afro-Caribbean rhythms and voodoo mysticism, achieved cult status. But aside from Aaron’s 1966 ballad, Tell It Like It Is, the band has never had a hit record. And its commercially oriented 1987 album, Uptown, was widely criticized for abandoning the Neville heritage. Lanois, whom the group now refers to as its “shaman,” was a sympathetic ear. Said Lanois: “The Nevilles have wonderful vocals, a strong sense of tradition and one of the best rhythm sections in the world. I couldn’t say no to that.”

Yellow Moon is a confident return to the band’s roots. The title track, in which Aaron sings of his desperate search for a creole woman, blends a wailing, sensuous saxophone with a throbbing reggae beat. The densely rhythmic Voo Doo is a lament about being caught in a lover’s trance. And the spirited marching-band music of Wild Injuns throws the listener headlong into

the giddiness of a Mardi Gras parade.

But some of Yellow Moon’s best songs cover new ground. Sister Rosa is a rap-song tribute to Rosa Parks, the black woman who helped to spark the civil rights movement of the 1960s by refusing to give up her seat in the whitesonly section of a bus in Montgomery, Ala. And the Nevilles have chosen to record several classic songs from that era. They give a fresh political slant to Sam Cooke’s gospel-tinged A Change is Gonna Come and to Bob Dylan’s morality song With God on Our Side, both of which feature Aaron’s fluttering, soaring tenor. And the group takes The Ballad of Hollis Brown, Dylan’s chilling tale of rural poverty, and casts it in the spooky atmosphere of a bayou swamp. Each song is starkly arranged, with a clean, uncluttered sound—a Lanois trademark. Shimmering with mystery and beauty, Yellow Moon should be the record

to finally bring the Nevilles out of eclipse.

Another veteran of New Orleans music, Dr. John, is himself gaining a higher profile. Born Mac Rebennack, Dr. John enjoyed fame in the late 1960s as the voodoo priest of psychedelic rock. But later, after he dropped that image— and focused on his jazz and blues-based piano style—his career went into decline. Now, Dr. John is back with a genial collection of jazz standards, In a Sentimental Mood, which features the artist at his unabashedly romantic best. Dr. John is also featured on two other recordings by New Orleans artists: The Dirty Dozen Brass Band’s eccentric Voodoo and Harry Connick Jr.’s classy 20. The Dirty Dozen, recently called the “hot” new jazz group by Rolling Stone magazine, put a crazy spin on the marching-band tradition. And Connick, who sings like a young Frank Sinatra and plays freewheeling stride, blues and boogiewoogie piano with shades of Duke Ellington,

is—at 21—already a major jazz talent.

The birthplace of jazz, New Orleans has spawned scores of artists and a wealth of musical forms. Currently, the accordion-driven styles of Cajun and zydeco music are experiencing mainstream acceptance. And major-label releases by such artists as Buckwheat Zydeco, Wayne Toups, Jo-El Sonnier and especially Zachary Richard attest to the crossover potential of that sound. For Lanois—who is now producing an album for Dylan and recording his own Louisiana-inspired album, titled Acadia, in his New Orleans studio—the reason for the appeal of all New Orleans music is simple: rhythm. Said Lanois: “It’s one of those things that, once you hear it, you just can’t shake.” From its spicy melting pot of cultures, New Orleans continues to serve up some sizzling sounds.

NICHOLAS JENNINGS