Originally published on Sun February 15, 2015 1:04 pm
Deacon John does it all. The veteran New Orleans bandleader plays weddings, birthdays, proms, debutante parties. He holds his own at Jazz Fest and at carnival balls. He'll play 1950s R&B, rock, jazz, gospel, soul and disco — whatever the people want to hear. But when it's up to him, he chooses the blues.
Excerpts from the medieval musical, "The Play of Robin and Marion", will be featured on this week's Continuum. Composed by the 13th century trouvère Adam de la Halle, this pastoral work is considered by some to be one of the first operas written.
The recording is an historic live performance given in 1984 by musicians of the Schola Cantorum Basiliensis, the famous early music school in Basel, Switzerland. CD is "Le Jeu de Robin et Marion", Focus 913.
This week on Continuum you'll hear recording of a live New Orleans Musica da Camera concert from October 5, 2014.
It is A Voice Still Heard — Medieval Sephardic Song, recorded at Ursuline Chapel in New Orleans.
This is a repeat of a concert give by Musica da Camera in 1990 at Gates of Prayer Synagogue in New Orleans and broadcast nationally over American Public Radio. The recording is on the CD, A Voice Still Heard - Belle Alliance BA 011.
La Folia is one of the most important anonymous melodies of the 15th & 16th centuries. It has been reported to have variations composed for it by over 400 composers over the years.
Probably the most notable variation of the La Folia is by Arcangelo Corelli (1653-1713). This week on Continuum you'll hear this composition and others from a few notable composers extending into the present day.
WWNO2 classical host Farrar Hudkins talks with Louisiana Philharmonic Orchestra Music Director Carlos Miguel Prieto about this year's collaboration with the Historic New Orleans Collection, a concert called "New Orleans and the Spanish World."
Catch the free concert at St. Louis Cathedral on Wed., Feb. 4 at 7:30 p.m., and streaming live on 89.9 WWNO and WWNO.org.
New Orleans music didn't do as well in the 1960s, a few hits notwithstanding, as it had done. Musicians left town, major labels lost interest, and Motown and Memphis took over the black music charts. Nonetheless, the late Cosimo Matassa, who owned the only recording studio in town, kept busy. Fresh Air rock historian Ed Ward has the story today.
At first, there wasn’t a name for the kind of music that Fats Domino played.
He called it rhythm and blues. But Domino’s songs stretched beyond that category.
In the late 1940s, Domino was working at a mattress factory in New Orleans and playing piano at night. He’d just gotten married… and both his waistline and fan base were expanding. That’s when the bandleader Billy Diamond first called him “Fats” — and predicted he’d have an outsized career.