Santa made the rounds early this week, delivering the latest Bas Clas CD Love Food Sex Peace to audiences in New Orleans. The 7 song disc features five new songs and two tunes familiar to longtime fans. As with the band’s previous release Big Oak Tree, an Offbeat Magazine Top 50 CDs of 2012 and a nominee for their Best of the Beat awards as Best Rock Album, “LFSP” was recorded at the legendary Dockside Studio and engineered by Grammy-winner David Farrell. Produced by Bas Clas, David Farrell and Steve Nails, the new CD features guest musicians Eric Adcock on keyboards, Jonno Frishberg on fiddle, Roddie Romero on accordion, and Dickie Landry on sax. Backing vocalists include Leslie Smith, Mike Picou, and on the song “Goodnight,” harmony ninjas Susan Cowsill, Alexis Marceau, and Sam Craft. The CD cover art is derived from a stained glass piece by the bassist Geoff Thistlethwaite’s wife Michelle Fontenot.
The band will make the disc available to the public at a special year-end show at Chickie Wah Wah in New Orleans on Friday, December 27. We’re blessed to be able to wrap up an eventful 2013 by releasing this CD at our last live gig of the year. The CD will be available at the Louisiana Music Factory, CD Baby and on iTunes in the coming days.
My band, Bas Clas, takes the Dumaine Street stage at 6pm Saturday, May 18 at the Mid City Bayou Boogaloo for a 90 minute set. Guest musicians include Leslie Smith on vocals, and a brief but very special guest appearance by Jonno Frishberg and Kevin Aucoin. We’re warmed-up and ready to rock, so it’s going to be a good show. Louisiana Music Factory will be there selling our CD and there’s tons of food, arts, crafts and more. This is one of the city’s finest festivals, on the banks of Bayou St. John, and we hope to see lots of friends and make new ones.
The band also spent the past couple of days working with David Farrell, one of the best audio engineers in the world, on our latest batch of songs. We plan on releasing more music in October, so stay tuned!
The End of Daze are upon us. Saturday, October 27, 2012 is the official date chosen by the Enlightened Ones of the Krewe of MOMS to open to the world the chance to join them in costumed revelry as they dance in the face of doom to celebrate the End of Daze. Bas Clas is one of the triumvirate of musical mystics chosen by the priests of pleasure to sound the alarm and sing the songs that will shake the foundations of the Temples of the Prudes.
Taking the altar at the start of the night, Bas Clas will begin the sacrificial rituals with music and dance at the musical temple of The Howlin Wolf in New Orleans.
Asked whether the music can indeed turn the tide at this late hour, a not-to-be-named mystic said, “These are dark times. We shall prevail, and if this is not to be, we shall dance until the end.”
MOMS Halloween 2012, the End of Daze will soon be upon us.
It’s official. The first new recordings by Bas Clas in more than 20 years will be released on Earth Day, Sunday April 22. The 7 song CD is titled “Big Oak Tree” and features a mix of old and new songs all recorded at Dockside Studio in August 2011 with engineer David Farrell. Featuring an expanded lineup that includes Eric Adcock on keyboards, Dickie Landry on sax, and backing vocals from Leslie Smith and Mike Picou, the tunes range from crunchy rockers to a Cajun-flavored tale of life and loss (from which the title was gleaned) that features Roddie Romero on accordion, David Greely and Mitch Reed on fiddles, and Christine Balfa on triangle. The band will be performing at Festival International du Louisiane in Lafayette on Thursday, April 26 at 6pm and the following night (Fri, Apr 27) at The Wild Salmon, also in Lafayette.
When I started this blog, it was to vent my spleen about things that matter to me. Though music was the first subject, and my past work as a public servant trying to help Louisiana recognize the importance and economic impact of music spawned many posts here, I’ve almost never discussed my musical career. In fact, the only blurb about my band was back in 2008. But it’s time to change that.
I spent 15 years as a full time musician in a Lafayette, LA-based band called Bas Clas. The name is from a Cajun insult for people deemed “low class.” There’s a long story behind that and I recommend our Facebook page for the best version. This band was my full time profession from 1976-91. I lived, breathed, ate and slept that musical life. But in 1991 the stresses and struggles and the lack of money finally caught-up with us and we disbanded. I did not play my guitar for the next 9 years. My fingertips had no callouses and I cared not a bit about my “career” in the music business. And when I blundered into my job at the Louisiana Music Commission I knew I could do it without conflict.
For more than 20 years I’ve described myself as “a musician in remission,” and joked that I generally had it under control, though it flared-up now and then, and that music was no longer ruining my life. Well it’s time to sing a different song.
When I withdrew from my musical path, my eyes opened about the desperation and frustration that drives many artists to complain and be unhappy. While at the LMC, a standard line I dispensed to frustrated fellow musicians was, “Play music because you love it. If you are unhappy, quit. And don’t complain, because you’ll find little sympathy.” I still believe that. In fact, in this latest incarnation of my musical life, I live by this: “If it’s not fun I don’t want to do it.” This attitude has been occasionally met with mixed reviews by some of my friends. But I mean it.
So off I go with my band/family to explore our musical horizons. We’re going to spend 9 days playing music. And it’s going to be fun.
After 4 years of lifeless existence under the direction of Chairwoman Maggie Warwick, the Louisiana Music Commission (LMC) is finally being put out of its misery. As reported in newspapers a few weeks ago, after July 1 the LMC will disappear. The articles quoted Ms. Warwick as saying she “supports eliminating it.” That’s like quoting Nero during the burning of Rome.
I would like to congratulate Ms. Warwick for her vision and talent in destroying the state’s (and nation’s) first agency dedicated exclusively to music. And thanks also to Lynn Ourso, the ostensible “director” of the LMC for directing it right into oblivion.
Though there were 15+ people appointed to serve on the LMC over the past 4 years, evidently none of them had the ability or power to grasp the controls and pull the LMC out of the dive it entered when it was eviscerated by (convicted and jailed former film office director) Mark Smith, then relocated and de-funded during the Blanco years (with the assistance of former Secretary of Louisiana Economic Development Mike Olivier). To those members who tried, really tried to represent the best interests of musicians, I say thank you. To those who colluded with and bought-in to the tired and ineffective leadership of Ms. Warwick and Mr. Ourso–and you know who you are–I say that the proof is in the pudding. And yours turned out to be a runny, smelly failure.
Since 2006, when they finally wrested control of the remnants of the LMC that had been systematically weakened by their team, observing the Warwick-Ourso tenure was like watching an elderly nursing home patient slowly, painfully gasp for breath–for month after month after month. It was a pathetic and absurd situation. And now it’s finally over.
The coroner has declared the patient dead but did not cite the cause. I say it was starvation, deprivation, and neglect compounded by malpractice and out-of-touch stewardship. And there will be no investigations, no funeral, no accurate recapitulation or memorial. This will likely be my last blog on that subject. And for that, I’m sure some will be grateful.
I’m proud of the work Ellis Marsalis, Bernie Cyrus and I did, but we were far from alone. From 1992 to 2006 literally hundreds of people helped us achieve unprecedented levels of support for Louisiana music. Because of our work, thousands of Louisiana musicians appeared on radio and television; tens of thousands of elementary school students statewide experienced living jazz history lessons; sites were saved (though many were lost); and attention to the health and welfare of working musicians was raised to new levels not surpassed until the tragedies of the failed levees of Katrina. You can read about what we did here: LMC Summary Report 1992-2003.
The LMC is dead. And though I spent 25+ years in music, it was always with a focus on environmental and social justice issues, on reducing our impact and helping the needy. Today, that’s what I do full time. I love music. I hope to play again some day. But I have a great job and a mission to bring positive change to the way we live. I am blessed to be where I am today.
Music is vital to our quality of life in Louisiana. Perhaps one day it will benefit from dedicated resources and support equal to what we give other industries such as agriculture, petrochemicals and film. One day. But not today.
Cayne Miceli was a truly mystical and deeply spiritual soul. She was enlightened, vibrant, sexy, colorful, outgoing, outspoken and could turn the most mundane moment into one of great insight, joy and hilarity. She possessed a sharp wit that she wielded with taste and great humor. She was never mean, even when life and friends let her down.
Cayne radiated life. She glowed with an intensity that reflected her spiritual connection. And she could brighten your day with her huge smile, even when she was not in great spirits.
Cayne also had a capacity for understanding and analysis that made her counsel and advice meaningful, thoughtful and soothing. She never gave you a sense that she was patronizing you or was impatient with your thoughts–though she was jumping to put her two cents into the discussion. She shared like nobody I’ve ever known, everything she had: emotional, physical, spiritual. She knew love because she gave love. Her friends and family grew with her passing, despite our pain, as we all connected and continue to share our love for her and for each other. Tuesday night, January 5, some of her friends gathered at a live music club to light candles at midnight to honor the anniversary of her passage and to conjure her spirit. It was a most appropriate setting.
Cayne’s probably laughing at us all as we fight our emotions and try to reflect the true nature of her spirit and joie de vivre. I hear her staccato voice this night, “Yeah, yeah, yeah, I’m great, I’m fine, I’m so connected it’s amazing. You know I knew things could be this way but I never reeeaaaallly knew until I crossed over, really, it’s amazing, it’s so cool, I’m just so happy. It’s like I always said, Peace and Love, Peace and Love! I can’t believe how I got here, but I found it! It’s soooooo cool! I love you guys! Peace and Love! Peace and Love!”
Ok, it’s time for me to re-visit a festering splinter. I apologize to readers who are bored with this subject. But here goes….
The basically non-existent Louisiana Music Commission (LMC), operating as a very minor component of Louisiana Economic Development (LED), continues to fail miserably at it’s mission “to promote and develop the popular, commercial music industry” in Louisiana (as per LA R.S. 25:315-317).
Under the administrations of two governors and two different leaders at LED, the state tossed 14 years of leadership by the impeccable and experienced Ellis L. Marsalis Jr., and the LMC was eviscerated. In 2006 they disposed of all the office computers and data, failed to maintain and renew the agency’s 8 years of web presence via louisianamusic.org and buylouisianamusic.com (and lost the URLs) and reinvented the LMC as a do-nothing entity–still with no website–that occasionally holds meetings and apparently produces nothing in the way of action.
Of course there’s no budget specifically for music; and, with the state obsessed with Hollywood, chicken plants and sports, it’s no surprise that music continues to suffer.
As one of Louisiana’s signature natural assets–and one of the few industries here that continues to influence the world–this failure: to lead, to market, to support, and to recognize the importance of this irreplaceable and immeasurably valuable citizen-resource, is inexcusable.
The latest attempt to quantify Louisiana’s music resources reveals the depth of misunderstanding by economic development staffers, and represents another squandering of money on out of state “experts” who gather readily available data and then call it a study. Economics Research Associates in February released a state-funded report (anyone know the cost?) on Louisiana’s entertainment industry. It is a very revealing and, regarding music, deeply flawed document.
The music section begins with a lengthy overview (5 pages of 11) of the music industry using data readily available to anyone (even the LMC’s current director). The report then uses federal labor statistics and other industrial data to surmise that Louisiana’s business of music ranks well below 30+ other states, a patently ridiculous conclusion. And it is obvious that ERA did not fully understand, nor seek to document, the many facets of Louisiana’s unique music landscape.
What’s truly sad is that were the LMC fully funded and staffed with imaginative people, this study could’ve produced something worthwhile.
Back when we worked to gather this information, we used a combination of resources, including tourism data, staff researchers at LED, the Louisiana Music Directory and more. Since much of tourism is generated by music, that industry’s ups and downs are directly tied to music’s economic impact and contributed to our studies–this component was analyzed, by the way, by LED’s own highly qualified research staff. And, the only proper study ever done–by Dr. Tim Ryan of the University of New Orleans in the late 1980s–was not conducted by an out of state entity.
To continue to believe that only companies based out of state are capable of telling us who we are is a lingering problem in Baton Rouge and at LED.
The experts we need to help us analyze our music resources are readily available here in Louisiana. Utilizing this talent keeps money flowing between state government and higher education, helping to grow a new crop of experts and future businesspeople. In other words, it’s ECONOMIC DEVELOPMENT to first use your university resources to conduct studies.
Louisiana Economic Development fails at its mission when it fails to utilize readily available in-state resources within universities, nonprofits and businesses.
But I digress. When Ellis Marsalis, Bernie Cyrus and I were in charge of the LMC, we produced many reports on the state’s music industry. We posted these reports on the web for all to see. We distributed this information to the Office of the Governor and the Louisiana Legislature. And we determined that music’s impact on Louisiana was in the range of nearly $3 billion! Yet according to ERA, film is bigger than music in Louisiana. Really?
Of course Louisiana is spending more than $115,000,000 in cash money as tax credits to buy the friendship of the film industry here. And that money is giving lots of people work, many people from here–including some of my friends–and who knows how many from out of state. The data and the state’s “experts” have not quantified exactly how much of that money and those jobs stay in Louisiana.
But back to music, for that is our world renown, immeasurably valuable, historically significant, naturally occurring and most neglected asset. At a time when it is obvious that the recording industry is the component in the worst free-fall, both the state and ERA focused on the sound recording business as a measure, and as the only recipient of a little-used tax credit system.
Having done some of the earliest research of the state’s recording industry when this tax system was proposed–and kept out of the final drafts by a few nefarious folks, one of whom is headed to the pokey–I strongly believe that the current tax credit system is not what is truly needed. In my research–which involved me calling studio owners and asking them what their biggest problems were and what they though the state could do–I learned that studios sought sales tax relief and felt that the budget-oriented credits would both be little-used and have little effect.
ERA’s data certainly proves the little-used aspect, as only a handfull of projects have tapped into the credits. Of course the lack of staff at the LMC to process these credits is also partly to blame. But, as national data and the ERA report indicate–and anyone in the studio and music business can tell you for free–the recording industry is not doing well. Nevertheless, that segment is the focus of the state and of ERA.
The only apparent good news in the report is that music credits do better than film in the report’s cost-benefit analysis, supposedly generating $6.78 for every dollar in tax credits compared to $6.64 for film. However, since only $340,000 in spending was tallied for credits, the data says only a couple of jobs were generated. The study also notes that in 2008, $816,800 in productions applied for nearly $204,000 in credits. It’s encouraging to see the numbers rising. But it’s also frustrating to see the emphasis be only on this one aspect of the business. As a musician, I liken this approach to giving the cotton companies a tax credit during the waning days of slavery. What does this credit do for the musicians who are truly Louisiana’s musical gold?
Admittedly a few musicians have been hired to work on subsidized projects. And I don’t want to disparage the intention behind trying to support our vitally important recording studios, they need all the help they can get. But it’s almost like we’re subsidizing buggy manufacturers after the automobile was introduced. And studios, like every other aspect of music, won’t survive if musicians aren’t thriving.
Live music, which we determined in previous LMC reports has a multibillion dollar economic impact statewide, is given one short paragraph in the study–with no economic impact numbers. There are no inputs, no data, no charts, no information on taxes generated or jobs created in this live music paragraph.
Then the music aspect of the report ends. A total of 11 pages in a 90 page report.
There is no doubt that this report provides valuable data for state leaders. The study presents a very informative review of film incentives nationally. This will help people understand the landscape of film and media industry tax credits. And I’m sure this was the intent of all concerned in producing and funding this report. But, music is much bigger than this study says.
Louisiana music is a brand, unlike every other component of the report. And that brand has a worldwide value and recognition factor that needs to be tallied and supported.
The failure of the State of Louisiana–whether it is Louisiana Economic Development and/or the Lt. Governor’s Office of Tourism–to fully understand and support our vital music resources, is one of the great tragedies of mismanagement in the history of this state.
The power of our musical genres, of our music history and of our musical stars has never been fully or properly understood, valued, promoted or nurtured. What is even sadder is that everyone knows this and yet nothing substantial is done.
Were it not for the continued efforts of the many nonprofits such as Tipitina’s Foundation, the New Orleans Musicians Clinic, the N.O. Jazz & Heritage Foundation, Louisiana Folkroots, WWOZ, NARAS/MusiCares the Louisiana Music Hall of Fame, KRVS and many other wonderful organizations, Louisiana music would be nothing more than an afterthought, a component of our tourism advertising that presents an image of love and support that in reality does not effectively exist within the institutions producing these promotions.
We convey an image to the world that our music matters. But it’s all just smoke and mirrors. We can do better.
Sidenote: Here’s a report we generated in 2002. It’s the kind of report that covers analysis of the industry both internationally and locally and includes all our projects, accomplishments and interactions for the year. Will the current LMC ever produce anything even remotely similar?
I’ve decided on a new career that I know will make me rich. I’m going to be a chicken plucking, film making, sports team owning, wood pulping for export, drug testing entrepreneur! Yes, that’s the key.
Since it’s increasingly obvious the state doesn’t care for its arts, music, environment, mental health or safety, I figured I’d put my thinking cap on and ponder: What does the state really support? And, voila, I got the answer!
We’re spending $114 million buying the friendship of the movie industry, we’re putting up $50 million for a chicken plant near the Arkansas border and $20 million for a chicken freezer next to the French Quarter, we’re annually handing professional sports teams dozens of millions, we’re giving tens of millions to speed up the cutting of our mixed hardwood forests for things like wood pellets to be burned for fuel in Europe and landscape mulch, and we might put our money where the piss is by drug testing 20,000 welfare recipients.
Those are the businesses in Louisiana’s future!
On the other hand, we’re doing nothing to support music, cutting the arts, still don’t fully understand how to restore our environment, are closing and cutting mental health facilities and even have a bill ready for the upcoming session that allows guns on campuses… Hey wait, I just thought of something: bulletproof vests for teachers and students!
Hell, I almost missed a big one that could pay for my second Hummer. Yeah, it’s a great time to be in Louisiana, no foolin’…IF you know what you’re doing.
OK, so the numbers are in and, as reported today in the Shreveport Times, in 2007 Louisiana invested $100,000,000 in film (after recouping $14m in taxes) on $429,000,000 of film spending. Of course verifying these numbers, particularly the spending by film companies, is a fuzzy math situation in which we remain dependent upon the film companies themselves to report their spending, so I have my doubts as to the accuracy.
Can you imagine that if you were an investor in the film industry, say in a film fund, how much of a long term return your money might be getting? You’d be getting checks for the rest of your life and that of your heirs if you had spent $100 million in a film investment vehicle that spread your investments around the industry. But what does Louisiana get? One time, poorly validated “spending” by these companies that results in short-term jobs averaging $32,000. But we look good on camera!
If this is such a good investment, why don’t we do it for music? In fact, why don’t we do it for every business in Louisiana. If the state can directly spend a dollar and get back four, why not spend on restaurants, grocery stores, construction companies, or any business? Because it defies the laws of physics and economics. You can’t create a perpetual motion machine and you can’t use public money to create perpetual economic engines. For the public to benefit, any expenditure needs to produce more in tax revenues than it spends. Just as too many calories make you fat, too much spending makes you broke. No matter how you extend the numbers to “secondary spending” you cannot ignore the fact that more money is being taken from public coffers than is being replenished.
I’ve said it before and I’ll say it again: where’s Louisiana’s share? If individuals invested this much money in the film business, they’d be getting a a piece of the action, a return on investment. Why is this not possible for public investment?
Music is our true asset. Though we welcome Hollywood and the movie industry, it is not one of Louisiana’s naturally occurring assets. Music is our calling card to the hearts, minds and wallets of the world. Yet we continue to allow it to flounder, leaderless, budget-less and without accountability for what little is being done. The press and public remain silent about the ongoing tragedy that is the Louisiana Music Commission.
Here’s the kind of readily available information that used to be produced by the LMC and which was publicly available on the web until 2006 when the years of undermining by a small, avaricious group empowered by soon-to-be-jailed former Louisiana Economic Development (LED) Entertainment director Mark Smith and other cohorts finally prevailed in destroying the LMC:
In fact, let me state this: former LED secretaries Don Hutchinson and Mike Olivier, along with Gov. Kathleen Blanco and the aforementioned Mark Smith were to music what the US Army Corps of Engineers was to flood protection in New Orleans in 2005–a massive disaster with ongoing consequences that will affect future generations.
Of course, I could be wrong. In fact, I hope I am. Someone, please convince me that I’m wrong about all this and that Louisiana is better off because of these things. I’m a reasonable person.