This is an open-ended blog ranging from news about my latest gigs and publications
to ruminations about politics, world affairs, culture and whatever piques my interest—or ire.
Contact: tomsancton@yahoo.com
Showing posts with label New Orleans. Show all posts
Showing posts with label New Orleans. Show all posts

Monday, November 7, 2022

GOING HOME: Remembering Mike Duran, 1949-2022

I first met Mike on a baseball field. We played together on a New Orleans youth team sponsored by Carrollton Refrigeration, whose name was emblazoned on the backs of our blue-and-white uniforms. We were champions of the 11-year-old league that year. Mike was a star. I was a bench warmer. We became best friends and stayed best friends over the next six decades. And baseball remained our shared passion. In a city that had no professional team, we had to find somebody else to root for. Naturally, we chose the Yankees.
    The next year saw the legendary home run race between Roger Maris and Mickey Mantle as they chased Babe Ruth’s record. Mike and I followed every game, clipped every newspaper article on the M&M twins and glued them in scrapbooks. It was a great bonding experience, though we were fiercely competitive about who had the best book. We also tri ed to emulate our heroes by playing home run derby using a wiffle bat and, for some reason, a crumpled-up wad of aluminum foil as a ball. We usually played on Burdette Street, in front of Mike’s house, or in the driveway of my Aunt Pat’s house on Vincennes. Mike usually won—but not always. I can still hear the thwack of that yellow plastic bat connecting with the aluminum foil ball. (Years later my Aunt Pat found one of our balls in the gutter of her garage, blocking the downspout.)
    When we were not playing baseball, we roamed the neighborhood on hot summer afternoons looking for interesting things to do. We terrorized birds with our Whammo sling shots and left quite a few dents in the stop signs along Fontainebleau Drive. We spent a lot of time in the air-conditioned oasis of Gravois’ Pharmacy on Carrollton and Walmsley, across from Lafayette School. We would read Superman and Batman comics from their newsstand and sip Barq’s root beers and Chocolate Soldiers. It was also at Gravois’ that we bought our first Duncan yo-yo’s and learned all the cool tricks that would become another object of our friendly competition: Walk-the-Dog, Around-the-World, Loop-the-Loop…
    But the main attraction of Gravois’, besides the AC, was the baseball cards that we would buy by the dozen. We would eagerly tear open the packs, stuff the enclosed chewing gum into our bulging cheeks, and argue over who got the best cards: “I got Yogi Berra, that’s ten times better than your Bobby Richardson!” “Says who? I got Stan Musial and Rocky Colavito!” We both wound up with large collections—and yes, we both got Mickey Mantle and Roger Maris that year—but we stupidly played games with our cards, stand-up, knock-down, closies, that left them creased with rounded edges and made them worthless. Our most prized cards were spared that indignity but, as was often the case, our mothers eventually threw them out. (At least mine did, maybe Mike’s survived.) We were inseparable friends in those days, as close as any brothers, closer than some. I remember something Mike said back then that always stuck in my mind: “Maybe some day our kids will play together.”
    Those years passed quickly. Mike and I went to different high schools, Jesuit for him, Ben Franklin for me. We would occasionally run into each other at dances or a local hamburger joint like College Inn or Bud’s Broiler, but as we advanced into our late teens we sort of drifted apart. And when time came to go off to college, our paths diverged more sharply: Mike, largely at his father’s urging, went to the Naval Academy, while I (at my father’s urging) went to Harvard. I remember a brief phone conversation with him just before we both left town. “Maybe we’ll meet at a football game,” he said. “Yeah, Mike, that would be great,” I replied. Neither of us probably realized at the time that a puny Ivy League team like Harvard would never find itself on the same field with the formidable Navy squad. I didn’t learn until many years later what a miserable time Mike had had at Anapolis, or that he had transferred to UNO and later attended the University of Maine, where he joined a rock band and lived in an unheated cabin while he earned a masters in English. Mike always did things his way.
    After I went off to college, I lived away from New Orleans for the next few decades. During trips home to visit my parents, I would occasionally cross paths with Mike. I remember one time, maybe around 1980, I was waiting in line at a bank when somebody tapped me on the shoulder. I turned around to see a tall guy in the uniform of a Louisiana Wildlife and Fisheries employee. It was Mike. We hugged each other and I think I went to his place later and had dinner with him and his then wife. We did a lot of reminiscing and had a great time together, but I came away thinking it was strange, and kind of sad, that somebody as brilliant as Mike Duran had wound up as a game warden. The next time I ran into him, somewhere in the CBD, he was wearing an expensive suit and was working for one of the top law firms in the city. He had actually gone back to law school at a relatively mature age and earned two law degrees. That was the Mike I knew: he was a fighter who always managed to land on his feet.
    Not long after that, Mike had to come to New York to take a deposition. I was working for Time magazine then and living in Westchester County, north the city. Mike had brought his little boy Chance along on the trip and they stayed with us a few nights. Chance and my son Julian fulfilled Mike’s childhood prophesy about our kids playing together one day. And of course, we all went to a Yankees game. Sitting in choice seats behind the Yanks’ dugout, I said to Mike, “Well, we finally made it to Yankee Stadium.” I don’t even remember who won the game. The important thing was that we were there together, in the house of Ruth, Mantle, and Maris, passing our passion for the Yanks on to our sons.
    A decade or so went by before I saw Mike again. I was at the Maple Street Bookstore to do a reading from my memoir about growing up in New Orleans. Mike waited in line anonymously to get his copy signed. I didn’t know he was there until it was his turn. I looked up and saw that familiar grin (what a grin he had). I signed the book to “my oldest and best friend.” Then Mike plopped a package down on the table, a thick manuscript wrapped in kraft paper and tied with white twine. “Read it when you have time,” he said.
    It was his own coming-of-age memoir, unpublished, but beautifully written. I figured in the childhood parts, which moved me greatly. He also wrote about his parents, Grace and Richard, Sr., whom I knew as a kid. And of course about baseball. But there were sides of Mike that I didn’t know about, like his passion for hunting and the great outdoors. And references to the pop music of the time, which he knew far better than me. And his love of literature. What mainly impressed me, though, was the quality of the writing.
    Over the years, he shared with me many of his other writings, including two novels and a provocative essay on race. I didn’t like the race essay, though it was skillfully developed and argued. Mike and I did not see eye to eye on politics. We generally avoided the subject and tolerated our differences: I was his liberal friend and he was my right-wing buddy. I’ll admit it was hard for me to swallow the fact that he had voted for Trump (twice), but I’m sure he didn’t appreciate my votes for Hillary and Biden. The one consolation was the thought that our votes cancelled each other out.
    As for his other writings, I offered suggestions and critiques that I think he found helpful. The last one, Stigma, was a novel about priestly pedophilia that he considered so provocative that he signed it anonymously as “Antoine Nusmun” when he got it published. But it was also a semi-autobiographical novel about the redemption and vindication of a Mike-like character. Apart from the sex offense (which he told me did not actually involve him), it was really a novel about the main character’s evolution from an angry, smartass youth—a self-described jerk—into a loving husband and father at peace with himself and the world. At Mike’s request, I gladly provided a word of praise for the back cover. I wish he had signed his own name and taken credit for his work, but he wanted to avoid any controversy over his scathing attack on the Church.
    I note in passing that I was somewhat surprised by his apparent drift away from his strict Catholic roots towards an involvement with the Methodist church, thereby joining me as a Protestant (a status that he never actually acknowledged to me). Stigma contains a partial explanation for this shift: his view that the Catholics, or at least the Jesuits who were his teachers, had given short shrift to the message of faith and redemption preached by Saint Paul. For Mike remained profoundly religious, an intellectual deeply versed in philosophy, for whom the search for the fundamental truths mattered.
    But baseball also mattered. In the later years of our friendship, Mike and I established a ritual: whenever I was in town, we would attend a baseball game together. New Orleans had a Triple-A team then, originally named the Zephyrs for the legendary roller coaster at the long-defunct Pontchartrain Beach amusement park. The Zephyrs had their own ballpark out on Airline Highway. Mike and I would meet at the ticket booth, both wearing our Yankee caps. At his insistence, we always got seats directly behind home plate, so he could see the pitches come in. “Got him on the changeup!” he would say, or “Trouble with the curve ball.” While we watched the game, we would gorge ourselves on hot dogs and beer and, since it was New Orleans, red beans and rice. And we would laugh, and talk, and reminisce, as our faces turned red with sunburn. Those were wonderful moments. But at some point, some idiot decided to change the team’s name to the “Baby Cakes.” It seemed to me that attendance fell off rapidly after that. Who wanted to root for a team with such a pathetic name? I’m not certain, but I think the name change had a lot to do with the team’s demise. At any rate, the franchise folded and that was the end of our ballpark ritual.
    But we had another ritual: Thursday lunch at New Orleans Spirits and Seafood out by the lake. Thursdays because that was the day they served rabbit. I don’t know how many times we ate there, but it was always a joy. When the waitress asked if we wanted one or two pieces, one of us would say, “I didn’t drive all the way out here for one piece of rabbit!” Always two. With Barq’s root beer.
    At one of our rabbit feasts, Mike let me listen to some music on his phone. It was one of his own compositions called “Opening Line,” about the quandary of a lone man in a cowboy bar eyeing a sexy lady but hesitating to make a move until she answers the question: “How do you identify?” I thought it was fabulous, typically Mike Duran with it’s no-bullshit takedown of political correctness and transgender culture. But it was also fabulous for another reason: Mike’s voice, deeper than his speaking voice, took on the Western accent and persona of a country singer. It reminded me of Johnny Cash, or maybe even Tom Waits. In any case, this was a real talent that I had been totally unaware of. At my request, he later send me a couple of CDs of tunes he had composed and recorded with his musically talented sons, Chase, Soren, and Mike, Jr. I was blown away by the inventiveness of the lyrics and the musical quality of the performances. As with his novel, I regretted that he had not signed his own name to his music, instead using the pseudonym of “Kirk Castle.” By any name, though, these recordings, like his writings, were important to Mike, something he wanted to stand as a “legacy.”
    Which brings me to the sad part of this story. The idea of legacy goes with mortality, and in his last years, Mike was made painfully aware of his own. I knew he had battled prostate cancer decades earlier and assumed he had beat it. But in one of his emails, he told me it had returned and metastasized. At our last rabbit lunch in March, he was in a lot of pain. The silver hair that protruded from under his cloth cap had turned curly like mine, a result, he told me, of his chemotherapy. He said his doctor had given him up to a year to live. He hoped to make one last trip to Europe if he could, maybe we would meed in Paris. I asked him, “What’s your state of mind, Mike?” Without hesitating, he replied: “I have faith.” We shared a brotherly hug when we parted. I feared it was the last time I would see him.
    But we kept in contact by email. The brilliant opening of the Yankees’ 2022 season gave us a subject of running commentary. I would send him articles from the New York Times (probably not his favorite newspaper) about Yankee victories and the seemingly unassailable lead they had in the AL East. He would send me pictures of Mickey Mantle and other legendary Yanks grabbed off the Internet. Of course we were fascinated by the new home run race: Aaron Judge’s pursuit of Maris’s record. (We never acknowledged the phony records of the steroid junkies in the National League.) We started out saying Judge’s performance didn’t have the magic of the M&M twins in 1961. But as his numbers climbed higher and higher, we both got into it and cheered him on. Meanwhile, our Yanks hit the skids after the All Star game. I conveyed my concern to Mike, and he replied, “Don’t worry, next week we go home.”
    In my last email to Mike, I sent him a feature article about players’ relationships with their gloves. “Do you remember the smell of your first glove?” I wrote. He answered, “I do. And the saddle soap.” Then he gave me the shattering news that he was in hospice care surrounded by his wife and sons. I wrote one or two emails after that, but got no reply. By that time, I suppose he was heavily sedated and headed into that good night.
    My heart lept in early September when I saw a message from Mike in my inbox. Turns out it was his wife Judy informing me that her beloved husband, my beloved friend and brother, had passed away. Though I was expecting the news, my eyes filled with tears and I couldn’t sleep that night. My mind was running and re-running the film of our long friendship. I was privileged to know Mike and be his friend from childhood into old age. He was in many ways a larger-than-life character, one of a kind. It’s hard to imagine a world in which he is no longer present. What consoles me is the knowledge of his own deep faith, and his remark, originally about the Yankees, but now about Mike’s own journey: “Don’t worry, we’re going home.”
















Wednesday, April 7, 2021

RENAME BEN FRANKLIN HIGH SCHOOL? WALTER ISAACSON'S THOUGHTS


Walter Isaacson, acclaimed biographer of Benjamin Franklin (among many others), is my friend, former TIME Magazine colleague, and fellow New Orleanian. When I learned of the proposed renaming of my alma mater, Benjamin Franklin High School, I reached out to Walter to seek his views as one of the world's top authorities on Franklin's life and works. He took the time to provide this thoughtful, measured, and informative reply.


In 1787, Benjamin Franklin became the president of Pennsylvania's Society for Promoting the Abolition of Slavery. He threw himself into the task, drawing up plans for providing employment for freed slaves, creating educational opportunities for young Black students in new and existing schools, presenting a pro-abolition petition to the first Congress, and publishing a scathing parody of arguments made in defense of slavery.

        Franklin was then in his 80s and not in need of new endeavors, but he undertook the fight because, throughout his life, he kept a ledger of the mistakes he had made and how he had tried to rectify them. He thus serves as an inspiration for those of us who are not perfect but seek to achieve moral growth.

        The greatest of his errors, he realized, was that as a printer in Philadelphia he had two or three enslaved men at various times working in his shop and he had allowed in his newspaper the advertising of slave sales and notices about runaways. He had also expressed opinions over the years that he realized were misguided and needed to be corrected.

        The Orleans Parish School Board is now considering renaming school facilities, including two named after Franklin, and has invited public comment. So as someone who once wrote a biography of him, I thought I would explain why I think that judging him based on the moral arc of his life and his quest for improvement would send the right message to students. People are not perfect. Our nation is not perfect. But we should celebrate those who realize that our nation has flaws, confront them honestly, and publicly take the lead in making themselves and our union more perfect. Students (and the rest of us) should be inspired by those who achieve moral growth. That is a basic goal of education.

        Franklin's growth is very instructive, especially in this age when social media debates are waged with the fervor of people who believe they have never made a mistake. He was an apostle of self-improvement. Our civic life and politics would benefit, I think, by having a few more people who, like Franklin, wake up and realize that they have been wrong at times.

        Up until the Revolution, the enslavement of Blacks was common in all thirteen colonies. It is the nation's original sin. Many founders, including Washington and Jefferson, never freed their slaves during their lifetimes.

        As far as we can tell, the handful of enslaved people who worked at Franklin's print shop or for his wife after he went to England wandered off freely by the 1760s, with Franklin mentioning them fondly in his letters and making no known effort to keep them enslaved.

        What helped awaken him to the evils of slavery was one of his philanthropic endeavors. He became active in an organization that established schools for Black children. After visiting the Philadelphia school in 1763, he wrote a reflective letter about his previous prejudices: "I was on the whole much pleased, and from what I then saw have conceived a higher opinion of the natural capacities of the Black race than I had ever before entertained. Their apprehension seems as quick, their memory as strong, and their docility in every respect equal to that of white children. You will wonder perhaps that I should ever doubt it, and I will not undertake to justify all my prejudices."

        Even many ardent abolitionists at the time held the racist view that Blacks were intellectual inferior to whites, but Franklin was an early advocate for the enlightened view that Black underachievement was the result of their having been enslaved and denied good education.

        Franklin became increasingly outspoken against slavery in the 1770s. In a piece he wrote for the London Chronicle, he decried, using language stronger than almost any other founder, the "constant butchery of the human species by this pestilent detestable traffic in the bodies and souls of men." He wrote in a similar vein to his friend the Philadelphia physician Benjamin Rush. "I hope in time that the friends to liberty and humanity will get the better of a practice that has so long disgraced our nation and religion."

        After Franklin became president of the abolition society in 1787, he took on the argument that it was not practical to free hundreds of thousands of adult slaves into a society for which they were not prepared. He drew up detailed proposals "for improving the condition of free blacks" by securing apprenticeships that would teach them skills, creating new schools, getting young Blacks to attend the existing schools, and creating a committee to find jobs for freed slaves.

        On behalf of the abolition society, Franklin presented a petition to Congress in February 1790. "Mankind are all formed by the same Almighty Being, alike objects of his care, and equally designed for the enjoyment of happiness," it declared. The duty of Congress was to secure "the blessings of liberty to the People of the United States," and this should be done "without distinction of color." Therefore Congress should grant "liberty to those unhappy men who alone in this land of freedom are degraded into perpetual bondage."

        Franklin's petition was rejected by James Madison and other founders, and he was roundly denounced by the defenders of slavery, most notably Congressman James Jackson of Georgia, who declared that the Bible had sanctioned slavery and, without it, there would be no one to do the hard and hot work on plantations. It was the perfect setup for Franklin's last great essay, written less than a month before he died. He wrote it as a parody in the form of a purported speech given by an official in Algiers.

        The parody speech attacked a petition asking for an end to the practice of capturing and enslaving European Christians to work in Algeria. "If we forbear to make slaves of their people, who in this hot climate are to cultivate our lands? " the speech declared, and then it proceeded to mirror the arguments Congressman Jackson had made in favor of enslaving Africans.

        Franklin was, during his 84-year life, America's best scientist, inventor, diplomat, writer, businessman, and practical thinker. He proved by flying a kite that lightning was electricity, and he invented a rod to tame it. He devised bifocal glasses and clean-burning stoves, charts of the Gulf Stream and theories about the contagious nature of the common cold. He founded schools for both whites and blacks, laid out plans for integrating schools, and at his death was the president of an abolitionist society. He wasn't perfect. But that's why his life has a lot to teach us. He was capable of moral growth. So are we all.

                                                                                     —Walter Isaacson (used with permission)



Sunday, March 22, 2020

SYLVAINE'S VIRTUAL ART SHOW

With the cancellation (or postponement) or Sylvaine Sancton's April show at New Orleans's Academy Gallery, we have decided to offer a virtual show on Facebook. We will post various works that would have been in the show, plus some videos of Sylvaine talking about her work. This will be available on my FB page, https://www.facebook.com/tom.sancton. Over the next few days, we will be posting selected works from the show. Hope you enjoy them, and feel free to comment.
The image featured on the poster is from a series called "Choices." They are acrylics and raw pigment on linen canvas. Here is a link to an interview in which Sylvaine talks about this series, how it came about, how it was executed, and what it means to her:
https://youtu.be/qFd8-TJ-G00

Wednesday, March 18, 2020

SYLVAINE SANCTON'S NEW CHILDREN'S BOOK




Among the casualties of COVID-19 was my wife Sylvaine's reading/signing of her new children's photo book, "The Adventures of Jeremy Goose." The event was scheduled for March 28 at Octavia Books in New Orleans, but the store managers and the author agreed that this was not the time for a public gathering, even around so charming a character as Jeremy. This morning, Sylvaine stopped in at Octavia Books to sign copies of the book, so future customers can still get an autographed edition even though the event is cancelled.  It's also available on the UL  site (UL.com), as well as the Octavia Books site (octaviabooks.com), Barnes and Noble, Amazon, etc. In these stressful times of confinement, it is a soothing and entertaining book for cooped-up kids (and their parents).


Here is the description from the back cover:

Among the moss-draped oaks of New Orleans’s Audubon Park lives young Jeremy Goose. After he hatches from an egg, he learns to walk, eat grass, swim, cross the road, and get along with other animals, all under the watchful eyes of his Mom and Dad. On the banks of the park’s lagoon, Jeremy and his family live with their neighbors, including a squirrel, a snake, and a bad-mannered nutria. Jeremy is a thoughtful and sensitive little goose who sometimes gets into trouble but always feels the love of his family. Through Jeremy’s voice, young readers learn about family, responsibility, having fun, and growing up.

Sunday, October 4, 2015

SONG FOR MY FATHERS --THE INTERACTIVE E-BOOK VERSION

 AT LAST! The new improved interactive e-book edition of SONG FOR MY FATHERS is now available for iPad downloads. In addition to the full text of this coming-of-age-in-New Orleans jazz memoir, there is an audio narration, some 100 vintage photos, musical performances, interviews, plus rare video footage of jazz funerals, parades, and recording sessions from the 1950s and 60s. Anyone who liked the print edition (and has an iPad) will get a real kick out of this multidimensional you-are-there version.

Here's how to get it: 1) go to Apple App store, 2) find and download "eLume" app from Orson and Co., 3) go on the app and choose SONG FOR MY FATHERS among their offerings, 4) pay and download the package--takes about 10 minutes, 5) enjoy!

For inquiries and download help: info@orsonandco.com

Thursday, April 16, 2015

NEW ENHANCED E-BOOK EDITION OF SONG FOR MY FATHERS

Announcing the launch at the end of April 2015 of the "eLume" (enhanced e-book) edition of SONG FOR MY FATHERS, featuring the complete text, audio narration, 25 musical performances, 100 vintage photos, archival videos, interviews, etc. Available soon on the Apple App store and through orsonandco.com. Here's the whole story:


Monday, December 8, 2014

TOM SANCTON'S PERFORMANCE SCHEDULE - DECEMBER-JANUARY

Wednesday, December 9:
• Preservation Hall, 726 St. Peter St., with Lard Edegran, 6:30 - 7:30 pm.

• Palm Court, 1206 Decatur St., with Lars Edegran's Palm Court All Stars, featuring vocalist Topsy Chapman. 8 - 11 pm.

Saturday, December 13:  Monteleone Hotel, with Clive Wilson Serenaders, 9:30 - 11:30. (Private reception)

Sunday, December 14: Preservation Hall, 726 St. Peter St.with the New Orleans Legacy band. 8 - 11 pm.

Wednesday, December 16Palm Court, 1206 Decatur St., with Lars Edegran's Palm Court All Stars, featuring vocalist Topsy Chapman. 8 - 11 pm.

Wednesday, December 31: New Year's Eve Gala at the Palm Court, 1206 Decatur St., with Lars Edegran's Palm Court All Stars, featuring vocalist Barbara Shorts. 9:00  - 12:30

Sunday, January 4: Preservation Hall, 726 St. Peter St.with Wenell Brunious. 8 - 11 pm.

Wednesday, January 7Palm Court, 1206 Decatur St., with Lars Edegran's Palm Court All Stars, featuring vocalist Topsy Chapman. 8 - 11 pm.

Sunday, January 11: Preservation Hall, 726 St. Peter St.with the New Orleans Legacy band. 8 - 11 pm.

Wednesday, January 14Palm Court, 1206 Decatur St., with Lars Edegran's Palm Court All Stars, featuring vocalist Topsy Chapman. 8 - 11 pm.

Thursday, January 15: Pavillion of the Two Sisters, Botannical Garden, City Park, with the Lars Edegran band. 6:00 - 7:00 pm.

Sunday, January 18: Preservation Hall, 726 St. Peter St.with Wenell Brunious. 8 - 11 pm.

Tom Sancton Website: tomsancton.com
Tom Sancton FB page: https://www.facebook.com/tom.sancton
"Song For My Fathers" FB page: https://www.facebook.com/pages/Song-for-My-Fathers/945467905483373

"EVERYTHING'S LOVELY"-DEJAN'S OLYMPIA BAND



Harold with me, at 16, blowing behind him. © Sancton Coll.
One of the greatest learning experiences I had growing up was marching and playing with Harold Dejan's Olympia Brass Band. Harold, a soft-spoken, good-humored alto sax player, had a favorite saying: "Everything's lovely!" I built up my chops playing eight-hour parades and funerals with the Olympia, I learned a lot of great music, and got an inside view of the back streets and neighborhoods that, in those Jim Crow days, were largely unknown to whites. Harold opened the door to a different world.

Here's what I wrote about Harold's band in "Song for My Fathers":



By far the funkiest of the marching groups was Harold Dejan’s Olympia Brass Band. Harold had a day job as a driver and delivery man for the Lykes shipping line, but his real love, and genius, was running the Olympia. Harold had a favorite saying—”Everything’s lovely”—and when you hung out with him and his band, everything was lovely and life was fun.
         Harold was one of the younger jazz musicians, probably in his late 50s when I met him. He was short, broad-shouldered—he used to be an amateur boxer—and a bit paunchy. He had a smooth, gentle voice and a ready laugh that always made you happy to be around him. People called him the Duke.
Olympia on Parade. Photo © Tom Sancton, 1962
        Harold played an alto sax with a transparent red plastic mouthpiece. To tell the truth, Harold was not a dazzling instrumentalist. In fact, he never played anything but straight melody. That was surprising, since he had played with some famous bands in his youth—reading bands that required high-level musicianship. So I couldn’t figure why he never ventured past the melody line or displayed any kind of technique.

         He explained this to me one day when I asked his advice about clarinet playing. “Tommy, I’m a tell you how it is,” he said with a loud sniff. I think he had some kind of allergy, because he wore reddish-tinted glasses and was always sniffing and blowing his nose. “You take me—I can run scales and arpeggios all up and down my horn. But you’ll never hear me do that. You know why? Because you gotta let the people know what you playin’. Out on the street, folks don’t want to hear all that fancy stuff. What they loves is the melody.”...
The Olympia musicians were the most unselfconsciously funny people I had ever met. They were always kidding each other, bragging about their sexual prowess, their drinking capacity, their luck at the race rack, or telling hilarious stories about one another... (Read the rest in Chapter 15 of "Song")

Please check out my SONG FOR MY FATHERS page on Facebook:

Wednesday, April 30, 2014

WHEN KID ORY SHOOK OUR HANDS, 1971

Kid Ory, surrounded by (l to r) Bonnie Bagley, Jim Klippert, Tommy Sancton
Jazzfest 1971 was an unforgettable occasion for me. My Boston-based Black Eagle Jazz Band was invited to play at the second Jazzfest. We had just recorded for Sire Records (the album eventually came out on the NBEJB label) and were thrilled by George Wein's invitation to play in New Orleans. Three of us almost missed the plane from Boston, arriving at the Jung Hotel at the last minute. We rushed onstage and played our hearts out for an hour and a half. The audience was enthusiastic, and I remember festival producer Wein jumping up and playing with us on the last few numbers. We played "Ice Cream" as en encore and got a standing ovation. As we left the stage, we received an unexpected honor: the legendary Edward "Kid" Ory, who'd been listening from the front row, came up and congratulated us on our performance. As I shook his hand, I marvelled at the thought that he had shaken hands and played with Louis Armstrong, Johnny Dodds, King Oliver, virtually the whole Pantheon of early jazz legends. The moment has lingered in my memory ever since, part myth, part dream, part…did that really happen? Last month during French Quarter festival, I met a man named Dick Hill who not only remembered the moment, but had photographed it. I just received his prints from this memorable occasion. God! The memories, the memories...

Tuesday, February 18, 2014

JUMPING, JIVING, AND WAILING WITH WENDELL BRUNIOUS

The gig at Preservation Hall last Sunday was something special. Trumpeter Wendell Brunious led the group and really took charge on the bandstand, calling great tunes, making the announcements, telling jokes, and singing a bunch of songs (including two of his own compositions). He even did the whistling part on Professor Longhair's "When You Go to New Orleans." His trumpet playing was smart, slick, and swinging—at one point he departed from his usual style to imitate the staccato bleats and jabs of Kid Thomas Valentine on "Old Gray Bonnet." Other tunes included "Royal Garden Blues," "Bye and Bye," "Burgundy Street Blues," "When You're Smiling," "Whoopin' Blues," and "Please Don't Talk About Me" (featuring the irrepressible Ronell Johnson on trombone and vocal). A special treat was the piano work of Tom Hook, who also sang three Louis Prima songs from his "Jump, Jive, and Wail" show at the World War II museum. By the end of the night, I was energized and ready to go another three sets. I had so much fun I'm planning to go sit in with Wendell and Tom Hook tonight on their regular Tuesday gig at Dos Jefes on Tchoupitoulas. 

Monday, February 17, 2014

SYLVAINE SANCTON SHOW REVIEWED IN GAMBIT


Art critic Eric Bookhardt just published a nice review of Sylvaine's art show in the Gambit:


Theme and Variations: Mixed Media by Sylvaine Sancton, Through March 1, Barrister's Gallery, 2331 St. Claude Ave, 710-4506.


In art lingo, work that fulfills its potential is deemed "fully realized," and this show has many examples. Sylvaine Sancton's abstract paintings and sculptures at Barrister's express a fully realized vision that transcends media. Whether it's paint, wood or travertine, Sancton's sinuous, organic forms are pristine articulations of the transcendent reality that she sees just beyond the ordinary reality we all share. One unusual attribute of this show is how the sculpture "explains" the paintings and vice-versa, making it clear that all reflect the same essential vision, which is just as much a "reality" as any "realistic" art, subjective though it may be. Or as she puts it: "The nature of my work is sensual and emotional. There are only lines, color, and matter... It does not represent reality. It is reality"    
—Eric Bookhardt, Gambit,  2/17/2014