The Best of the Beat Sunday, Jan 20 2013 


Troy “Trombone Shorty” Andrews

For 25 years, Offbeat magazine has provided some of the best coverage of entertainment, food, and culture in New Orleans. In addition to its monthly rendering of what’s happening in the Crescent City, it provides a very active website that tracks daily information of life performances and up-to-date news. And annually, it sponsors the Best of the Beat Awards to recognize the best music in a city that is synonymous with music.

This year provided few surprises, but it recognized some stellar, unquestionable musical achievements, some of my very favorite artists, and validated a healthy percentage of my voting for the awards. All in all, I’m pretty satisfied.

Dr. Michael White

Dr. Michael White

The Artist of the Year Award went to Troy “Trombone Shorty” Andrews. On the heels of two very successful albums, I believe he is on the verge of national recognition. The New Orleans-borne eclecticism that marks his music is likely the main thing holding him back. Andrews was also recognized as best “R&B/Funk” artist and as the best trombonist  And Dr. John, the venerable yet adaptable scion of swamp rock was recognized for Album of the Year, for his remarkable collaboration with the Black Keys’ Dan Auerbach, “Locked Down.”  In addition to this well-received album, Dr. John was recognized as the best “Roots Rock” performer and keyboardist.

Clarence "Frogman" Henry

Clarence “Frogman” Henry

Some of my other favorite reward recipients: Best R&B/Funk Album: “Carnivale Electricos,” Galactic; Best Bounce Artist: Big Freedia; Best Traditional Jazz Artist: Kermit Ruffins; Best Brass Band: Rebirth Brass Band; Best Brass Band Album: “Unlock Your Mind,” The Soul Rebels; Best Drummer: Stanton Moore; Best Female Vocalist: Irma Thomas; Best Male Vocalist: John Boutté; and Best Clarinetist: Dr. Michael White. Some of my heroes receiving lifetime achievement awards were: Al “Carnival Time” Johnson; Clarence “Frogman” Henry; and the Dixie Cups.

To cap off the awards, at least as far as I am concerned, WWOZ was recognized as the best radio station; Basin Street Records as the best recording studio; and the Roots of Music, the wonderful marching band , after-school program, was recognized for non-profit achievement/community music award.

Now, on to the Grammys!


James “Sugar Boy” Crawford (1934-2012) Saturday, Sep 15 2012 

Rhythm and blues composer and singer James “Sugar Boy” Crawford died in New Orleans early today, following a brief illness. He a few weeks away from turning 78.

Crawford grew up in New Orleans around LaSalle Street and played trombone for the Booker T. Washington High School Band. He formed a singing group while still in high school and one of their demo discs caught the ear of Leonard Chess of Chess Records as he passed through. He made a demo recording and gave Crawford five dollars, which Crawford recalls he spent on “some wine and red beans.”

Crawford gained some notice for several r&b tunes during the fifties before he drifted off into obscurity in the early 1960s. He record such tunes as “I Bowed on My Knees,” “Morning Glory” and “She’s Gotta Wobble (When She Walks),” but it was one recording early on that cemented his importance in New Orleans music and culture.

In 1953, when Crawford was 19, he pieced together a couple of Mardi Gras Indian chants into a tune he sang as “Chock-a-mo.” He recorded the tune at Cosimo Matassa’s studio on Rampart Street, but the record was distributed by Checker Records, a subsidiary of Chess Records. Back in Chicago, Chess listened to the recording and christened it “Jock-a’mo,” the name under which it was released. It became a minor hit during the 1954 carnival season, but it would become more famous in the hands of others.

Fast forward to 1965. The Dixie Cups, a female vocal group which grew out of New Orleans’ Calliope housing projects, were recording for Jerry Lieber and Mike Stoller at Red Bird Records in New York. During a break, they started singing a version of Crawford’s “Jock-a-mo,” which they remembered others singing during their childhood. For rhythm, they played ashtrays using drum sticks. Lieber and Stoller still had the tape running and caught the group’s “clowning around.” The producers listed to the tape, added bass and percussion and under the name “Iko-Iko,” the Dixie Cups had another national hit. The Dixie Cups successfully sued for exclusive rights to the song, although Crawford got a 25% for public performance in the United States.

Since 1965, “Iko-Iko” has been performed and/or recorded by the likes of Dr. John, the Neville Brothers, the Grateful Dead, the Radiators, Cyndi Lauper, Buckwheat Zydeco, and Crawford’s grandson, Davell Crawford. And not by accident, Louisiana’s Abita Brewing Company has named one of its beers Jockamo IPA.

Crawford resurfaced to record with his grandson in 1995 and most recently sang gospel in church and at JazzFest with Jo “Cool” Davis. Crawford will be missed, but clearly, his signature tune will be with us as long as Mardi Gras is celebrated in New Orleans.