The Signature Sound of New Orleans

When Roy Brown recorded his song “Good Rockin’ Tonight” for DeLuxe records in 1947, he was no doubt dreaming that it would be a huge national hit in the USA. It made it to number thirteen on the Billboard R&B Singles Chart, but then was overtaken by another version of the same song, which went to number one on the chart. Before recording the song, Brown had offered it to a local singer called Wynonie Harris, who turned it down. He decided to record it when he saw Brown’s version selling well. Harris’ version won that particular battle, but Roy Brown had sown the seed of bigger things to come for New Orleans. Two years later Fats Domino launched his international career with the success of “The Fat Man”, followed by Lloyd Price and Little Richard. New Orleans R&B took off around the world.

Wynonie Harris wasn’t the only singer paying attention to what Roy Brown was doing. Not far away, in Memphis, a young man recorded “Good Rockin’ Tonight” at Sun Studios in 1954. It was his second release on the label but failed to sell. Fortunately for Elvis Presley, he did better later! Elvis’ cover of the song has probably contributed to the suggestion that Roy Brown is one of the founding fathers of Rock’n’Roll. Could that be another feather in New Orleans’ cap? Maybe yes. Roy Brown’s record label called the song a “rocking blues”.

During the fifties, New Orleans R&B was led by the piano and the saxophone. The songs were initially fairly slow, with a syncopated bouncy rhythm and an undercurrent of boogie-woogie. The saxophone line filled the gaps. It didn’t take long for Little Richard to up the tempo and the excitement and take the sound into the sixties.

Cosimo Matassa had recorded most of these early hits at his J&M Studios, with Dave Bartholomew’s band providing the backing. But the artists were working for record companies such as Imperial and Specialty, not based in New Orleans. Now, at the start of the sixties, AFO and Minit Records opened for business in New Orleans, with a new generation of producers and musicians taking over from Dave Bartholomew. Allen Toussaint produced several big hits for local artists at Minit Records, while Harold Battiste at AFO released a big hit for Barbara George, all in 1961. Things looked rosy at that stage, but these local companies were small. Cosimo Matassa moved his operation several times but found it hard to keep pace with bigger and better studios in the bigger cities like Chicago and Detroit. Minit and AFO did not have the investment to match Motown or Atlantic. Slowly the number of international hits declined.

Wardell Quezergue, who had played in Dave Bartholomew’s band, emerged in 1970 as a producer of two major hits that attracted a lot of attention for Jean Knight and King Floyd. However, the recordings had taken place at Malaco Studios in Jackson, Mississippi, which was another small facility, so it was once again hard to repeat the success.

Allen Toussaint was aware of these problems and set out to overcome them by setting up a state-of-the-art studio in New Orleans with his partner Marshall Sehorn. Sea-Saint Studios opened in 1973, with two interesting albums from Dr. John and The Meters amongst the early releases. One of the studio’s biggest successes came in 1974 when Labelle’s “Lady Marmalade” went to number on the Billboard Hot 100 Singles Chart. Labelle were not a New Orleans group. Toussaint realised that he had to attract big names from across America and Europe to compete with the big studios, and this was done. Paul Simon, Rod Stewart, John Mayall, Joe Cocker and Elvis Costello were among those who recorded at Sea-Saint. This allowed the local artists to continue working in the city too. Irma Thomas travelled widely in the USA to perform and record but came back to New Orleans to team up with Allen Toussaint at the new studio. The Meters, the Neville Brothers, and Dr John all recorded there.

The Signature Sound of New Orleans features a limited range of instruments, with little orchestration. The drums and brass instruments often have a marching rhythm, similar to that of a marching band or funeral band making a joyful sound after leaving the cemetery as they parade through the streets. The vocal line often has an easy-rolling rhythm with a catchy syncopation. The horns appear to imitate the shouts at a Holy Spirit worship service in a black church, supported by an irresistible driving and pulsating backbeat from the drums. A saxophone solo often counter-balances the vocals. The music is laid-back but has an energy and rhythmic quality that makes you want to tap your fingers and then get up and dance.

So, what are the key elements of the New Orleans R&B sound? The ingredients are clear. Take a pinch of Jazz, a spoonful of Blues, a hint of Boogie-Woogie. Mix a slow rocking piano and a syncopated saxophone with a drum backbeat. Stir in some funky, laid-back rhythms and a touch of Mardi Gras. And that’s it. Allen Toussaint summed it up this way:

“ …in New Orleans there are certain elements that tie us in. There are some ingredients we share. That second line brass band parade thing. The syncopation. The humour. And also the pace… our pace is a bit slower.” (A Quietus Interview, John Doran, November 10th, 2015)

Allen Toussaint speaks of things tying people in. It is noticeable that many artists from New Orleans spend the majority of their careers there. The city seems to act like a magnet, drawing people together and pulling them back when they leave. There is a huge sense of belonging to somewhere very special, which gives the music a unique flavour. You can sense the musicians’ pride in their city. It is no accident that the name of their city appears so often in the titles of their songs.

When Hurricane Katrina struck in August 2005, the musicians of New Orleans suffered greatly. Like many of the city’s inhabitants, they lost their homes and their livelihoods. But there was a determination to rebuild the musical heritage and to support each other, as everyone worked to get back on their feet. In December 2005, an album was released that embodies that spirit of togetherness. It is called “Our New Orleans” (Nonesuch Records). The sixteen tracks were recorded in September and October of that year, just a few weeks after the hurricane devastated the area. The first three songs are sung by Allen Toussaint, Dr. John, and Irma Thomas, with a later track from the Wardell Quezergue Orchestra. The whole album is filled with a sense of pride and resilience. Music is the lifeblood of New Orleans and it has played an important role in the rebuilding process.