[Professor Lo SONG BALDHEAD BIG CHIEF CRAWFISH FIESTA, DOIN’ IT GONE SO LONG GONNA LEAVE THIS TOWN HEY LITTLE GIRL HEY NOW BABY HOW LONG HAS THAT TRAIN BEEN GONE JUNCO PARTNER MARDI GRAS IN NEW. ORLEANS. MEAN OL’ WORLD MEET ME TOMORROW NIGHT MESS AROUND NO BUTS NO MAYBES: SHE WALKS RIGHT IN. STAG-O-LEE THANK YOU PRETTY BABY TIPITINA © au COEREGTIO N Biography 4 Discography 128 ALBUM TITLE PAGE # CRAWFISH FIESTA 6 Composite transcription from CRAWFISH 10 FIESTA and FESS’ GUMBO CRAWFISH FIESTA. 19 FESS’ GUMBO. 46 HOUSEPARTY NEW ORLEANS STYLE 26 HOUSEPARTY NEW ORLEANS STYLE 34 NEW ORLEANS PIANO. 40 Composite transcription from THE COMPLETE. od) LONDON CONCERT, FESS‘ GUMBO. cand NEW ORLEANS PIANO ROCK ‘N ROLL GUMBO 80. ROCK ‘N ROLL GUMBO. 60 ‘Composite transcription from THE COMPLETE 68 LONDON CONCERT, NEW ORLEANS PIANO and ROCK ’N ROLL GUMBO ROCK ‘N ROLL GUMBO 74 ROCK ‘N ROLL GUMBO. 85 ‘Composite transcription from FESS’ 92 GUMBO and ROCK ‘N ROLL GUMBO. HOUSEPARTY NEW ORLEANS STYLE 99 HOUSEPARTY NEW ORLEANS STYLE 12 ROCK ‘N ROLL GUMBO 104 HOUSEPARTY NEW ORLEANS STYLE W7 Composite transcription from FESS’ GUMBO and 122 ROCK ‘N ROLL GUMBOBiography Known as the Godfather of New Orleans piano, Professor Longhair was born Henry Roeland Byrd on December 19, 1918 in Bogalusa, Louisiana. His family moved to New Orleans shortly afterward, Byrd received some musical instruction from his mother, although he would later say that his first insiruments were the bottoms of his feel; he tap-danced for change on the streets of the French Guarter os a child. Byrd didn’t develop a serious interest in music until his late teens. He was performing with a dance troupe, cond hod to fill in forthe group's drummer one night. Tuts Washington, pianist with the group. encouraged Byrd fo continue with the drums, which he did. However, he soon grew tired of carrying the drum set around and switched to piano instead. Tes was one of his early mentors. Byrd olso received ancourogesnent rom barrelbousalpienas Sunn Rock, who showed him how 1o play “Pinetop’s Boogie Woogie.” (One of the strongest influences on his style come from a jab he took with a government rood erew. The job involved travel, and during his sixcmonth tenure, he was exposed fo 6 variely of Latin and Caribbean bands, Drawn 10 the rhythmic elements of the music, he incorporated them into his playing. Blended with the blues ond barrelhouse styles, his unique piano style would have on immeasurable impact on New Orleans music Byrd went into the ormy in 1942, and ofter a medical discharge two years later, spent several years as 0 «ook and a professional card player (throughout his life, gambling wos ohvays his ‘second profession’), Although he played occasional piano jobs, he wasn't neticed os 0 musician unil 1948, when during another bond's break, he ployed « few songs at @ club. His performance created such a sir that the club owner fired the band and hired Byrd. Iwas during this stint that he got the nome Professor Longheir, due to the ponytail he sported ct the time. His accom Penying band was known as the Three Hair Combo (Professor Longhair, Professor Shorthair and Professor No Hair) A recording boom was toking place in New Orleans, and Byrd jumped on it in 1949, recording four songs: orc small label. Because the session didn't meet union regulations, the sides weren't released. But Byrd was ‘opproached by other labels, By the end of 1950 he recorded what would be two of his most famous songs: “Boldhead,” which made it to the #5 position on the R&B charts, ond “Mardi Gras in New Orleans,” which remains one of the perennially popular songs in the Crescent City. Byrd continued to record during the early '50s ond one ofthese would become his signalure piece, “Tipitina” However, his success outside of New Orleans wos limited, partially becouse he Frequently changed labels and monikers. He wos billed a+ either Professor Longhair, Roy Byrd, Roeland Byrd or Rabert Byrd. His band was called such diverse names os the Blues Scholars, the Blues Jumpers, and the Shuflling Hungarians(!) But in New Orleans, everyone knew who he was, and most people simply called him ‘Fe Fess hod o stroke in 1954, leaving him unable to play for o time, In 1955 he managed to play on a few ses- sions ab sideman, but did not record as 0 leader again until 1957. His singles included the locally popular “No Buts Ne Maybes” He toon faded from the public eye, playing occasional gigs and making no new recerdings for several yoers. in 1964, he retuned tothe studio to record “Big Chel” penned by loco songwriting legend Earl King, The ‘20g feokred on allstar bond including his one-time sider, Mac Rebennck, on guitar), stunning horn arrange: ment, ond one of Fess’ mos! unique and memorable piane licks ‘Although the record did not sell as successfully 0s it should have, it would eventually become a New Orleans orihem. Despite its lack were buoyed, and be slowly sored playing cround town in loco dubs and private parties oe He probably would have lived out the rest of his days in that manner if not for Quint Davis and Allison Minor s'ow, two young New Orleans music oficionados who were instrumental in launching the New Orleans Jazz and Heritoge Festival in the early ’70s. They knew of Fess only through recordings, but were determined to find him and include him nthe Festival. ook hem a year to rack him down, andl he oe, they found was in sad shape, sweep ‘rare flor Fo local record sre, He wos living in poverty, could’ ec, mel could barely walk. Bul when he of commercial success, Fess’ spiritsmanaged fo take the stage for the 197 Festival, his life ond career took a mojor turn. He gave an exhilarating per- formance thot literally brought the rest of the festival 16 a halt. Fesiival musicians ond audience members witnessed the return of Professor Longhair. With Davis as his manoger, Fess set about rebuilding his career. He played in locol clubs again, and a demo’ ‘ope got him a European tour with the Meters. Although he made several new recordings, nene of them were released Until much later; the only ‘new’ Professor Longhair album wos @ compilation of his Atlantic singles from 1949 and 1953, Since the original dises had become prized collector’ items, the album did well and boasted Fess‘ career even further Tragedy struck in 1974, when the house that served as his family home and rehearsal space was destroyed in « fire, No one was hurt, but the house was uninsured and everything Fess had wos lost. He was lef with nothing. But the local music community came to his aid with benefit concerts, and ironically, a recording session arranged to help him out yielded whot is widely regorded os his bes! album of the mid-'70s, Rock ‘n Roll Gumbo. Fess gained further attention in 1976 when Poul McCartney asked him to ploy a privote party on the Queen ‘Mary riverboat, Although Fess didn’t know who McCartney was (1), he glodly took the job ond his performance was recorded and released as his next album. He got another break in 1977 when a venue formerly known as the 501 Club reopened under the name Tipitin's, for he specific purpose of giving him a regular place to play. By 1978 he was living comfortably from his musie for the first time in his life. In 1979 Fess participated, long with Allen Toussaint and Tuts Washington, in the video documentary “Piano Players Rarely Ever Play Together,” and also signed a contract with Chicago's Alligator Records. For the olbum, he was supported by a crack team of New Orleans musicians, including his one-time student Mac Rebennack making © rare appearance on guitar. Crawfish Fiesta is among the best recordings of his career, and those who knew Fess say he was prouder of it than of anything else he hod recorded. It went on to win the W.C. Handy award for Best Blues Album of the Year. ifs especially sad, then, that he did not live to see its release; on Jonvary 30, 1980, the night before the album was released, Professor Longhair died of « heart aHack in his home, His funeral was one of the most widely attended of any New Orleans musician. Longhoir's importance in the history of New Orleans music can hardly be overemphasized. Virtually every New Orleans pianist to come after him has openly acknowledged his as a powerful influence. In fact, the vast majori- ty of New Orleans R&B and funk bands have claimed Fess as on influence. Although he is sometimes accused of hov- ing been a ‘sloppy’ piano player, the music presented in this collection should dispel any misconceptions of technical inadequacy on his part; what he lacked in pianislic virtuosity, he more than made up in rhythmic sophistication and originality. His songs hove been recorded by musicions too numerous te mention, and are sill played regularly by Dr John, the Meters, ond the Neville Brothers. What is offen overlooked is his impact on popular music outside of New Orleans, His vocal style influenced Elvis Presley to such an extent that many contemporary listeners, upon hearing Fess {or the first lime, comment on how much he ‘sounds like Elis.‘ In fac, it was Elvis who sounded like Fess. Furthermore, the roots of funk and its various offshoots can be traced back to rhythmic innovations evident in Fess’ music as early «05 1949. The drum part on the original recording of “Big Chief" (played by Smokey Johnson) is frequently described «3 sounding ‘like « James Brown groove, although ot the time “Big Chief” was recorded, Brown's music had not approached that level of syncopation. Its also fair to say that his influence con be heard in mony American pop songs of the last forty years, But perhops the place where his influence is sil mos! strongly felt is at the club named alter his best-loved song, lis located al the corner of Napeleon and Tchoupitoulas in New Orleans. The club also has his likeness on a huge banner, a life-sized statue, and o head-and-shoulders bust, (which patrons ond musicians alike are encouraged to rub for good luck). There at Tipitina’s, the city’s piono players all gather once a year during Piano Night. Throughout the course of the evening, players ranging from seasoned pros fo young upsiarts pay homage to the music of Professor Longhair. Despite the changes in musical evolution in the last fifty years, Fess" music remains as vital today os it ever was, Josh Paxton