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the Mardi Gras issue

The Meters (left), Neville Brothers and Wild Tchoupitoulas (top right), and Rebirth Brass Band (bottom right). Photographs by Michael P. Smith ©The Historic New Orleans Collection​

Washed out of his home by the 2005 Katrina flood, Johnson spent several years in Houston, and after a settlement on the old house, moved into a new one in Musicians’ Village in the Upper Ninth Ward. He did a promotional spot for the Louisiana Lottery several years ago, but Carnival is prime promotional time for Al Johnson. “This year I was king of Krewe of Stars; Irma Thomas was the Queen. I’m Grand Marshal for Life in the Red Beans and Rice Parade. I’m proud of that. They parade on Lundi Gras, and I’m doing the Orpheus Ball that night, so I’ve got a doubleheader.” “Big Chief (Part 2)” was a doubleheader as a comeback song for Professor Longhair in 1964, and a paean to the Mardi Gras Indians. Written by guitarist Earl King with a bouncing second-line beat, the lyrics offer a freeze-frame of the urban tribes: Carnival music took a major turn in 1976 when the Neville Brothers — Art on keyboard, Cyril on congas, Aaron on vocals and Charles on tenor sax — came together behind their uncle, George Landry, better known as Big Chief Jolly of an Uptown Mardi Gras tribe. Their album The Wild Tchoupitoulas included the Meters’ rhythm section of Leo Nocentelli on guitar, George Porter Jr. on bass and Joe Modeliste on drums. With Jolly’s bravura vocals, backed by Wild Tchoupitoulas members, the eight My flag boy, he just went by, My spy boy, he’s full of fire. My whole tribe is havin’ fun, We gonna dance ’til mornin’ come.

By the 1990s, brass bands began adapting Carnival songs for marching arrangements in parades. Even melodies from The Wild Tchoupitoulas were fashioned by big bands for high-end Mardi Gras balls. Rebirth Brass Band, founded by tuba player Phil Frazier and his brother, bass drummer Keith Frazier, in 1983, scored a big one in 1991 with “Do Watcha Wanna.” The easy-rolling circular rhythmwith section-riffing horns and Kermit Ruffins’ lyrics — “Do whatcha wanna, Mardi Gras morning” — lays out a verbal groove that, in one of those ironies of the music, slows down the tempo of Mardi Gras. If you’re jumping up and down toAl Johnson’s pipes on “Carnival Time,”the Rebirth message on “Do Whatcha Wanna” is hey, let’s amble, enjoy the walking, costumes, drinking, cooking, eating, and all that comes with the suspension of time on Carnival day.

songs set a standard that Indian groups have been riffing on ever since. Art’s vocals on “Hey Pocky A-Way” use an old Indian chat as chorus for these song lines that became a classic: Little bitty boy, with a heart of steel You can’t boogie now but your sister sure will Feel good music, I’ve been told Good for your body and it’s good for your soul Gonna do it now… Then, the image of a little boy with a heart of steel segues nicely into child-becomes- man: Big chief Keep on grooving Keep on getting Hey, hey, hey, hey Hey, pocky a-way

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MY ROUSES EVERYDAY JANUARY | FEBRUARY 2018