Daytime strollin’ in the Professor Longhair exhibit, nighttime jazzin’ around town

1st July 2019   ·   0 Comments

By Geraldine Wyckoff
Contributing Writer

When an exhibit or a show that is of interest enjoys a long run, it’s easy, and maybe even human nature, to plan on seeing it next week, next month. Too often, the date slips by and, whoops, you’ve missed it. That could, though shouldn’t, happen to those promising themselves to make sure they experience the Professor Longhair exhibit, formally called “Me Got Fiya: The Professor Longhair Centennial” on the second floor of the Old U.S. Mint on Esplanade Avenue. It’s literally and figuratively a cool spot to spend an hour or so out of the blistering heat. The exhibit has been up for almost a year and will be taken down at the end of September.

Fess fans and music lovers will appreciate that the legend’s voice and piano welcome visitors into the display bringing his incredible presence and spirit along for the stroll. For those who’ve frequented Tipitina’s, the club established for Fess and named for one of his most memorable songs, a familiar sight is the bust of him that greets one at the entrance. It’s a bronze-colored replica of the brilliant, original sculpture by artist Coco Robicheaux that holds the place of honor at the uptown club’s door. Standing there, encased in glass, it certainly speaks of the authenticity and love that went into creating the exhibit that celebrated the 100th year of the life of Henry Roeland Byrd aka Professor Longhair birth on December 19, 1918 in Bogalusa, Louisiana.

Locals who were on the scene when Fess was performing regularly at Tip’s will enjoy reminiscing as they look at the 1980 poster that announces a show that includes the Neville Brothers and their uncle, George “Chief Jolly” Landry, the Wild Magnolias, Snooks Eaglin and Allen Toussaint all performing on one night. Wow. It’s significant that the old, upright Baldwin piano that Professor Longhair played the hell out of at Tipitina’s stands prominently in the room, “rescued” and on loan from Sonny Schneidau who began as a sound man and went on to be the club’s talent buyer.

It shouldn’t take long for those not as familiar with Fess to get into the groove of the place and realize how hip and special he was. Kids of a certain age seemed to enjoy the listening stations where they can pick up an old-fashioned telephone headset and listen as they watch Professor Longhair in action. Fess filmed at the first Jazz Fest at Congo Square with guitarist Snooks Eaglin at his side is one of the “Oh to have been there” special moments.

There’s also an opportunity to sit down and take in a video of interviews with some of those who knew and/or where highly-influenced by Professor Longhair. It really hits home when Jazz Fest producer Quint Davis recollects jazz impresario George Wein’s reaction on first hearing a recording of Fess on a jukebox. As Davis tells it, Wein asked him, “Who is that?” Davis recalls his reply as, “Oh, that’s nobody.” Wein contradicts him saying, “That’s somebody!” and demands that Fess perform at the first Jazz Festival.

The late photographer Michael P. Smith captured Fess just about everywhere and under many circumstances and his black-and-white photos are essential elements of the display.

Professor Longhair’s sense of humor is also on display in a large understated quote from one of the hardest-driving, funkiest pianist and most unique musicians ever. It says: “I’m a little rowdy with my playing.”

While you’re at the Jazz Museum, there are two other exhibits that are certainly worth visiting. Drumsville! celebrates New Orleans rhythmic heritage, primarily through photographs, from Congo Square, to traditional jazz masters like Cie Frazier and later legends such as Earl Palmer, James Black and Ed Blackwell. It also wisely includes those who continue to carry on the back beat by turning the spotlight on guys we are blessed with hearing regularly such as Herlin Riley, Johnny Vidacovich, Russell Batiste and Joe Dyson. Yeah, give the drummers some.

Jazzin’ Around Town

Delfeayo Marsalis, who has a longstanding Wednesday night gig at Snug Harbor leading his Uptown Jazz Orchestra, has found another home base as a regular on Tuesdays at Broad Street’s Prime Example. The Prime date, where the trombonist is in a quintet setting, enables Marsalis to explore an entirely different repertoire and approach than with his big band.

“It’s more groove-oriented and more contemporary music,” Marsalis explains, adding that set lists vary from originals to familiar, rhythmic-based classics like Herbie Hancock’s “Cantaloupe Island” and Nat Adderley’s “Work Song.”

Marsalis digs playing at the Prime Example as he remembers when there used to be a lot of clubs in the neighborhoods and praises Prime’s owner Julius Kimbrough for keeping the music and that tradition alive. He feels the combo setting is a plus for the audience offering them an opportunity to get acquainted with the individual members of the band, which includes the top-notch saxophonist Khari Allen Lee, bassist Jasen Weaver, pianist Ryan Honseler and drummer “Wild” Willie Green. Marsalis’ residency at the Prime Example, where he and the quintet play two shows at 8 p.m. and 10 p.m., has been become a draw for other notable players, like trumpeter Kermit Ruffins, as well as up-and-comers to sit it.

This article originally published in the July 1, 2019 print edition of The Louisiana Weekly newspaper.