Jun 14 2009
Dr. John’s Gumbo
Dr. John is a living legend in music. In the New Orleans piano tradition he’s the link between Professor Longhair and the modern players. As a bandleader he’s recorded over 20 albums, starting with ‘Gris Gris’ in 1968. He’s played piano and guitar on countless records, from 1950’s rhythm and blues sessions to guest spots with every major artist you can think of, contributed to numerous movie soundtracks, done thousands of gigs all over the world, written an incredible autobiography and led a life most of us couldn’t imagine. Phew!
Released in 1972, ‘Gumbo’ was Dr. John’s fifth album, but his first release made up of covers and older material. The album was made after legendary Atlantic Records producer Jerry Wexler heard Dr. John playing some Professor Longhair songs in the studio one day. Wexler was knocked out, having only been familiar with the swampy, voodoo soaked albums Dr. John had released so far, and said ‘I didn’t know you knew that old New Orleans stuff’. When Dr. John replied that he’d grown up playing it, Wexler insisted he make an album of New Orleans rhythm and blues songs. And so a classic was born!
The whole album is a wonderful, loving, funky tribute to the style. Most of the songs, standards in New Orleans, come from the 1950’s and early 1960’s; arrangements for each song are based on the hit recordings from this period. ’Tipitina’ is a solo piano/vocal rendition of Professor Longhair’s signature tune; as Dr. John says in the liner notes “I can play ‘Tipitina’ with dozens of different variations without getting away from Professor Longhair”. This version shows off his absolute mastery of the style. There’s a fantastic tribute to pianist Huey Smith, a medley of three of his songs: ‘High Blood Pressure’, ‘Don’t You Just Know It’ and ‘Well I’ll Be John Brown’. Some older songs on here too, ‘Little Liza Jane’ and ’Stack-A-Lee’ (also known as ‘Stagger Lee’). These two songs are basically public domain folk songs, but the versions here are based on classic recordings by Huey Smith (again) and Archibald, respectively. ‘Iko Iko’ is the same song you know from The Dixie Cups - this version is based on the original recording by James ‘Sugar Boy’ Crawford. It’s full of creole patois and references to Mardi Gras Indians.
Ray Charles’s influence on New Orleans music was massive, hence the inclusion of his song ’Mess Around’, which is played with incredible energy; sometimes it almost feels as if it’ll all fall apart! Another major figure in N.O. was Earl King, he’s represented here by ‘Those Lonely Lonely Nights’, ‘Big Chief’ (even though this song was made famous by Professor Longhair, it was written for him by Earl King), and ‘Let The Good Times Roll’, which Jimi Hendrix also recorded on his record ’Electric Ladyland’.
New Orleans is famous not only for it’s unique piano players, but also for it’s unique and very funky drummers. ‘Gumbo’ features drummer Freddie Staehle, who gives us some classic examples of New Orleans syncopation. The album would be worth hearing for the brilliant second-line feel he plays on ‘Junco Partner’ alone, but Staehle also plays great street beats throughout the album, and especially on ‘Iko Iko’, ‘Big Chief’ and ‘Little Liza Jane’. These grooves are seriously funky.
Simply put, ‘Gumbo’ is a groove from start to finish! It was my introduction to Dr. John, about 12 years ago, and it’s still my favourite album of his. It’s probably the perfect introduction to his music and New Orleans rhythm and blues in general. Once this one gets under your skin, you’ll want to hear more!
Nick
Gumbo is by far my favourite Dr John album. Great playing and great energy (something that I feel some of the Dr John studio albums lack).
I went to the Louisiana Music Factory in New Orleans, and they had all the usual “sections” - Jazz, funk, Cajun, Zydeco… and Dr John! Not just a label for his name, but a whole section! It was overwhelming.
I went to the Louisiana Music Factory in the year 2000 and had a similar experience - that whole shop was overwhelming! I think I spent almost an entire day there.
I agree with your comment about some of the studio albums. I think in recent years Dr John’s recorded sound has become much more polished and slick than on the older albums. The grooves and feels are still great, but I’m a sucker for the early albums where everything sounds so muddy, murky, dirty and funky. That to me is where the real stuff is.