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In a curve of the Mississippi river lies the city of New Orleans, the cradle of jazz and raw funk. As a river-port it has been open to music coming from the Caribbean, South America and Europe ever since its foundation in 1718, absorbing all kinds of aromas, vibrations and influences over the centuries. The African polyrhythm of Congo Square (formerly “Place des Nègres”)—provided by drums carved from tree trunks, castanets made from mules' jawbones and bracelets hung with bells—was progressively transformed into syncopated rhythms that formed the foundations of American popular music. And in a city where eccentricity is not an idle word, nothing has ever shown more expressiveness than the multicoloured Indian parades featured during Mardi Gras. Dressed in incredible suits that reflect up to a year's passionate care in their making, the black Indians belong to the vernacular legend of a city where each day is a spectacle. The origins of the parade tradition date from the first celebrations of the feast of Mardi Gras, a legacy of the Catholic colonists from France and Spain; at the end of the 19th century the inhabitants of a few black quarters took the names of fictitious Indian tribes when they began to dance and organize parades inside their communities. Before African slaves became commonplace, it was the Indians who were the first to be reduced to slavery on the plantations. Men were often deported—crushing any tendency to revolt—and replaced by black slaves who were then married to Indian women. Blacks have always recognized their historical past in the tragedy of slavery. On their own plantations, the French and Spanish treated Indians and Blacks separately, whereas Anglo-Saxons never made any distinction between “coloured” people, and so made assimilation of the two cultures that much easier. Fleeing from their owners into the depths of the forests and swamps of Louisiana, many “maroons” or runaways found refuge amongst the Choctaw and Chickasaw tribes, who were rarely reduced into slavery themselves. According to writer and musician Gérard Herzhaft, Indian cultural practices in the region between the Delta—incorporated into Mississippi in 1886—and New Orleans often had resounding echoes amongst both Whites and Blacks, “The Indian contribution to Southern culture was enormous in oral traditions, place-names, language, cuisine, dancing and music.”*
Uptown Dwelling, New Orleans, January 1936.
(Walker Evans, The Library of Congress Prints and Photographs Division Washington, D.C. 20540 USA)

* Gérard Herzhaft, Americana, Fayard, Paris, 2005.

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D. Barnett. 1910. New Orleans.Mardi Gras panoramas. L. (A.C. The Library of Congress Prints and Photographs Division Washington. 20540 USA) 4 .

Ogilasa. The costumes often demanded great financial sacrifice for a result that was both striking and totally unselfish. Each Indian costume was painstakingly created by the chief with the aid of his whole family. in which clans or clan-chiefs rivalled in prodigality by either destroying an adversary's belongings. After years of deception and reconstruction. Anchored in the Catholic tradition of Mardi Gras. notably practised by indigenous North American tribes. even more generous gift in return.S. and they all took part in a single. But not only that: the Indian gangs were an expression of independence and popular identity. for example. municipal polyrhythm where Uptown melted into Downtown. this relegation to the bottom of the social ladder merely accentuated southern Blacks' desire to create their own methods of expression. dancing and singing as the Mardi Gras and Saint Joseph's Day parades saw the culmination of months of preparation. each quarter had its own Indian tribe and its own street band. like each of the tribes. hopes of a better condition for black culture were raised when morals rapidly became more liberal. the “Creole Wild West” became the first Indian tribe. 7 . In the early 1880's. it was a kind of potlatch* that was all the more remarkable given the impoverished state in which many black families in New Orleans found themselves. vast. The Indian tribes organized themselves along the urban gridlines of a city divided into wards. or making gifts to a rival so as to oblige him to make another. featuring Cowboys and Indians.After the Civil War. (H49579 U. a feast day on which the social order was reversed. Savage breasts were soothed over the years however. were practically the norm. and each suit bore a personal. Indian suits and headdresses were instantly adopted by other communities. even murders. The itinerant Wild West Shows in particular. decorative motif handed down from previous generations. 1904. Copyright Office) 6 * A ritual. left a deep impression on the southern Black subconscious and aroused numerous vocations. Their founder-leader Becate Batiste was the first Black to officially wear an Indian headdress and assume the “Big Chief” title corresponding to the social hierarchy proper to each tribe. The Wild Magnolias were established in 1889 and. especially with regard to authority. parades were events in which battles. Chief Red Shirt. Until the mid-Fifties. also known as Red Shirt (Lakota). and the competitive spirit reduced to costumes. their difference lay in their elaborate suits and parades. but racist atavism in the South quickly regained the upper hand and any political and social progress that had been achieved made those hopes quite remote. an illustration of the underlying violence that existed. these parades developed over the decades.

a Congress of American Indians Circus poster showing American Indians leading attack against pioneers in covered wagons. (The Library of Congress Prints and Photographs Division Washington.S. D. Copyright Office) d.C. Yonder Lay Trail Dakota Indians. chromolithograph. Death of Custer Dramatic portrayal of Native American man stabbing “Custer. a Native American woman Wild West Show performer. Cooper & Co.) c. (Copyright by Siegel. possibly members of Pawnee Bill's Wild West Show. Copyright Office) c d 8 9 . 1899. 1905.S. Wenona Wenona.a b a. in scene by Pawnee Bill's Wild West Show performers. (H116235 U. 20540 USA) b. (H48855 U. 1904. 1908.” with dead Native Americans lying on ground. Buffalo Bill's Wild West and Congress of Rough Riders of the World.

April 1970. Smith) 10 c.a c b d a. 1979. (Michael P. Big Chief of the Wild Magnolias at Hercules funeral parade. 1st New Orleans Jazz Fest. 1979. 'Bo' Dollis. Smith) 11 . 'Bo' Dollis carries the Wild Magnolias gang flag. Smith) b. Smith) d. The Magnolia barber shop in central city New Orleans. (Michael P. (Michael P. 1979. (Hercules was a tribe member). Mardi Gras Indians Jam: Wild Magnolias. Golden Eagles & Friends. Hercules' Funeral. (Michael P.

the Zulu parade was a replica of the arrival of the white carnival-king Rex. The Zulu King on his royal float on Mardi Gras day. it was a fundamental difference when you consider the extraordinary care taken over each individual Indian suit. 1978. the Mardi Gras Indians have always been the reflection of working-class black people anxious to maintain freedom of movement within their city. unlike the Zulu King parade inaugurated in 1910. whose definition lies not only in diversity. each streetcorner. Indian parades may have adopted the Mardi Gras spirit. usually with scarcely contained jubilation. churches and Mardi Gras Indians form the basis of New Orleans music. Historically. Parades. Smith) 12 'Alligator June' sewing a patch for his Mardi Gras Indian suit. (Michael P. blues or gospel. an imitation marking a form of implicit gratitude within the black community. Often rebellious in the face of authority. but they didn't try to become a large scale white Mardi Gras with ready-to-wear disguises. the brilliance of their dress and their vivacious polyrhythm reflect the grandeur of their city. each crossroads. jazz funerals. in which Blacks asked the white community to financially subsidize their ceremonies. In one sense. Smith) 13 . like the Memphis Cotton Carnival. 1975.Indian celebrations are free and open to all. clubs. (Michael P. The costumes not only reflect the beauty and exuberance of black New Orleans street culture. the Indians have always been associated with black emancipation through these dances and street bands. and the slightest anecdote or artifact is transformed into a musical opportunity.” Driven by the strength that comes with numbers. people with a desire to make their voices heard loud and strong. New Orleans jazz musicians are capable of playing funk. tells the musical story of a city where sound is King. the Indians escape their daily grind for the length of a parade. they also show their wearers' respect for creativity and the quest for excellence. but also in its perseverance and the commitment of musicians confronted by multiple musical styles as diverse as the local cuisine. without any form of approval sought from Whites. and through social clubs like the “Zulu Aid and Pleasure Club.

The smallest detail has cultural importance in New Orleans. it was so wild and untouchable. you'd think six pairs of hands were playing piano. For a long time nobody knew that it was a song about the Indians with its whistling and that implacable rhythm. My father convinced this guy to let him paint the front of his place so he could get that piano. He comes from a line of musicians who wrote history in a city that had always oscillated between the elegance of jazz and the rough rhythms of R'n'B and funk. (Michael P. where Professor Longhair lived. in this case the genius Smokey Johnson. Willie Tee used to live in Gentilly. Allen Toussaint: “Nobody knew what to do with his music. It was in an improvised studio on Canal Street that Longhair did his second session—this time for Mercury. if only because of his eternal anthem. Encouraged by Dallas producer Jesse Erikson he recorded four pieces for the latter's Star Talent label. Here in New Orleans we'll always love his music because it suits us so much. which became a Mardi Gras hymn. but it didn't generate wide interest. To begin with. And Louis Armstrong used to go out with a girl from my neighbourhood. Julius Farmer (bass) and Larry Panna (drums) on stage at the New Orleans Jazz & Heritage Festival. For several decades he remained totally unknown outside the black clubs from which he emerged at the end of the Forties. Big Chief shows obvious allegiance to the popular mystique of the Mardi Gras Indians. John. plus Wardell Quezergue's brass arrangements and the second-line wrapped drumming. But there's still an implicit link between the two. his marvellous Big Chief symbolised the transformation from rhythm'n'blues to funk. makes this piece the first flash of lightning from New Orleans funk. Atlantic founders Ahmet Ertegun and Herb Abramson made his acquaintance after that ephemeral success. but the partnership was again unfruitful. everything is intimately tied. According to Quint Davis—he and Allison Miner were the artisans behind the renaissance of Fess in the Seventies— the ties between Longhair and the Wild Magnolias were very real: “Both were mixed together in the sense that the Indians rehearsed at Fess' house at 1517 South Rampart Street. with Tipitina.” Willie Tee (keyboard) with brother Earl Turbinton (soprano sax). Fess invented a funk aesthetic from which the city of New Orleans never fully recovered. 1973. thanks to William Allen's savoir faire—and the result. Smith) 14 15 . Ironically. I've done nothing but make music ever since. the “Picasso of the piano” by Jerry Wexler and the “Bach of rock'n'roll” by Allen Toussaint. More than either Louis Armstrong or Fats Domino. The syncopation is accentuated and carries straight to the heart of the main rhythm as only New Orleans drummers know how. was a summer hit in 1950. Ron Records’ Go to the Mardi Gras (1959). Professor Longhair was the last New Orleans musical hero. That title appeared in 1949 under the name of Professor Longhair & His Shuffling Hungarians.” Even if he doesn't implicitly recognize the influence of Professor 'Fess' Longhair as the father of that funky music marrying piano blues and rumba rhythms. In 1953.” In 1964. Baldhead. it was a Longhair song. He was just a local boy who would stay local forever. He remembers his musical debuts: “When I was three my father got a piano from a guy who had a bar on Saratoga and Terpsichore. Nicknamed variously the “grandfather of funk” by Dr. Longhair was the spiritual father of Mardi Gras music. to be also found on the “Mardi Gras in New Orleans” album compiled by Philippe Rault in 1976. including an exultant version of Mardi Gras in New Orleans.Before Katrina. and the whistling from composer Earl King. Willie Tee's words illustrate the importance of Fess on the New Orleans music-map. But his genius never caught on outside the city. however. According to his most elegant heir. Big Chief. and gave him several opportunities to record.

Willie Tee recorded rhythm'n'blues for money and fame while continuing to play jazz for art's sake. I wanted to walk. talk and dance like they did.As a boy Willie Tee was fascinated by the Indian tribe from his ward that rehearsed every year before Mardi Gras. “All For One” (“and one for all”). My name was changed from Little Will to Willie Tee after my "Mardi Gras in New Orleans" a compilation LP of all the great Carnival rhythm and blues songs as issued on Mardi Gras Records in 1976 by Philippe Rault and Warren Hildebrand. which was co-written with guitarist George Davis. (Michael P. Willie logically incorporated elements of the rhythm he'd heard in the Indians' music. I was also very good friends with Aaron Neville. the jazz talents of Willie Tee had always been encouraged and he had a natural inclination towards bebop. proud line of musical conduct where all profits were equitably shared. a ward where the black community was cut off from its street-roots to be parked and aligned in cramped buildings with no soul. young Willie Tee began playing piano with the Seminoles. was always a vehicle for the (daring) political and economic implications of a music industry whose black entrepreneurs had been banned at the beginning of the Sixties. the name was premonitory.F. Cover design by Jean Vern. 17 Professor Longhair (Henry Roeland Byrd) on stage at the New Orleans Jazz & Heritage Festival. He had nothing but praise for his mentors: “Horace Silver is one of my favourite pianists because his jazz piano puts the accent on the rhythm. a collective group that would briefly incarnate an alternative to New Orleans jazz. the legendary Harold Battiste.O. but whose prospects remained flimsy outside the city. As the first AfroAmerican label in the city. “When my family moved to the Calliope Project. Battiste founded A. and a long stick with which they hit the ground to mark time. I played on the original version of Tell it Like it Is. Like Harold Battiste or trumpeter Melvin Lastie. it was the sole form of expression open to them. Before jazz. there were these guys in headdresses doing Indian dances. they were content with the brilliance of their costumes over a simple tambourine. slaps from the solid palms of their hands.” The Project was one of the poorest in the city. I listened to the first recordings of Little Richard and Eddie Bo. Music often remained their only escape. Accompanied by his brother Earl Turbinton on tenor saxophone. Thanks to his teacher. Smith) 16 .F.. but Eddie is still one of my favourite singers. I used to watch these big hunks sewing their suits all year long. we both lived in the Calliope Project. In the early Sixties. and also because it was a passion.O. I don't like everything he did. The label illustrated a stubborn. 1977. A.

manager suggested I choose between “Claybell. but we always bathed in a jazz environment. He stopped playing after my brother was born. elegant songs were anachronisms for the period. musicians had to adapt to the new music trends that became a vogue in black neighbourhoods.” In 1965 Willie Tee had a solid hit with the exquisite Teasin' You written by Earl King. film maker and photographer Jules Cahn. 'Monk' Boudreaux. Together with New Yorker George Wein. Ed Blackwell. in New Orleans like everywhere else in America. Cahn would document the first editions of the festival on film. I used to hang around under the windows of the strip-clubs when I was just a kid. the organizer of the Newport Festival. and the music they played between two strip-numbers was just incredible. it was jazzy and hip at the same time. its soft. Three years later he recorded I'm Only a Man for David Axelrod. The soul music of the mid-Sixties had transformed into funk and. Big Chief of the Wild Magnolias. 1976. (Michael P. Larry Panna (drums) in background.” “Glow Worm” or “Willie Tee. “When I was a teenager I had this dream in which I could see tambourines and alligator-shoes on a street corner. Smith) 18 Crowd shots. and on Allison Miner's recommendation. When I discovered the Mardi Gras Indians I understood that it hadn't been a dream. Quint Davis was there during an Indian parade performed by the White Eagles. a piece that kept him in business for months. As an amateur. Willie Tee took up with the Gaturs and added some muscle.” My father was a jazz trombonist. Smith) 19 . and she had some solid contacts among the musicians of New Orleans. Charles 'Hungry' Williams and all those pioneers used to play such raw funk. Torrid funk jams often took place at the Jazz Workshop on Decatur Street in the heart of the French Quarter. It was a gathering place for adventurous free spirits who could bridge the gaps between tradition and innovation. performing at the New Orleans Jazz & Heritage Festival. 1976. a venue owned by philanthropist. New Orleans Jazz & Heritage Festival. Thanks to an invitation from Cahn. Big Chief of the Golden Eagles and 'Bo' Dollis. the three of them launched the New Orleans Jazz Fest in 1970." His alter ego Allison was also a student at Tulane University. (Michael P. There was no commercial fall-out from that Capitol album.

Smith) 20 21 . Thanks to Jules. I just wanted the Indians to be on the juke-box too. Along with Allison." 'Bo' Dollis. Wild Magnolias. Big Chief. So I convinced them all to continue in this “Mardi Gras Rhythm 'n' Blues” direction. Culturally it was important because the Indians' rehearsals often took place in bars like the famous H&R.Quint Davis always considered the Magnolias to be his most important discovery: “It was thanks to the street parades that I discovered the Indians in the middle of the Sixties. 1973. I found a new sound had been born. on 2nd Street and Dryades. Willie Tee and his Gaturs also came along. alongside Aretha Franklin and all the other R'n'B stars of the period. I was president of one of the student fraternities and one day they came to play at Tulane. and I recorded it. He knew all about the Indian rituals and took me to a White Eagles rehearsal. I couldn't believe my ears when I heard the powerful voice of Bo Dollis! So I started to book performances by the Indians. Those bars always had a juke-box. I wanted to fill the vacuum between their rituals and the modern music you could hear on the juke-box. When I listened to those tapes. we were the only Whites there. Willie sat down at the piano and jammed with them. When I listened to it later. (Michael P. but when the Indians were ready to rehearse they'd just unplug it. Jules Cahn had started filming the jazz funerals and I often went with him. a whole new world opened up for me and I began recording them on tape.

gospel and jazz. and in a single take we had our tune. I got Zigaboo from the Meters together with Willie Tee and his musicians. whenever people saw Indians in the street they'd stay home and lock the doors! The fact that you could now hear them over the radio brought new interest. Most songs from this region consist of onomatopoeias and syllables with no lexical meaning. and offered to record a 45rpm single with them.” A genuine war cry. the title resembles a funk war chant. Roughedged. fast and wild. then they were joined by the Golden Eagles of Monk Boudreaux. H&R bar on 2nd Street and Dryades.Davis made the first decision to record the Wild Magnolias under modern conditions. 1980. Gérard Herzhaft perfectly summarized the music practice of the black Mardi Gras Indians: “The vocal style of the people in the Mississippi Valley puts the accent on the middle and bass registers. But it also drew attention to the ties uniting Afro-Americans. and they sang with primitive simplicity. Most of the songs demonstrate an antiphonic system of call and response. a fascinating expression of local culture—raw and feverish. Like the other Mardi Gras Indians. but that was it. like the other singles from that period. Wild Magnolias. accompanying themselves on monochrome tambourines with hypnotic hand-claps. but had done so from an ethnological standpoint rather than out of any commercial consideration. In 1956. a traditional Wild Magnolias song with modern musical arrangements. Davis talked to Theodore Emile 'Bo' Dollis. musicologist Samuel Charters had already recorded several Indian groups from New Orleans. 1989. The way it worked was red hot. The singer doesn't compose as such. Before that. on the streets at Carnival. a label whose only reference was the staggering Handa Wanda. (Michael P. Even the Louisiana State Museum bought one of Bo Dollis' suits. It gave people the chance to discover the local Black Indian culture. and that single created the music of the Mardi Gras Indians. he catches verses floating in the air. Larry Boudreaux (conga). Indian rituals were rarely peaceful. which would have been unthinkable earlier! The white community was totally unaware of these costumes. The Jazz Fest was the first place to welcome the Indians outside of their own wards. it was the first time they'd appeared in a place where people paid to see them!” 'Bo' Dollis. The rituals of Uptown and the Ninth Ward's black working-class citizens suddenly found an echo in this marriage between Indian traditions and amplified instruments. (Michael P. giving it fabulous syncopation. Before that. it is carried by the bass of George French and the drumming of the Meters' 'Zigaboo' Modeliste. the leader of the Wild Magnolias since 1964. sometimes they saw splashes of colour in the streets. The singer throws out a short phrase to which the other participants respond. and rapid vibratos at the end of each stanza. Smith) 22 Golden Eagle practice with Chief 'Monk' Boudreaux (vocals). Big Chief. Uptown New Orleans. Handa Wanda was recorded in two parts. He knew he was witnessing a phenomenon that was unique. and he has to put them together in such a way that they engender peace and harmony. the Magnolias were keeping their distances with the city's history of blues. Caribbean people and the Indians. Allison and Quint Davis founded Crescent City Records. When Bo Dollis led a parade from Canal Street down to Congo Square in 1970. beginning with the Wild Magnolias. The verse often ends with a cry. Davis considers this piece recorded in Baton Rouge to be one of the genre's definitive titles: “Handa Wanda was written by Bo Dollis when he used to drive a delivery-truck on Magnolia Avenue. Smith) 23 . which are then mixed with elaborate texts.

Smith) 24 'Bo' Dollis. (Michael P. Chief of the Wild Magnolias. and his Queen.'Bo' Dollis. 1982. (Michael P. 1978. Chief of the Wild Magnolias. Smith) 25 .

Smith) 26 'Bo' Dollis. Smith) 27 .'Monk' Boudreaux. Chief of the Wild Magnolias. (Michael P. 1980. Chief of the Golden Eagles. (Michael P. 1989.

Wild Magnolias Mardi Gras Indians. Chief of the Golden Eagles. (Michael P. (Michael P. Carnival 1989. Smith) 29 . 1974. Smith) 28 'Monk' Boudreaux.

Smith. for years one of Professor Longhair's faithful sidemen. Engineer Steve Hodge recorded the rhythm tracks with Willie Tee and the Gaturs. together with his first experience of the jubilant performances of the Magnolias. joined the Wild Magnolias on congas and added an Afro-Cuban flavour to their funky brew. 'Bo' Dollis.French producer-journalist Philippe Rault was a great admirer of the music of the American South. Chief of the Wild Magnolias on Carnival Day. stopped him in his tracks. (Michael P. and Handa Wanda. Veteran Alfred “Uganda” Roberts. After several months of discussion with Quint Davis and George Wein they negotiated a contract. with Indians getting lost in the pine-forest a few miles outside town where they'd gone fishing and hunting turtles… Alchemy weaved its spell and each of the tracks were recorded in a few takes. drummer Larry Panna and bassist Julius Farmer. Smith) 30 31 . it recalled bad memories of the housing “project” of his childhood. sometimes recording them live with the backup band as in Two Way Pak E Way or Meet The Boys. sometimes overdubbing the Indians as on SmokeMy Peace Pipe (Smoke It Right) or Corey Died On The Battlefield. Willie Tee began marshalling his troops under the New Orleans Project banner. Philippe Rault took them all into the rural Studio In The Country in Bogalusa. Rault remembers a “permanent celebration” ambiance reigning over their ten days on that ranch in Louisiana. In November 1972 he met the Wild Magnolias and returned to Paris with a copy of their single and a few photographs taken by Michael P. In December 1973. After their incredible reception. Professor Longhair's hometown. He brought in his brother Earl. At the beginning of 1973 a memorable evening in London marked the Indians' first encounter with the world outside. mostly. 1980. Willie didn't much care for the name. a name they owed to Quint Davis. He didn't have any trouble convincing Eddie Barclay. a protégé of Alvin Batiste trained at Southern University in Baton Rouge. Sound treatment was added later at mixing time.

The eventful manoeuvres needed to get him on the album resembled the intricate plot of an Alexandre Dumas novel. a highly popular tune in the streets of New Orleans. 'Bubba' Scott.a b Quite spontaneously. Julius Farmer obtained a scholarship to study with Stanley Clarke. 1974. recruited thanks to Allison Miner. It's an Americanized variant of the Creole “t'ouwais bas q'ouwais”. 'Monk' Boudreaux. 'Gate' Johnson. Uptown New Orleans. particularly when his guitars had to be recovered from a pawnshop. From left to right: Alfred 'Uganda' Roberts (congas). The informal hero of these sessions was guitar genius Snooks Eaglin. they're amazingly efficient. b. H&R Bar.S. and we went to New York to open for Freddie Hubbard at Carnegie Hall. The other Indians. Nothing came of it however. the French phrase sung by pioneer Jelly Roll Morton at the end of the Thirties in his piece Two Way Pocky Way. Julius only had one lesson with Stanley Clarke… because it was Stanley who asked him to show him some of his tricks!” In the Spring of 1974 Rault went to Memphis for a meeting with Stax Records' Al Bell. Barclay 80 529. 'Bo' Dollis. like that of Willie Tee: “Corey Died on The Battlefield recalls the painful era of slavery. Just listen. after Rault went to New York. the New Orleans Project and the Magnolias became one..” Two Way Pak E Way. Willie Tee makes it all seem so simple: “Nobody understands the genius of Snooks Eaglin even today. Barclay 90 033. 'Gator June' Johnson. Jr. You can hear traditional African polyrhythm on the album together with instant pop melodies mixed with deep Amerindian culture and the breathing of New Orleans. You can hear the same simplicity in his chords. all of it sustained by syncopated drums that disclose the suffering of the blues. Chief 'Bo' Dollis chanted with Chief 'Monk' Boudreaux of the Golden Eagles tribe. 32 a. 'Bubba' Scott and friends at Indian practice. 'Alligator June'. Second Wild Magnolias LP. president Jerry Schoenbaum agreed to take on the project and the first album by the Wild Magnolias was released in April in the U. First Wild Magnolias LP. it was an explosive.S. Willie. who'd also expressed an interest. 'Quarter Moon' Tobias and 'Crip' Adams shared choruses and tambourines with triangles. I used to hear Snooks play on the street when I was a boy. is one of the Indians' most popular songs. b. James Smothers. whistles and a myriad of little percussion instruments. made popular that same year by the Meters under the title Hey Pocky Way. a b a. and American distribution of the Barclay recording was finally picked up by Polydor U. bells. Smith) 33 . Snooks played a whole lot more than you could hear. I was trying to find a universal way of expressing what happened in New Orleans. (Michael P. gleeful mixture like a parade without end. I think that everyone was good on that first organic album. Wild Magnolias and Golden Eagles Indian practice with 'Crip' Adams (left) and 'Alligator June' (with tambourine).

In late Spring 1974. an ode to marijuana. MA. Cities of the Dead: Circum Atlantic Performance. Walking To New Orleans. Charles. Gretna. Rault produced sessions for a second album. New York. A Mardi Gras classic. Jumalaka Boom Boom also belongs to the novelty song characteristics of the city. It was festive music from beginning to end. 'Guitar' June (guitar). Smith.. Back in the wings. Art. Most of its nine tracks were written by Willie Tee. Columbia University Press. chiefs 'Bo' Dollis and 'Monk' Boudreaux were now celebrating what Rault tastily called “the rhythm of seduction. Dr. The public was dumbfounded. Joseph Roach. Along with their tribes. Florent Mazzoleni English translation by Martin Davies. 34 From left to right: 'Monk' Boudreaux. Inc. Handa Wanda and all those hymns with eternal vibrations will ring out forever in the skies of New Orleans: “Injuns. 1994. LA. It was a record by a collective.. Da Capo Press. Soul. 1985. one of the two heirs to All South. with more jazz influences and less funk and individualism. Anchored palpably in the Indians' everyday existence. and “They Call Us Wild” caused a surprise due to its modern sound. New Orleans. It gave rise to a whirlwind of incantations and ceremonial feathers riding high over Indian war songs. Florent Mazzoleni. Bexhill-on-Sea. Ville Plate. Robert and Mason Florence. a variant of the Indian "couture" hymn chanted in the 1930's by the Wild Squatoolas under the title (Somebody Got to) Sew. an awesome bunch like a kind of New Orleans Family Stone. Under a Hoodoo Moon: The Life of Dr. When we were kids. Michael P. Jeff Hannusch. many songs didn't find an echo. On their first album. my grandfather used to sing Ah Anka Ting Tang Boo Shanka Boo to give us a scare. Spain and Canada the following May. 'Quarter Moon' Tobias on stage at the New Orleans Jazz & Heritage Festival. In the background: Alfred 'Uganda' Roberts (percussion). 1976. the opus illustrated the musical hedonism and funk that typified New Orleans. an essential component of the Mardi Gras Indian culture advocating tribal harmony. Paris. la soul et le funk. But the spirit of that record quickly evaporated. Willie had been at the service of the Wild Magnolias as an accompanist. Sew.It was a spring bouquet of tropical flowers with dizzy tribal refrains that nobody had ever heard before. Swallow Publications. It's a Black-CreoleIndian city where the scent of magnolias and the impetuosity of Mardi Gras funk will always express incredible resistance in the face of not only natural and social catastrophes. New Orleans Cemeteries: Life in the Cities of the Dead. “They Call Us Wild.” the raw material of funk. In a laid-back atmosphere. Continual changes at the head of the U.. demented tambourines. a city that has always faced up to adversity. 1996. and also songs allowing the Magnolias to be something more than just a one-off phenomenon. but the second Magnolias record was actually a Willie Tee album. the first signs of dissension began to appear between musicians and Indians.” Philippe Rault left Barclay at the end of April 1975 after making a large contribution to the music of the South he loves so much. l’Amérique noire. these two albums by the Wild Magnolias remain vibrant testimonials to the soul of New Orleans. Unfortunately. Aaron. James Brown.S. 1997. Martin's Press. beaded moccasins and multicoloured pearls from the stage of Carnegie Hall in New York to the Capitol Center in Washington. this title appeared in America as a single on New Orleans Treehouse Records. 'Bo' Dollis. and he expressed himself to the full. here we come back!” Selected bibiliography John Broven. Three decades later. In February 1975. (Michael P. reached #74 on the Billboard charts and stayed for six weeks. LA. John (Mac Rebennack) and Jack Rummel.” which was released in France. New Suit related the way the Indians could spend a whole year working on their new costumes. The Brothers. Mardi Gras Indians. England. which evokes voodoo mysticism. New York. fascinated by their technicolor parade. I had the chance to use that incantation again. Hors Collection. Batture Press. Smith) 35 . John the Night Tripper St. 2001. Smoke My Peace Pipe (Smoke It Right). Cyril Neville and David Ritz. the label run by Warren Hildebrand. On “They Call Us Wild” we were already doing what's popular today. division of Polydor indefinitely postponed an American release. France.. Cambridge.” which was released the following year. 1974. Pelican Publishing Company. Willie Tee noted: “On the second album I tried to find a way to write pieces about Indian rituals. Sew. I wanted to bring about a kind of fusion between organic and modern. 2005. but also simplistic musical categorization. 1994. Without a doubt. I Hear You Knockin'. with a terrific dance feel thanks to irresistible melodies like the incendiary (Somebody Got) Soul Soul. Blues Unlimited. the largest independent distributor in this part of the Deep South. incidentally showing the direction he would take on his first solo album “Anticipation.

Uptown New Orleans. (Michael P. H&R Bar. Indian practice at the H&R bar on 2nd Street and Dryades. 'Alligator' June and friend.a b 'Quarter Moon' Tobias. Smith) b. (Michael P. Smith) 37 . Smith) 36 a. 1974. 1974. 1978. (Michael P. 'Quarter Moon' Tobias. H&R Bar.

New Orleans. (Michael P. Smith) 38 .Black Eagles Indian practice at First Base Lounge. 1980.

1973. straw hats). 'Bo' Dollis. tourist-looking musicians and. which meant that I also had to “mind” a certain Bob Hart from “The Sun” (a UK tabloid known less for its devotion to popular music than for the large breasts it featured on page three) and. addition to the Barclay Records promotion department. loud. We all had dinner Sunday night in the gardens of Le Provençal. was owed more to the fact that I'd traded him two seats for McCoy Tyner's set (in exchange for several columninches in his paper) than to the fact that nobody in England had heard of The Wild Magnolias. flowery shirts. there had been a little incident on the way through Nice airport on the Saturday morning. then the editor of 'Melody Maker'. black. So I did. (i. I felt. They were compiling the liner notes for this album. well. Chief of the Wild Magnolias on stage. It was quite true. and therefore the most humble. You might call it a test of initiative. they wore a few cameras dotted around the same flowery shirts. plus the six guys from the band that travelled with them. (Michael P. New Orleans. Ray was very happy with that. young man!”.” they said.e. These were also normal. Smith) 40 41 . it was an unforeseen bonus that put him in a very good mood. as if to prove it. tourist-looking-but-otherwise-normal people from New Orleans. In fact. Saying I was their “minder” is a euphemism. The trip was turning out fine. sandals. definitely devoted to music. His presence. Or even the fact that Chris MacGregor's Brotherhood of Breath was on the same bill at the 1975 Antibes Juan-les-Pins Jazz Festival. and someone let slip that I'd had first-hand experience of this bunch. but our arrival hadn't gone smoothly from the word go: “to Antibes. and Chris MacGregor was.“Drag it up from wherever your memory hides those things. the hotel closest to the stage. actually I worked for the label that had signed them. My first road-trip as a minder for American musicians had all the bells and whistles—literally and figuratively— that one usually associates with eight large. Ray Coleman. I was the most recent. but it felt more like cardiac arrest.

We were The Golden Eagles from left to right: 'Quarter Moon' Tobias. when the Customs gentlemen in blue suits began heaving huge piles of ostrich feathers onto the counter. In fact. (Michael P. Passport number C2733604. and it was July. Glass beads. the keys from the concierge. we got away. wouldn't you say?” “They'll have to be impounded. Fancy dress. maybe he could square this with my bank. This is just another job for these guys. and several flunkeys to carry bags. “One second. Costume stuff. and then looked for a prayer-mat. Otherwise the suits stay here. They're plugging an album. we did. These sparkle too much to be the real thing. this one's Joseph Pierre Boudreaux. Chief 'Monk' Boudreaux. 'Alligator June'. but they sure looked real to me.” He gave me a look. Calls himself 'Monk'.” “They look genuine to me. then?” “Well. or maybe just Paris “substances” acquired during their stopover. Just show me which form to fill in.000 francs. and especially French banks anywhere. You're saying this is a temporary importation? That these goods are not staying in France? They should have been declared at Orly. but I was soon to find out. No way they're staying here.” “Say again?” “64.” “I see. I'd try and call the label's accountant from the hotel.” “OK. rubies. When the band piled out of the bus in front of Le Provençal we got a standing ovation from the bell-hop. one of the two months when French businesses are dormant. “Rhine-what?” “Rhinestones. “It's OK.000 francs. exactly?” “Just to make sure the merchandise leaves the country on Monday.” Yes. bells and whistles to various suites.” I was trying to calculate how many years I'd have to promote eight Mardi Gras Indians for the Barclay label in order to pay back the deposit. I stammered. please. Smith) 42 43 . There'll be a 64. these are the Wild Magnolias. and they were only rhinestones. the office in Paris was closed. And that one's Theodore Emile Dollis. What's in those bags?” I'd had no idea. white. There's the import duty to start with…” “But these are costumes. on the wrong side of the terminal. pink. Beneath the iridescent feathers lay slick. should anything happen to Monk Boudreaux's rhinestones in the next 24 hours. mobile phones hadn't been invented. really? I thought real stones always looked a bit dull. sir. Especially on Saturdays on the Riviera. There was a bus waiting outside. fine. They're dummies. sequins and glass beads.” “Who are they. 'Crip' Adams gave me a heart-massage in the bus. 'Bo' to his friends. turquoise. So I wrote a personal cheque for 64. Happens all the time during the Festival. It would take a thousand years… They'd kill me if the Magnolias did the gig in their shorts. sir.” “No. “Ah. I was still idly wondering if the band had brought “substances” all the way from Louisiana.” “Absolutely temporary. They're going off to London on Monday. orange and blue suits of velvet and lace embroidered with emeralds. You can't bring them into the country just like that. “They're only rhinestones”. I'd seen the photographs.still technically in no man's land.” “What… guarantee.000 francs deposit as a guarantee. The rest was a blur. man.” “Then that's a different matter altogether. The deposit. These guys are going to wear them onstage tomorrow. all the same. diamonds.” “Here you are. As a guarantee. 1978. opals and sapphires. Or so it was thought. sir.

hoping it would work wonders for the mileage I was expecting from his paper. and we're going to have lunch with him up in the hills. who recovered my cheque on the way home. Someone. did they think about “Cajun” being a corruption of the French word “Acadien?” Could the Magnolias' visit somehow be interpreted as a “return home. there was a press conference. but at least they could pronounce 'Boudreaux'. While Cecil Taylor was explaining the merits of grilled shrimp to the Melody Maker's editor sitting in the shade. Smith) 45 . triangles and whistles.“So. Post Scriptum. Martin Davies 44 Mardi Gras Indian. had already taken up position with a D6 clavinet. what the French journalists most wanted to know seemed to have more to do with ethnology than musicology.” He jerked a thumb skywards behind him. (Michael P. alto and soprano saxes. With every step they gathered a crowd. The Magnolias excelled at this ritual. When they finally came on. although they probably drew the line at coming onstage with a snake down their throats. a man who still sings his songs in the same key after thirty years. and then swayed up the street before circling back down towards the stage. down-home. Willie & Earl.” I tried to explain. although nobody saw it. waving tambourines. cow-bells. With rhinestones. four huge amplifiers. had figured that what sleepy. Nobody had ever heard that kind of rhythm in Antibes. Together they were blowing their souls straight back to Rampart and Decatur Streets. the Wild Magnolias were getting serious back at Le Provençal. The feathers were quite enough. maybe the band's manager Quint Davis. except for the rhinestones.I bumped into Cecil Taylor while you were gone. Quint Davis was a student at Tulane University and part-time shepherd for the Wild Magnolias when not busy being Music Director for the New Orleans Jazz & Heritage Festival. and then they opened fire. Their English journalist-comrades. is it? And another thing . summertime Antibes needed before the show was a genuine. not even Sidney Bechet. New Orleans-style parade. What. Sunday dawned. for example. 1974. then?” said Ray Coleman. So. As for the Magnolias as soon as they hit They Call Us Wild most of the people in Juan-les-Pins went nuts. None of which has anything to do with these marvellous tracks recorded in Bogalusa. and shaking congas and the odd bongo. I believe. Willie Tee and his brother Earl Turbinton were hand-clapping. plus Larry Panna & Co. “Long story. what's been going on. your paper's paying for the taxi then. “It's OK for McCoy Tyner. secondlined their way around the gardens. a Fender suitcase piano. which was the largest open space available for them to work on their motivation.” The sun was high. Wild Magnolias Tribe. and doing it like they played piano and alto (Earl had recently collaborated with Joe Zawinul on In A Silent Way. an alto clarinet. When we came back down the hill after Cecil Taylor's rather esoteric shrimp-monologue. had little difficulty pronouncing “Bordeaux” until they'd had too much of it.” perhaps? All such intellectual questions were politely fielded and tossed aside with rhythm. percussion. they sashayed down the front steps. “Wonderful. Willie had his own band at the time). bass and drums. and with it the business. but probably 'Bo' Dollis.. It was Quint. but Ray had other things on his mind. Was playing in France a dream? Where did Crip's nickname come from? (Because he walked with a limp. Chanting is hardly the word to describe the sounds that came moaning out of that five-star hotel. That's how irresistible the Magnolias were before they even got near a stage. Dusk came. You can do me a favour and get me a whisky. Out came the Magnolias in full regalia. They were working on the theory that nothing was too outrageous. and soon the Festival grounds were jammed with both ticket-holders and locals who hadn't bothered to buy any. and throughout the afternoon we just hung around waiting for sunset. Sound-check. on the other hand. even during rehearsals up and down the stairs of Le Provençal.) Had they had enough time to recover from their jet-lag? What time were they due in London? Did they enjoy the sun and the wine? Probably.

Back in 1962. those questions were always impossible to answer. the very soulful blind guitar player/singer from New Orleans. 1977. despite the airplay granted by Uncle Dan (Filipacchi) on the most popular teenage radio show of the day in France. Snooks had also been dubbed Little Ray Charles in the U. (Michael P. Fird 'Snooks' Eaglin on stage at the New Orleans Jazz & Heritage Festival. Bernard de Bosson. and with no easy access to information about the current New Orleans music scene. Bernard's and my combined interests in his style and very diverse repertoire led us into enthusiastic conversations that would routinely end by where is Snooks now? Is he still playing music? Can we ever find him? Being far away from Louisiana at the time. shared with me a fascination for Snooks' music. entitled “Portrait in Blues” (Vol. Alberta and an outstanding version of Malagueña.1).S.I guess it all started because of Fird 'Snooks' Eaglin. nothing much had happened with that particular disc (I'm Slipping. In 1968. Smith) 46 47 . Snooks' very unique bluesy take on the Spanish flamenco classic. That's Genius as in Ray Charles. On my end. Coincidentally. the famous “Salut Les Copains” on Europe Nº 1. when Bernard worked for the French division of Polydor Records. as a student exploring the record bins of the Latin Quarter music stores around 1966. I was working for the international department of Disques Barclay in Paris and my then boss and friend. he had released with unbounded enthusiasm an Imperial EP featuring Snooks under the promising banner Le Nouveau Génie. I had fallen for an LP by Snooks on Storyville Records. Louisiana. Going to the River). It included such gems as Bottle Up & Go. Malheureusement.

in the living room of Professor Longhair's narrow shotgun house. but they had been able to retrieve the instrument and had teamed him up with Professor Longhair at the 1971. Willie Tee. That's where the ball really got rolling in many different directions and way beyond my original quest. yes of course. Bo Dollis' outstanding vocals and charismatic presence. Louisiana. nearly a whole year to be exact. Wilson Turbinton a. his gang's drive and unflinching support. from modern jazz with his brother. Roosevelt being one of my few contacts in town. in 1971. As it turned out. My time in town was limited. turned out to be an irresistible artistic experience! Quint and Allison showed me photos of the fantastic homemade Mardi Gras Indians costumes that the Wild Magnolias donned for Carnival Day and on St. Handa Wanda (Part 1 & 2). Quint and Allison handed me the 45 r.k. Would I want to meet him and did I know about the black Mardi Gras tradition and the Wild Magnolias Indians? They were having a practice that afternoon at Longhair's house on Rampart Street. an alumni of the Cannonball Adderley band.Quint Davis and Allison Miner. no emails. in the Faubourg Marigny. I knew I had to get Disques Barclay involved with this new and unique sound. After effectively convincing Eddie Barclay of the potential of this act.When I headed for the Crescent City the following year. Rose. he was alive and well in St. Professor Longhair. This single blended the black Indians street music with the New Orleans funk and jazz of a talented local keyboardist and singer. I was face to face with the Big Chief. to funk and soul. Paul Marshall and Stewart Silfen.a. After a few hours of going through a large variety of Mardi Gras songs. on the corner of 2nd Street and Dryades.a. I immediately visited him upon my arrival and after a warm welcome Louisiana style —red beans and rice and a six-pack of Dixie beer—I put to him the where is Snooks Eaglin quiz. for the following ten months. The end result of the stylistic gumbo on the Handa Wanda 45 single was like a keg of musical dynamite. international negociations went back and forth between Quint. Willie Tee covered a lot of musical ground. I was headed back to New Orleans to produce the first Wild Magnolias album. well. as Fess had performed that New Orleans standard with Earl King on his 1964 Watch Records single. the unanswered questions about Snooks came back into focus. and in fact this is how I was first introduced to Theodore Emile 'Bo' Dollis. He promptly indicated that if anybody knew of his whereabouts. twelve months later. Snooks. in December 1973. Finally. at their home on the corner of Chartres and Frenchmen streets. the Wild Magnolias. so I arranged to meet with Quint and Allison the very next day. then a resident of New Orleans 9th Ward. On first hearing. Disques Barclay's lawyers in New York City. in person. I returned to Paris ready to convince the “powers that be” to sign up the project to the label. Quint and Allison's principal partner and main associate in the New Orleans Jazz Festival.m. The strong visual harking back to the American native people took this powerful first musical experience to an even higher consciousness. George Wein. I was familiar with Big Chief. just slow international snail mail and telex machines. chief of the Wild Magnolias. Now. new and fledging New Orleans Jazz & Heritage Festival. one by piano player and singer Roosevelt Sykes. Success in that particular endeavour took a while. Joseph Day. Hearing for the first time at close range those Afro-Caribbean rhythms mixed with the New Orleans street call and response vocals. Smith of 'Bo' Dollis and the Wild Magnolias. Roy Byrd. turned out to be a formidable revelation. Before leaving New Orleans a few days later. (Michael P. saxophonist Earl Turbinton. This was surely a once-in-a-lifetime moment for me. where he had distinguished himself with a R'n'B charting single Teasing You on Atlantic in 1965.k. it would have to be the two young people who had recently booked him into the local. no fax even. a. and various boosters for the Wild Magnolias at the Paris Barclay office such as Cyril Brillant. recording of one of the Wild Magnolias main rallying songs that had been recently produced by Quint for his Crescent City label imprint in a Baton Rouge studio.had pawned his guitar to buy a refrigerator. Armed with only the Handa Wanda single and a series of powerful photos by Michael P. and their crew. one of the most outstanding piano players from the Crescent City. on stage at the New Orleans Jazz & Heritage Festival. was finally being rediscovered after years in total career obscurity. I produced for Barclay several blues albums among which. the head of the export department. Don't forget that in those days: no internet. 1977. spearheaded by 'Bo' Dollis' raucous and abandoned vocal. a mighty testimony to the power of New Orleans funk and African roots. their lawyers. Smith) 48 49 . their official headquarters. to Joseph Pierre 'Monk' Boudreaux. where Indian practice continued late into the night. This was going to be my next mission: to have these awesome singers and musicians signed up and recorded. a short distance away. the Wild Magnolias party proceeded to the H&R bar. chief of the Golden Eagles. He was on disability and his wife Quint Davis and Professor Longhair. would I be interested into coming along? It sounded like an opportunity not to be missed.p. second edition of the New Orleans Jazz Festival.

the Black Creek in Choctaw Indian. across Lake Ponchartrain's 25 mile-long bridge. of course. the studio manager in its early days. the famous Causeway. the closest music business center. I wanted some serious sound experimentation to compliment the unorthodox musical gumbo that Willie Tee and his band were going to bring to the table. according to the direction of the wind. But the gods were on our side and with the gracious help of Bill Evans. Our search for Fird Eaglin had come to its conclusion and the cycle was finally completed. Snooks was the man.S. Willie's brother. To reinforce the percussion side of the band.K. For a couple of weeks we settled into a long low-lying woodhouse half a mile down the road from Studio In The Country. I wished to be even more adventurous and bring the most contemporary sound elements techniques of rock as I had experienced them with some of the more creative English recording engineers such as George Chkiantz and Keith Harwood at Olympic Sounds Studio in London. Professor Longhair did not seem to harbor too many good memories about his birthplace either. If anything. to produce the first Wild Magnolias album. It turned out that Bill Blue Evans. certainly not for the social setting of the city of Bogalusa. Stephen Hodge. Not a thing that the local Chamber of Commerce would promote in its brochure. Jim Bateman.S. and this in order to perform at the original edition of the New Orleans Jazz & Heritage Festival in Congo Square. a remote and potentially inhospitable part of Louisiana. Julius Farmer on the bass. as much for his rock steady rhythm parts as for his burning lead guitar work. the Gaturs. The studio we picked for the recording was a brand new facility. It even very seriously competed with other top studios in Nashville. but a real hard fact nevertheless in the post-civil rights movement days of 1973.You may ask. with a serious pedigree to boot—Val Valentin was his uncle and had tutored him and entrusted him with some major U. we knew. but 60 miles to the north of the city. and Latin artists recordings—Steve immediately displayed the type of confidence and sense of sonic adventure that I was looking for. was a bit of a stretch. Jr.” was doubtful. From his own regular group.” as it had been nicknamed by the folks at studio. activities up to a very recent past. The celebrated Tom Headley. Most of the time in vain. and the full cooperation of the house staff. and they both recommended him. would be a featured soloist on alto and soprano saxophone and even on bass clarinet.and guess who was the musician heading the list? Snooks. mostly for that reason. was also hired without hesitation. and very rarely outside of New Orleans. That left the lead guitar seat to be filled. He would bring all the funk and fire that was required by the material of the Wild Magnolias and an unmatched adaptability to the different grooves that Willie Tee was going to create for the rhythm tracks. 'Gate' Johnson. Courtesy of the Jules Cahn Collection from the Historic New Orleans Collection From left to right: 'Monk' Boudreaux. the head of Atlantic Records. founder of Westlake Audio in Los Angeles and the ultimate studio designer of the decade. so he was very familiar with their musical idiom. when it came time to choose the musicians who would accompany the Wild Magnolias on their first album recording adventure. It featured one short piece of a main street with a couple of eateries along the way. 600 miles away. Constant cooking seem to take place 24/7 under the wary eye of Mamie Tillman. a fact that seemed lost on most locals. it seems that bringing 15 black New Orleanians to Bogalusa. as far as choosing our place of work for the Wild Magnolias project. Alfred knew the Mardi Gras Indians scene very well and used to join their practices at the H&R bar. 'Alligator June' and Quint Davis. of course. a protégé of music master Alvin Batiste. This was not going to be some Smithsonian traditional folk fare destine for the Library of Congress documenting the ethnic proclivities of black New Orleans street music. it also held the infamous reputation of having been a hotbed of K. not in New Orleans as one could have expected. Stephen Hodge immediately appeared to be the right person for this purpose and we decided to choose Studio In The Country. we all set sails to Bogalusa across the great Lake Ponchartrain that December of 1973. November 1970. A former engineer at MGM studios in Los Angeles. Bogalusa. Earl Turbinton. Alfred “Uganda” Roberts. Quint Davis said he wanted the Wild Magnolias to compete with the latest R'n'B bands on the juke box at the H&R bar and I fully concurred with him on that artistic direction. Earl and Willie had worked with an outstanding young Southern University student. a blue-collar redneck paper mill town along the road leading to the Pearl River. The Wild Magnolias Mardi Gras Indians (in full regalia) had officially crossed Canal Street from their Uptown headquarters for the first time only in 1970. a permanent sideman to Professor Longhair. It turned into a crowded refuge from the center of creative activities a short distance away. But. Mardi Gras Indian Practice. the likes of which certainly could not be found in New Orleans. they had never set foot outside of the U. Besides being the birthplace of Professor Longhair. Larry Panna was picked as the drummer.K. and a notable stench of rotten cabbage—yes! the Crown-Zellerbach paper mill—that one would try to avoid. the official stateline between Louisiana and Mississippi. He fitted right in. what had happened to my quest for Snooks Eaglin in the meantime? Well. Besides a very quick one-nighter in London for some rich banker friends of Ahmet Ertegun. “The Ranch. Whether the Indians themselves knew much about “living country. had just built outside of town in the middle of the pine forest on Old Varnado Highway. I remember Willie Tee evoking a few horror stories about gigs in clubs in this redneck-heavy Eastern part of the State. had personally supervised the coming together of Studio In The Country. In retrospect. a local kid with a brief Hollywood recording engineer experience and a wealthy dad. and into the flat pine forest region that blankets this part of the Deep South. 50 51 . became our home away from New Orleans for a couple of weeks. who had quite a task keeping this bunch well-fed and happy. a million dollar recording facility. that Willie Tee would lead on all the assorted keyboards and arrange. the clinching factor was mostly the meeting with the in-house recording engineer.

'Alligator June'. Top row. we make a New Suit…” Official photo of the Wild Magnolias for the U. Willie also added several layers of keyboards and Earl Turbinton laid down some horn overdubs. it was out with the old and in with the new. Bill. It looked like the American airwaves were not ready. Acapulco Gold. as Florent Mazzoleni indicates in his liner notes. we wrapped up the mixing sessions and very excitedly headed back to town for a well deserved holiday break.S. Bottom row: 'Bubba' Scott. With his jaw dropping he said: Man! you're crazy. even in 1974. the studio owner. a method to the madness was put in place and we did cut rhythm tracks with just a guide vocal. 'Gate' Johnson. from left to right: 'Monk' Boudreaux. it did not translate into big album sales. walking into the control-room while we were still adjusting the vocals and the instruments. we nevertheless prepared ourselves for the production of album number two. Injuns Here We Come and Ho Na Nae. New Suit. His soulfulness and virtuosity were so outstanding. you ain't never gonna be able to do a record with these guys. “They Call Us Wild. put some smoke on your mind” and further:“Columbian. since its initial U. Peter Siegel and Jerry Schoenbaum had won the auction and Polydor Records U. Willie had some very specific ideas of arrangements that we helped him build and concretize. release in 1976 on Warren Hildebrand's local New Orleans Treehouse label—later to become Mardi Gras Records—has been for 30 years now a stalwart Mardi Gras tune on par with Professor Longhair's Go To The Mardi Gras. 'Quarter Moon' Tobias. became the designated record label licensing the album Stateside. Lots of Mad Dog 20/20 had been consumed and the song that Willie Tee wrote about Smoke My Peace Pipe.S. The approach this time was focused on the style of songs that seemed to have attracted the most attention on the first album. took off on the national R'n'B charts. 'Crip' Adams. naturally. he understood better than anyone what the Indians were all about. Just take a few hits. how could you possibly improve on such definitive and inspired playing? A few days before Christmas 1973. (Michael P. even if untested. cher! Unfazed. which was a track leftover from the 1973 recordings. James Smothers. Corey Died and Smoke My Peace Pipe. namely the original songs that Willie Tee had written in 1973 for the Wild Magnolias. phasing effects and so forth.S.S. Smoke It Right had not been lost on anyone. He stood there flabbergasted by the musical funk & fire burning on the other side of the glass. was basically dropped for the next album due in 1975. he was having a ball and everyone of his guitar solos on the first Wild Magnolias album is the original take.” which we recorded in February 1975. I should have been a betting man! Though as an outsider walking in on this situation. The track on the album recorded that night pretty much reflects the wildness of the moment. aside of Fire Water. How was Snooks doing in the middle of all this? Well. Well. But in due time during the next several days. even if the single Smoke My Peace Pipe had a promising good run for a few months. as he proved to be an enthusiastically creative soundman and a great collaborator to the project. Unfortunately. I shall always remember Bill Evans. an instant Mardi Gras Carnival season classic. 'Monk' Boudreaux & the Wild Magnolias themselves. it seems therefore correct to say. I can totally understand his reaction. was plagued at the time by serious corporate growing pains and. and was able to translate that state of mind and that attitude into material that they could entirely relate to. and used overdubs to record the final lead vocals and the Indians vocals. That song. with projects of their own. the licensing contract for the act in the U. Polydor U. in the batch of tunes he wrote for this second album. Smith) 52 53 . But there was never any fuss about that new direction from the Magnolias' point of view. The Hawketts' Mardi Gras Mambo. for lyrics such as:“Ain't nothing like a real good high . A couple of months later Smoke My Peace Pipe. as everyone was very happy to utilize Willie's strong songwriting contribution to its utmost. A new president and a new administration then entered the picture. during which Willie initiated me to the joys of eggnog and Yuletide New Orleans style. release of their first LP on Polydor Records. we had everyone jamming together on Two Way Pak E Way. By March 1974. We definitely wanted the spontaneity of the live rhythm section but we also used all the techniques available to come up with a current contemporary sound. Loops. In fact. also at Studio In the Country.On the first night in the studio. especially the bass clarinet on Saints. He understood and knew how to do all this and still keep the rawness and spontaneity of the music of the New Orleans street. The eight Indians plus a number of friends and associates who had trailed along all the way from the hood were being fast and furious. All the talk-box effects in Smoke My Peace Pipe and Corey Died were also overdubs. This is where Stephen Hodge's part was crucial. Theodore Emile 'Bo' Dollis. all the songs on the 1975 second album were Willie Tee's. 1974. Outside of 'Bo' Dollis. albeit in a censored abridged version. and according to an often repeated scenario in the music industry. 'Bo' or Willie. Chief of the Wild Magnolias. in order to establish the balance set-up for the Indians and for Willie Tee's band. As the commercial achievement of the first Wild Magnolias album had been lukewarm.S. Hey! La Bas: welcome to the music business. Al Johnson's Carnival Time and a few others: “Every year for Carnival Time. We knew we had something special in hand and could not wait to test the album on the unprepared A&R offices of American record companies. Can't compare to what I hold. following a pattern repeated at that company over most of the 70s.” The first Wild Magnolias album received unanimous critical success. president Jerry Schoenbaum left the label in 1975 after only a short tenure. We were lucky to have him as a recording engineer. backward recordings. Stylistically. So much so that he gave them. that this was a Willie Tee album much more so than the first Wild Magnolias album. Chief of the Golden Eagles.

Dr. song-oriented approach. he put together the Wild Tchoupitoulas album around Big Chief Jolly. (Michael P. Italy.k. chief of the Golden Eagles. Earl (soprano saxophone) and Wilson a. Professor Longhair. Inc. Meet The Boys On The Battlefront and Golden Crown and from the second album Injuns. in order to suit these new versions by the Wild Tchoupitoulas. Marshall Sehorn finally realized what a great New Orleans cultural treasure had gone untapped by his Sansu Enterprises. in 1976. Joseph Pierre 'Monk' Boudreaux. Eddie Bo. Jr. James 'Gator June' Johnson. no frills bassman who later in the 70s would become Fats Domino's bass player until he passed away in 2003. James Smothers. In the decades that followed. 1975. Jules Cahn. chief of the Wild Magnolias. Iko and Golden Crown and even took on the Zydeco classic by Clarence Garlow. The Turbinton Brothers. outside of New Suit and Fire Water which would appear in the “Mardi Gras In New Orleans” album released in 1976 on the Mardi Gras Records label. Polygram Records released for the first time in the U. a few more CDs by 'Bo' Dollis and the Wild Magnolias have appeared in record stores. Smith) b. John and the Meters and is still available nowadays on the French label Wagram Music. Here They Come. We want to salute them here as well as their companions who have passed away. To our great regret. Washington 'Bubba' Scott. and Willie Tee is currently an artist-in-residence at Princeton University.S. and the other three members of the Meters. If not for the huge international success that had been hoped for.” simultaneously with the 1st Wild Magnolias album rerelease.'Bo' Dollis and the Wild Magnolias reappeared on the recording scene finally in 1990 on Rounder Records thanks to the dedicated work of Allison Miner after she took over the management of the band. who had worked with Quint and Allison on the first stages of the Wild Magnolias career. The LP borrowed from the Wild Magnolias first album Hey Pak E Way. Meanwhile. Bon Ton Roulet and Professor Longhair's Tipitina. the new album was left in a lurch in France and the rest of Europe. the Wild Magnolias albums had nevertheless created an ongoing trend in the pantheon of musical traditions of the Crescent City. Island Records released the album that year. and Lawrence 'Crip' Adams. Quint Davis has remained the director of the New Orleans Jazz and Heritage Festival ever since its first edition in 1970. still the mightiest guitar man in all of Louisiana! They all contributed with enormous soul power and tremendous dedication to these recordings and to a great New Orleans heritage and musical tradition. So we brought the two chiefs and Gitchie to the Big Apple to perform Iko. to pursue his jazz career and was replaced by Erving Charles. “They Call Us Wild. but in a totally different setting this time. “1313 Hoodoo Street” on Australia's Aim Records in 1996. Parker Dinkins. In 1993.” out on Rounder Records/Select. a b The band on “They Call Us Wild” varied slightly from the first album in order to fit the new direction of a tighter. a solid as a rock. We are all grateful and proud to this day for having participated in the making of those records. Our thoughts also go to a number of other participants of those two albums who have also passed away in the meantime: Julius Farmer and Erving Charles who helped create the musical foundation of the Wild Magnolias album tracks.” that album explored a number of Carnival mainstay songs. the fearless Johnnie 'Quarter Moon' Tobias. whose rhythmic funk style would send some sharp as a knife killer riffs throughout the tracks.S. at the time. As I write these lines. another album on Aim Records in 2002 entitled “30 Years and Still Wild. 'Monk' Boudreaux and Gitchie Johnson. and. Without losing a definitive sense of humour as in Jumalaka Boom Boom where 'Quarter Moon' Tobias is featured in a killer deadpan recitation.” Meanwhile. Shortly after the recording sessions for “They Call Us Wild. Louisiana. Willy DeVille had become a French Quarter resident since 1990 and acquired a great respect and admiration for the Wild Magnolias and the Mardi Gras Indians tradition. Earl Turbinton (soprano sax) Julius Farmer (bass) at Lu & Charlie's club on Rampart Street. I had a chance to work again with 'Bo'. “Life Is a Carnival” in 1999 on the Blue Note label. Under the fine musical guidance of his partner Allen Toussaint. From left to right: George Davis (guitar). The two big chiefs. And let's not forget my original source of inspiration. more compact funk section. a. Philippe Rault Los Angeles. Julius Farmer had moved by then to Milano. Iko and Meet The Boys On The Battlefront with him on the stage of the famous Village club. I left Disques Barclay and France and moved from Paris to…New Orleans! Consequently. Johnny Vidacovich (drums). three of the eight Wild Magnolias band members remain alive and still active with their music in New Orleans. revisited Iko.” in the summer of 1975. “Lightning and Thunder. operates his record mastering company. With a number of rearrangements of the lyrics of course. Leonard 'Gate' Johnson. Theodore Emile 'Bo' Dollis. following the unfortunate consequences of hurricane Katrina. (Michael P. the Neville Brothers. Fird 'Snooks' Eaglin. Smith) 54 Finally in 1994. last but not least. and a very special salute to Allison Miner who tirelessly continued working with the Wild Magnolias for many years in the 1980s and 90s. It had taken 19 years for the 2nd Barclay recording to come out officially in the band's homeland! Since then. this second album. was never released in the U. until she left us in December 1995. The common well of Mardi Gras Indians songs was fair game as it looked like the big buzz about the Wild Magnolias a few years earlier had somehow fizzled away. his direct relatives. 1973. These tracks appear on Willy's “Big Easy Fantasy” album which also features Allen Toussaint. Willie also brought along Guitar June. one year after the devastation of Katrina. MasterDigital in Covington. 55 . There was definitely less soloing going on the new project and the new focus gave up some of the looseness and jam feeling in favor of a more tightly packaged. as the producer for the FNAC Music label of a Willy DeVille live album being recorded at the Bottom Line in New York City. the initial connection with the Wild Magnolias. Under the title “I'm Back at Carnival Time. August 2006.a Willie Tee (keyboards) on stage at the New Orleans Jazz & Heritage Festival. several other New Orleans Uptown tribes had their own recording projects released. 'Monk' Boudreaux and the Golden Eagles also had their own album.

triangle. Meet the Boys (on the Battlefront) 2'25 (Traditional. (My Big Chief Has a) Golden Crown (Traditional. (Somebody Got) Soul. 'Bo' Dollis is Chief of the Wild Magnolias tribe. by The Wild Magnolias) 04. Engineered and mixed by Steve Hodge. Track # 8 appeared in a shortened version on Barclay LP 90 033. background vocals. James Smothers: background vocals. Earl Turbinton. Jr. Alfred 'Uganda' Roberts: congas. Jr. background vocals. The New Orleans Project is: Willie Tee: keyboards. by The Wild Magnolias) The Wild Magnolias are: Theodore Emile 'Bo' Dollis: lead vocals. tambourine.CD 1 The Wild Magnolias 01. Tracks # 11 and 12 released on Barclay single 62 076. P 1993 Universal Music France. whistle. tambourine. by The Wild Magnolias) 08. arr. Iko 3'21 (Traditional. Tracks # 1 and 6 originally released on Barclay LP 80 529. Oh! When the Saints 8'47 (Traditional. tambourine. Tracks # 7. Iko. Produced by Philippe Rault. 8.: alto and soprano saxophones. congas. 'Monk' Boudreaux is Chief of the Golden Eagles tribe. tambourine. by The Wild Magnolias) 10. 519 418-2. Soul. Ho Na Nae 5'02 (The Wild Magnolias / Wilson Turbinton) 09. arr. 56 57 . All arrangements by Willie Tee except as noted. Johnnie 'Quarter Moon' Tobias: background vocals. percussion. arr. Louisiana. P 1974 Universal Music France. bass clarinet. arr. tambourine. Joseph Pierre 'Monk' Boudreaux: lead vocal on Shoo Fly. congas.: background vocals. Two Way Pak E Way 7'51 (Traditional. 9 and 10 originally released on Polydor U. bongos. Corey Died on the Battlefield (Wilson Turbinton) 5'00 6'58 07.S. tambourine. cow bells. James 'Gator June' Johnson. Fird 'Snooks' Eaglin: guitar. by The Wild Magnolias) 12. Shoo Fly (Don’t Bother Me) 8'50 (Traditional. Soul (The Wild Magnolias) 11. With special guest: Norwood 'Gitchie' Johnson: bass drum. Larry Panna: drums. arr. Handa Wanda 4'43 (The Wild Magnolias) 02. Recorded at Studio in the Country. Julius Farmer: bass. Smoke My Peace Pipe (Smoke It Right) single edit (Wilson Turbinton) 2'39 06. background vocals. Smoke My Peace Pipe (Smoke It Right) (Wilson Turbinton) 03. by The Wild Magnolias) 6'13 6'23 05. Lawrence 'Crip' Adams: background vocals. Washington 'Bubba' Scott: background vocals. 1973. Leonard 'Gate' Johnson: background vocals. Bogalusa. arr. P 1974 Universal Music France.

'Monk' Boudreaux is Chief of the Golden Eagle tribe. Arp synthesizer. 1975. New Suit 3'06 (Wilson Turbinton) 3'14 06. Ah Anka Ting Tang Boo Shanka Boo (Wilson Turbinton) 04. Here We Come 5'22 (The Wild Magnolias / Wilson Turbinton) 08. Earl Turbinton. congas. 'Guitar June' (guitar). Injuns. 'Bo' Dollis is Chief of the Wild Magnolias tribe. James Smothers: background vocals. triangle.a. Engineered and mixed by Steve Hodge. The New Orleans Project is: Willie Tee: keyboards. Alfred 'Uganda' Roberts: congas. arranger and band leader). tambourine.: background vocals. tambourine. Jumalaka Boom Boom (Wilson Turbinton) 4'28 5'14 03. congas. The New Orleans Project for the "They Call Us Wild" album (2nd Wild Magnolias LP). Larry Panna (drums) and Earl Turbinton (saxophones). Ho Na Nae 4'38 (The Wild Magnolias / Wilson Turbinton) The Wild Magnolias are: Theodore Emile 'Bo' Dollis: lead vocals. Leonard 'Gate' Johnson: background vocals. Jr. All tracks released as Barclay LP 90 033. They Call Us Wild (Wilson Turbinton) 02. from left to right: Alfred 'Uganda' Roberts (percussion). Louisiana. whistle.: alto and soprano saxophones. New Kinda Groove (Wilson Turbinton) 4'01 07. Washington 'Bubba' Scott: background vocals. Produced by Philippe Rault. Larry Panna: drums. P 1975 Universal Music France. (Dennis Wile) 58 59 . Joseph Pierre 'Monk' Boudreaux: background vocals. James 'Gator June' Johnson.CD 2 They Call Us Wild 01. Lawrence 'Crip' Adams: background vocals. Erving Charles: bass. Fire Water 3'45 (The Wild Magnolias / Wilson Turbinton) 05. tambourine. Wilson Turbinton a. tambourine. bongos. We're Gonna Party (Wilson Turbinton) 3'07 09. tambourine.k. tambourine.Willie Tee (keyboards. 'Guitar June': guitar. Johnnie 'Quarter Moon' Tobias: background vocals and rap on Jumalaka Boom Boom. Bogalusa. cow bells. Jr. Recorded at Studio in the Country.

all night long. sewed. Said Wild Magnolias got Injun blue! Hey boy we ready. Wild Man Hey Pak E Way Here they come. let 'em come Hey Pak E Way Here they come! Hey Pak E Way Chawa Hey Pak E Way Make no Houmbah! Hey Pak E Way Hey Pak E Way Flag Boy make Chawa! Hey Pak E Way Make no Houmbah! Hey Pak E Way I'm in the Flag Boy for the Wild Magnolias Hey Pak E Way Make Chawa! What I say ya'll ? What I know now ? Injuns is ready Hey people is ya ready? Let's all have fun now (x2) Let's do what we wanna Let's do what we oughta Let's jump up and down Golden Crown Oh that's my gang ya'll (x2) We hollerin' in the morning Gonna holler in the evening Gonna holler that day ya'll! Oh Wild Magnolia Let's all get together (bis) Do what you wanna (bis) Let 'em go ya'll Hey Pak E Way Hey Pak E Way Early that morning. and took Corey's life Corey died on the battlefield (x3) A lot of folks will miss Corey And they won't forget about his dream Because love is the key. ya'll we right Handa Wanda. Corey Died on the Battlefield Way back. smoke it right (x4) I'm a Big Chief. you got your fame Now Handa Wanda Na Ha Na Ney Hey watch them boys in a Mardi Gras day Oh! the prettiest in the city on a holiday Hey Mardi Gras morning we don't give a damn Oh! run get your mama. put some smoke on your mind Smoke my peace pipe.CD 1 The Wild Magnolias 01. in the days of slavery Was this cat they call Corey Brown Even then brothers would sneak to their tents To hear Corey get on down He often drew crowds by his out of sight rap Seemed everyone can dig what he said But by some trick of fate A dude who knew only hate Slipped by. Oh Mama Oh! Keddie-Fay-Hacko-Ma-Ho-Na-Nae Handa Wanda.everybody got a gun Hey Pak E Way Flag Boy walk a nella Hey Pak E Way Make Two Way Pak E Way Havin' fun now Do what you wanna Get what you oughta Oh boy. take me down. smoke it right! Author / Composer: Wilson Turbinton Turbine Music/ GoPam (BMI) 03. we ready Holler ya'll we ready Holler Injuns a leavin' (x2) Yeah. soul I sewed that morning 'till the break of dawn Somebody got soul. Kil A Way (x2) Oh Jak E Mo Fino on a Holiday Oh boy we ready. ya'll is you ready? Hey Pak E Way Gonna do like you wanna Hey Pak E Way Gonna do what we oughta! Gonna have our fun ya'll Gonna holler in the mornin' Jak A Ma Fina Oh boy we ready Early in the morning Gonna strike without a warning Ha Kai Melinda Oh them old time Injuns He's an old time Wild man He's an old time Flag Boy Early in the morning Oh run get your mama Run get your papa Tell 'em Injuns hollerin' Tell Injuns comin' Oh they comin' in the mornin' Gonna have our fun ya'll Early in the morning Hey Pak E Way Make an alligator crawl the wall Hey Pak E Way (x3) Hey Pak E Way Let 'em come. I'll make you feel alright Columbian. early that day Hey Pak E Way I'm a run all the way Hey Pak E Way Make no Houmbah! Hey Pak E Way Make Chawa Hey Pak E Way Wild Man. Oh Mama! We're the prettiest in the city on Mardi Gras Handa Wanda. just take your time Smoke my peace pipe. Somebody got soul. you got your gang Don't deny your name. ya'll we right Author / Composer: The Wild Magnolias Gregory Davis Music (ASCAP) 02. Oh Mama! Oh little bitty boy and little bitty girl Handa Wanda. smoke it right (x2) Now in my pipe is some super bad herbs Guaranteed to soothe your nerves Ain't nothing like a real good high Just take a few hits. I do the best for my tribe Smoke my peace pipe. for both you and me His dream will live endlessly Corey was a brother Who was aware of his inner man And at the direction of the cosmic He lived to reach the promised land Corey died on the battlefield In search of is destiny And it's no different for you or me You must die for what you believe Author / Composer: Wilson Turbinton Turbine Music / GoPam (BMI) 05. Acapulco gold Can't compare to what I hold Just a few tokes to blow your mind Get it together. (Somebody got) Soul. we had our fun ya'll Oh! we had our fun ya'll Oh! we do what we oughta Oh! we did what we oughta We all got together Hey Jak A Ma Fin A Remember them Indian (bis) Oh! boy we leavin' Holler ya'll we leavin' Well I'm going home ya'll (bis) I've had my fun now I've had my fun ya'll So tell your mama Oh tell your mama That you had your fun now Oh! you had your fun now 'Cause you jumped up and down Oh you jumped up and down Oh you turned all around Holler Ha Ko Mi Lindo (x2) With them old time Injo Hey La Hey La Had my fun now Do what you wanna 'Cause them Injuns leavin' Traditional arranged by The Wild Magnolias Gregory Davis Music (ASCAP) 04. Handa Wanda Indians!!! Indian from Han Douah Make Lou Ah!! Said uptown rulers and downtown too. smoke it right! Smoke my peace pipe. it won't be long Well them Indian rulers gonna sing their song Oh run get your Mama. take me down. Two Way Pak E Way Hey Pak E Way (x3) What I say now? Hey Pak E Way Oh. papa too. Soul I sewed. smoke it right! I do what I can to keep them satisfied Smoke my peace pipe. won't you stand by me? I'm the prettiest Big Chief you ever did see Han Die. smoke it right (x2) Whenever you're down and feeling uptight Come to my tent. do like you know Hey Jak E Ma Fino anywhere you go Oh. ya'll we right We the prettiest in the city on Mardi Gras Hey come here boy. Oh Mama! On Mardi Gras morning they won't go wrong Hey come here boy won't you stand by me? I'm the prettiest Big Chief you ever did see! Hey Wanda Handa Han Dan Dey Say ring them drums on a holiday Oh Mardi Gras morning. Oh Mama! Oh tell me boy what the Indians say Handa Wanda. Smoke My Peace Pipe (Smoke it Right) Smoke my peace pipe. downtown Say. Soul. soul Said Mardi Gras morning gonna bring me home Oh do like you wanna. soul. snake jump the wall Hey Pak E Way Lou a boom boom. got a gun . Papa too Them Indian boys got Injun blue Don't deny your name. here they come Hey Pak E Way Flag Boy for Golden Eagles make Chawa Hey Pak E Way Chawa with Wild Magnolias Hey Pak E Way Thirty two inches across my chest Hey Pak E Way Don't bother nobody but the Lord and death Hey Pak E Way Run through graveyard Hey Pak E Way Kick over tombstone Hey Pak E Way Turn over graves Hey Pak E Way Leave a bloody trail Hey Pak E Way That wake up the dead Hey Pak E Way Alligator crawl. soul. downtown Said Mardi Gras morning gonna have my fun Oh don't ya'll worry and don't ya'll run 60 61 . Oh them Injuns comin they got Injun blue! Oh tell me boys what them Indians say Said Handa Wanda Ha Na Ney Hey! prettiest in the city on a holiday Hey! Rex is the ruler Mardi Gras morn' Now the Indian ruler gonna carry on Hey Spy Boy jumping up and down Oh! Spy Boy said we're goin' downtown Oh! Jak E Ma Fino put hole in the ground Put a hole in the ground and dance all around Oh! Jak E Ma Fino Ma Ho Na Ray Oh! Jak E Ma Fino on a holiday Say Mardi Gras morning and here they come Oh them Indian boys gonna have their fun Han-Die Kil-A-Way (x2) Oh! do like you wanna on a Mardi Gras day! Oh! ya'll we ready.nobody run Hey Pak E Way Lou a boom boom .

refuse to shine Oh! when the sun. That dirty old judge he gave me five! I was a little bitty boy and I did not care I wanted to leave New Orleans and go somewhere. Tray. Ho Na Nae Ho Na Nae (x4) Do like we oughta Have your fun now Have your fun boy Injuns is runnin' Spy Boy Hollerin' Holler loud ya'll (x2) Ho Na Nae (x4) Let'em know now Injuns is ready (x2) Sing in the morning Holler in the evening Here they come boy Wild Magnolias Morning Glory Ho Na Nae (x4) Flag boy comin' Oh! people he ready People he ready Let's have some fun now All have fun now Let's do like we oughta Do like we oughta Author: The Wild Magnolias / Composer: Wilson Turbinton Gregory Davis Music (ASCAP) 06. I wanna be in the number Oh! when the saints go marchin' on in… Traditional arranged by The Wild Magnolias Gregory Davis Music (ASCAP) 09. then I'm coming home Son. don't you worry. don't tell no lie Oh! them Injun boys on a Mardi Gras Oh! Mardi Gras morning it won't be long Oh! my Spy boy gonna sing a song Oh! Jak E Ma Fino put a hole in the ground Oh! Them Injuns ya'll gonna show them how Oh! do like you wanna. La Du Cree Aye Oh! them Injuns hollerin' on Mardi Gras Oh. Boy. I wanna be in that number Oh! when the Saints go marchin'on in… Oh! when the stars refuse to shine Oh! when the stars up above refuse to shine Well. you turn all around. Traditional arranged by The Wild Magnolias Gregory Davis Music (ASCAP) 10. here they go Oh! that Spy boy let'em know Let'em know where they're from on a Mardi Gras You a Wild Magnolia on a holiday Well now you don't hurry. yeah! Oh! when the saints go marchin' on in… Oh! when the Saints. I didn't know his name but I called him boss. what 'I say ? I'm a Big Chief on a holiday Comin' down on Mardi Gras morn' Look at me. I don't know how I'm goin' Downtown on the overpass Jak E Ma Fino. soul. they beat them drums Big Chief got a Golden Crown Oh! the Golden Crown. Duce and a Jack I went to Angola but I made it back. I said I didn't know but I didn't care I wanted to leave New Orleans and go somewhere I said Ace. the Golden Crown The Golden Crown. I wanna be in that number. make Kill Out The Way ! Told my mama 'fore I left home Gonna mask that morning. act a Indian right Well the Big Chief got a Golden Crown Oh! the Big Chief got a Golden Crown Got a Golden Crown and he won't bow down Won't dirty his crown on a Mardi Gras Oh! he got a Flag and he got a Spy Got a Wild Man hollerin' on a Mardi Gras So people get ready for the Mardi Gras day And you do what you wanna when they kneel and pray Don't hurt my Flag. do like you know You wear them feathers anywhere you go Oh! you wear your feathers and your maribou Hey Jak E Ma Fino Ma Ho Tan Dou Oh! them Injuns ya'll got Injun blue Oh! my Spy boy gonna let them through Oh! Spy don't worry. I'll raise some sand Jak A Ma Fino. jump up and down Oh! Spy boy won't you tell them why Why the Big Chief holler with a Golden Crown When they dance all around on a Mardi Gras Oh! Jak E Ma Fino Ma Ho Tan Te Ray Oh! Mardi Gras ya'll the Indian Red Oh! the Big Chief got a Golden Crown Oh! the Big Chief ya'll he won't bow down Kutchie Fay No Say. put a hole in the ground Hole in the ground. soul! (x3) Said Jak E Ma Fino Ma Ho Tan Dey I'm an Injun boy on a holiday Oh! don't ya'll worry. don't hurt my Spy Don't borrow no trouble on a Mardi Gras When you jump up and down. yeah! refuse to shine Well. I said early in the morning I didn't know They would chop that cane row by row. make no Houmbah Oh! the Golden Crown. the Golden Crown My big Chief got a Golden Crown Oh! the Golden Crown. downtown Hey early in the morning gon' have my fun Said do like you oughta. I wanna be. don't bother me (x4) Said early that morning. he won't bow down Holler “Jak E Ma Fino Ma Ho Tan Day!” Oh! my Spy boy got lowdown ways I'm from Uptown and I won't bow down On Second & Dryades. make Ho Tan Ta Aye What I say on a Mardi Gras Day! Cajuns hollerin'. Well way in the valley. won't bow down Oh! they're from uptown. Oh! When the Saints Oh! when the Saints. (My Big Chief Has a) Golden Crown Indian!!! Indian from Han Dou Ah make Lou Ah Make Boom Boom. I said Mother dear won't you pray for me ! I said the captain boy is awful mean I said only thing and it wasn't too kicks Said early in the morning got a great big stick. and don't you know ? I'm gonna shoot them flies everywhere I go Well I met that captain on a big white horse. here we come Well now here we come on Mardi Gras Oh! we wear our feathers and maribou When we jump up and down. boy don't ya run Said meet everybody on Mardi Gras Say come to New Orleans on Mardi Gras Said ask anybody where the Indians Oh! they're from uptown.Just do what you wanna on Mardi Gras Pipa Lunie Ma Duke Cree Aye Lustille I wear my feathers with a heart of steel I won't bow down I don't know how Say I won't bow down on the dirty ground Hey Jak E Ma Fino Ma Ho Tan Dey Oh tell me boy what them Injun say Ha Die. Oh! ask anybody where the Indian. I don't know how Holler “Jak E Ma Fino Ma Ho Tan Day!” Oh! do like you wanna on a holiday. I got a great big Crown Meet the Boys on the Battlefront (x3) The Wild Magnolias' gonna bust a rump! Sing my song boy. gotta be. He from Uptown Let's all have fun before we go home Oh! them Injuns are leaving. I'm a little bitty boy better treat me right I was goin' on the walk with a ten inch knife. go marchin' on by Oh! when the Saints go on marchin' on in Oh! I wanna be in the number Oh! when the Saints go marchin'on in… Oh! when the sun. Hey. Flag don't run Only thing you do let a Indian come Oh! ya'll they jumpin' up and down On Mardi Gras morning my gang gonna clown Oh! Spy boy let'em know Now let'em know anywhere you go You got your name and you got your gang Yeah! on Mardi Gras morning ya'll you got your name Oh! the Big Chief a comin'. about a quarter to five. soul. I sing it well Mardi Gras ya'll. Tray. do like you know Said meet them boys anywhere you go Somebody Somebody got Somebody got soul Somebody got soul. a Duce and a Jack. downtown Say. I said Ace. go marchin' in Oh! when the Saints go on marchin' on in Oh! now Lord. come to New Orleans on A Mardi Gras morn. let'em come Let'em come on Mardi Gras If they come boy on a Mardi Gras Day I'm a Big Chief. On Second & Dryades when Indian live Oh! my Spy boy gonna ask'em please Now don't get worried and don't get scared Cos them Indian boys gonna let ya pass Well take me down. I won't mess with him. I said the only thing that made me mad The captain in the mornin' gonna kick your ass. I said early in the morning on Second & Dryades They'll be jumpin' and shoutin' and they won't Houmbah! Hey Flag boy runnin' on Melpomene Hey Spy make fire when the Wild Man scream! Said Mardi Gras comin' and it won't be long 62 63 . I been to Angola but I won't go back I said down by the river where the water go long That's the same ol'river gonna take me home I said down on my knees and don't you see Don't mess with you. I said early that morning nobody knows Hey! boy get ready everywhere he go I said early that morning won't you cry I said early that morning I could not fight Said down on the walk. better let us through Don't borrow no trouble. boy. when they run They're the Injuns on Mardi Gras! Traditional arranged by The Wild Magnolias Gregory Davis Music (ASCAP) 08. You had to cut that cane row by row. Meet the Boys (on the Battlefront) Meet the Boys on the Battlefront (x3) The Wild Magnolias' gonna bust a rump! Hey La Hey boy. soul! Author / Composer: The Wild Magnolias Gregory Davis Music (ASCAP) 07. Downtown (x2) Oh! I won't bow down. Shoo Fly (Don't Bother Me!) Shoo fly. Said I don't know but I've been told It don't rain in Angola and it don't get cold. they dance all around When they holler. boy. take me down. they goin' round Big Chief got a Golden Crown Oh! sing everybody. take me down. Kill A Way (x2) Ha Kiddie Fay Hako Ma Ho Na Nae Say early in the morning sun don't shine Oh! the Wild Magnolia gonna be on time Oh! they running up and they running down Gonna run that gang all other town Oh meet everybody on hundred and one Said a hundred and two gonna meet 'em too! So take me down. downtown Take me down. let's all have fun My Big Chief's got a Golden Crown Oh! the tambourines ring. down so low. don't you run Somebody got soul. they don't know how They gonna meet everybody on Mardi Gras Magnolias gonna sew all night Oh now don't you worry boy. Well I asked my mother and my little bitty wife I'll be home this summer if it costs my life I said down by the river where the water go down If you jump overboard you gotta go down. you don't run Only thing you do let a Indian come Well now Flag boy what I say ? Oh! Spy boy what he say ? Well now here we come. don't you run You's a Big Chief on a Mardi Gras ! Jak A Ma Fino. son. Early in the morning 'bout a quarter to nine I made it from Angola right on time I'm a little bitty boy with a feather in my head I said Mardi Gras morning gotta Kill A Way I said little bitty boy come stand by me I'm the prettiest thing that you ever seen. don't borrow no fight Only thing I ask. downtown Say Mardi Gras ya'll wanna have my fun Cree Aye La Jon.

don't you cry! I leave in the morning 'bout a quarter to five Hey Spy boy jumpin' with low down ways Come Mardi Gras Indians get the hell out da way I said Mardi Gras morning it won't be long They'll be jumpin' and shoutin' and carryin' on I said early in the morning. purple or blue We make a new suit Author / Composer: Wilson Turbinton Turbinton Music (BMI) 03. New Suit Every year for Carnival time We make a new suit Red. Iko Iko. put a hole in the ground Put a hole in the ground. yellow. better treat me right My Flag boy running got a great big knife I say early in the morning and nobody know I shot my pistol in the jailhouse door I said I didn't worry. you turn all around Oh! you's a Spy boy on a Mardi Gras Got a Spy named Israel. Iko One Day Well you's a Big Chief on a Mardi Gras day Iko. You an Indian ruler anyway you go Oh! Spy Pipa Louna. They Call Us Wild They call us wild But we got soul And when we do our thing We lose control We shake our tambourine And sing and sing Our music's so bad Guaranteed to upset your brain We dig our music And you'll dig it too We'll have you acting wild Before we're through But we're not wild Not by a long shot But we always give it. purple or blue We make a new suit We all try to make them As hip as we could So when we're out on Carnival We'll be looking good Every year for Carnival time We make a new suit Red.Said Mardi Gras morning gonna carry on I'm a little bitty boy. Iko One Day Well. got a Flag named Tom Said on Mardi Gras morning they won't go wrong So we singing about… You do like you wanna. boy I got the gun You better join us brother and have some fun Say Mardi Gras morning. you do like you know. Iko One Day Well. gonna dance around Cause we singing about…. On Mardi Gras. Iko One Day Iko. green. purple or blue We make a new suit We've got rhinestones on our suits That shine like diamonds and stars Got to be sure that we're together 04. Iko.boy. you jump up and down. Ah Anka Ting Tang Boo Shanka Boo I'm mixing up a brew of voodoo spice To control anything that's not acting right The brew that I'm making is some dynamite stuff If you don't believe me dig the ingredients He got some bat wings and rat brains and bumble bee tongues Spider webs and membranes from the eyes of a frog If you don't think that this is enough Just wait till you get close and smell this stuff Ah Anka Ting Tang Boo Shanka Boo These are the words I'm gonna say over you I've got some snake eggs and turtle legs and scorpions Fingernails and lizard tails and slimy snails Ah Anka Ting Tang Boo Shanka Boo Then I'll swing a glass of my brew on you Author / Composer: Wilson Turbinton Turbinton Music (BMI) 02. Iko One Day Well. yellow. green. green. Machine Gun Kelly and Al Capone Iko. oh! ya'll Big Chief like plenty of fire water Put up your nickels and dimes Say the Big Chief wants some wine Hey La Hey La Hey Hey La Hey Big Chief like plenty of fire water) Coo Che Fe No Say La Hey Told you do like the Big Chief say 64 65 . I ain't lying Every year for Carnival time We make a new suit Red. yellow. Iko. don't you run Here come my Spy with a great big gun Hey Shoo fly don't bother me (x2) So I don't need no company Yeah! you're right. nobody know We gonna do the ball everywhere we go Hey Mardi Gras morning it won't be long Say little bitty boy gonna sing my song They jumpin' and shoutin' Mardi Gras day Hey Mardi Gras comin' get the hell out the way I'm a little bitty boy and I do not fight Say early that morning I might take your life Hey Flag boy jumpin' from way Uptown My Spy boy comin' and won't Houmbah! I say trouble comin'. all them boys they dead and they gone Well they talkin' about Iko. give it All we've got They call us wild But we've got soul And when we do our thing We lose control We can't help but groove you In the wildest way we can So come on Injuns And clap your hands We've been into the Carnival Ever since a child Go ahead if you want to And call us wild Author / Composer: Wilson Turbinton Turbinton Music (BMI) Cause we are the soul of Mardi Gras Every year for Carnival time We make a new suit Red. Fire Water Hey La Hey La Hey Hey La Hey (x2) Big Chief don't want no shuck Say the Big Chief wants some pluck Hey La Hey La Hey Hey La Hey. purple or blue We make a new suit We got feathers on our crowns That stand about eight feet high In every colour of the rainbow We're beautiful. I didn't mind I left Angola 'bout a quarter to nine I'm a Big Chief runnin'. Holler “Jak E Ma Feno Ma Ho Tan De Ray!” Oh! little bitty boy called Indian Red Oh! now he don't worry ya'll. yellow. when you kneel and pray Iko. Iko Iko. get the hell out the way! I'm gonna meet them boys for the holiday Hey Flag boy jumpin' up and down Hey Flag boy singin' for Golden Crown Hey Downtown Mardi Gras low down way Said early in the morning gonna Kill A Way Hey Flag boy leading from way Uptown Gonna meet me that morning and he won't Houmbah! Said Jack A Mo Fino Ma Ho Tan Dey If you meet that boy get the hell out of the way I'm a little bitty boy when the trouble come I've got a great big stick and a Gatlin gun I said trouble come and don't you run Said Mardi Gras morning gonna have some fun Ha Dan Pipa Lunie Mardi Gras day Said little bitty boy gotta Kill A Way Hey Flag boy jumpin' and don't you know Hey Flag boy Mardi Gras sew sew sew Say Mardi Gras comin' you'd better be right I bore no trouble don't start no fight I said early in the morning I got the gun Said Mardi Gras morning have some fun I say tell my mother. He's a Wild Magnolia on a Mardi Gras! Let's talk about… Traditional arranged by The Wild Magnolias Gregory Davis Music (ASCAP) CD 2 They Call Us Wild 01. Traditional arranged by The Wild Magnolias Gregory Davis Music (ASCAP) 11. he don't run. green. boy you're right! Hey Flag boy runnin' with butcher's knife Hey I've got the gun and I've got the gang Say Jack A Ma Fino gonna rip some sand I said take me down on the battlefield Hey Flag boy runnin' got a wagon wheel Hey Spy boy runnin' from way Uptown Hey Flag boy hollerin' done took a crown They brought in two Spies but I didn't want it Hey Flag boy holler they got in front My Wild Man jumpin' goin'up and down We're gonna start a little fight on burnin'that crown Say Wild Man holler what you say ? I'm a little bitty boy with a Kill A Way Oh! Shoo fly don't bother me! I say Shoo fly don't bother me! Say early in the morning.

don’t tell no lies Do you wanna have fun on Mardi Gras Say come to New Orleans on Mardi Gras day Say ask anybody where the Indians Say Second and Dryades and Hundred and One Tell the Mardi Gras ya’ll where the Injuns are So now here they come. near the cave where my man lived Was a commotion. let’em run Say they’re runnin’ down on Mardi Gras Oh! Jak E Ma Fino now what I say Oh! them Injuns have ‘em low down ways Coo Chee Fe No Say. oh! ya'll. don’t hurt my Spy Don’t cause no trouble on Mardi Gras Say trouble come. son don’t you run Say you’re the Big Chief on Mardi Gras So now here we come. But if you get deep down into us We're a whole other thing. If you know what I mean It doesn't take long to find out what I'm talking about Just come to the Crescent and start looking around Got a New Kinda Groove. ya'll! If you check it all out Most of the music starts sounding the same.Hey La Hey La Hey Hey La Hey. party all night long (x4) Author / Composer: Wilson Turbinton Turbinton Music (BMI) 07. I tell no lie Don’t hurt my Queen on Mardi Gras Say Mardi Gras ya’ll might think I’ll die Well I don’t mind dyin’ on Mardi Gras Oh! now let’em come. we all have fun Say I’m going down. that made the whole jungle scared Seems two alligators tried to start a nest Next to my man's fence And when he found out what they had done He just couldn't help his self 66 67 . let’em run Oh! they’re running wild on Mardi Gras Jak E Ma Fina put a hole in the ground Say the Flag Boy say we’re going down Said I’m going down. We're Gonna Party We are the Wild Magnolias We came to sing you a song So give us your attention And try to groove along The song we're about to sing Is a thing we do at home Get some wine and some ladies Start acting kinda crazy And party all night long Come on and party Party all night long! We're gonna party Party all night long! You see down in New Orleans We party 'til the morning come So everywhere that we go We try to get it on Jak A Ma Fina Han Tan Dey We like to party anytime of the day Ha Kai Malinda and Ho Na Nae Do you want to party Hear what I say We're gonna party. downtown (x2) On Mardi Gras morning gonna have my fun Oh! here I come. Injuns. it's better than rock'n'roll It's good when you first hear it Gets better when the music reach your soul Got a New Kinda Groove. downtown (x2) Say I’m going downtown on Mardi Gras Oh! Jak E Ma Fino Ma Ho Tan Dey… Words by The Wild Magnolias. It doesn't take long to find out what I'm talking about Just come to the Crescent and start looking around Got a New Kinda Groove. New Kinda Groove Everybody. Here We Come Injuns here they come They’ll be coming down on Mardi Gras morn’ Hey Jak E Ma Fino anywhere they run Say I told my mama ‘fore I left home I’m maskin’ that mornin’ and then I’m comin’ home Say. now nobody run Oh! Jak E Ma Fino with a Gatlin gun Coo Chee Fe No Say. Music by Wilson Turbinton Gregory Davis Music (ASCAP) In a fury like a tornado He stomped them all till they yelled for help He waited for the whole alligator family And made them into a belt! Hum! What I say! There's only one thing that I am told To calm this brother down You see he has a weakness for the jungle plant That's known throughout the world You get you a batch and set it on fire And let the smoke blow on his nose Once this brother get a whiff of this stuff He's gentle as a lamb He's been known to hug gorillas Baboons just for a laugh So if you're thinking 'bout taking a trip Just to check this brother out Be sure you get the right kind of plant If you're thinking about staying long Singing Ju Ma La Ka Boom Ju Ma La Ka Boom Boom Boom Author / Composer: Wilson Turbinton Turbinton Music (BMI) 08. ya'll Got a New Kinda Groove! Got a brand new groove. let’em come (x2) Oh! they’comin that morning on Mardi Gras Say Jak E Ma Fin A when you kneel and pray Say Mardi Gras mornin’ it won’t be long Say we all get together. Jumalaka Boom Boom Ju Ma La Ka Boom Boom Boom (x2) Deep in the heart of the jungle There's a story going around Brother Lion has to give up his throne To a dude who can tie lightning down Singing Ju Ma La Ka Boom Ju Ma La Ka Boom Boom Boom Ju Ma La Ka Boom Boom Boom (x2) The brother that I'm talking 'bout Stands about eight feet tall Races cheetahs for exercise Cracking coconuts with his jaws Singing Ju Ma La Ka Boom Ju Ma La Ka Boom Boom Boom Everything in the jungle Tries its best to stay on this brother's side I mean once anybody bugs this dude Boy! Look it's hell for everyone Hum! Yeah! Once a rhinoceros made the mistake Of charging in this brother's path He grabbed brother rhino by his horn And spun him for a day and a half Singing Ju Ma La Ka Boom Ju Ma La Ka Boom Boom Boom Another incident I'll never forget Happened two or three weeks ago In a lagoon. party all night long (x2) Let your hair down and have some fun We're gonna keep on jammin' until the morning come Jak A Ma Fina Han Tan Dey We like to party anytime of the day Ha Kai Malinda and Ho Na Nae Do you want to party Hear what I say We're gonna party. ya'll Got a New Kinda Groove. lend me your ears We've got something that'll good for the next thousand years It's not jazz. ya'll Big Chief like plenty of fire water Do like the Big Chief order Get that fire water Hey La Hey La Hey Hey La Hey Big Chief like plenty of fire water (x2) Jak E Ma Fina Hey Oh! you do like the Big Chief say Hey La Hey La Hey Hey La Hey Big Chief like plenty of fire water Big Chief he got his squad Gonna ball till the morning come Hey La Hey La Hey Hey La Hey Big Chief like plenty of fire water (x2) Author: The Wild Magnolias/ Composer: Wilson Turbinton Gregory Davis Music (ASCAP) 06. let’em run Oh! now here they come. ya'll Got a New Kinda Groove! They say that jazz was born. ya'll Got a New Kinda Groove! Got a brand new groove. ya'll Got a New Kinda Groove Author / Composer: Wilson Turbinton Turbinton Music (BMI) 05. son don’t you worry. down in New Orleans And that's where we're from. let’em run Oh! they’re running wild on Mardi Gras So don’t hurt my Flag. here we come So now here they come.

left to right: Allison Miner-Kaslow. Dennis Wile. California Supervision: Daniel Richard Coordination: François Lê Xuân and Philippe Rault for Bastille Productions. Art Direction: Antoine Carlier Special thanks: Michael P. Quint Davis. Steve Hodge. Hogan Jazz Archive. 'Big' Will Harvey Jr. late Seventies. New Orleans Jazz & Heritage Festival. Parker Dinkins. Willie Tee. The Mastering Lab. (Courtesy of the Allison Miner Collection. Inc. Smith & Karen Snyder. Mary Len Costa Sitting. Hollywood. Anna Zagorski. 68 .Mastered for reissue by Gavin Lurssen. This reissue is dedicated to the memory of Allison Miner-Kaslow. Professor Longhair. Jonathan & Rashi Kaslow. Tulane University).

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