John serving as an emblem of New Orleans heritage. Rebennack decided to produce a record and a stage show based on this concept, with Dr. He kept an assortment of snakes and lizards, along with embalmed scorpions and animal and human skulls, and sold gris-gris, voodoo amulets which supposedly protect the wearer from harm.
#Swamp attack piano free#
This free man of color lived on Bayou Road and claimed to have 15 wives and over 50 children. John, a Senegalese prince, conjure man, herb doctor, and spiritual healer who came to New Orleans from Haiti. John persona for his old friend Ronnie Barron, based on the life of Dr.
Voodoo influence Īs a young man, Rebennack was interested in New Orleans voodoo, and in Los Angeles, he developed the idea of the Dr. He provided backing for Sonny & Cher (and some of the incidental music for Cher's first film, Chastity), for Canned Heat on their albums Living the Blues (1968) and Future Blues (1970), and for Frank Zappa and the Mothers of Invention on Freak Out! (1966). Once settled in Los Angeles he became a "first call" session musician in the Los Angeles studio scene in the 1960s and 1970s and was part of the so-called "Wrecking Crew" stable of studio musicians. His sentence ended in 1965 and he left for Los Angeles. He was arrested on drug charges and sentenced to two years in the Federal Correctional Institution, Fort Worth. Rebennack became involved in illegal activities in New Orleans, using and selling narcotics and running a brothel. After the injury, Rebennack concentrated on bass guitar before making piano his main instrument, developing a style influenced by Professor Longhair. Rebennack's career as a guitarist was stunted around 1960, when the ring finger on his left (guitar fretting) hand was injured by a gunshot during an incident at a Jacksonville, Florida gig. This continued until Miller moved to New York to study music formally. He oversaw the rhythm section while Miller wrote the horn arrangements and headed up the horns. At A&R he and Charlie Miller recorded monophonic singles on 45s for Johnny Vincent and Joe Corona for local labels Ace, Ron, and Ric. He had a regional hit with a Bo Diddley-influenced instrumental called "Storm Warning" on Rex Records in 1959. His first (co-written) rock and roll song "Lights Out" (1957), sung by Jerry Byrne, was a regional hit.
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In late 1950s New Orleans, Rebennack gigged with local bands including Mac Rebennack and the Skyliners, (Paul Staehle/Dennis "Bootsie" Cuquet, drums Earl Stanley, bass Charlie Miller, trumpet Charlie Maduell, sax Roland "Stone" LeBlanc, vocals), Frankie Ford and the Thunderbirds, and Jerry Byrne and the Loafers. Rebennack was expelled from the high school in 1954 and from then on focused entirely on music. The priests told him to either stop playing in clubs or leave the school.
He formed his first band, The Dominoes, while at the school. While a struggling student at Jesuit High School, he was already playing in night clubs, something the Jesuit fathers disapproved of. There, he gained experience working with many artists, including James Booker, Earl King, and Jimmy Clanton. Īt age 16, Rebennack was hired by Johnny Vincent as a producer at Ace Records.
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He joined the musicians' union at the end of 1957, with the help of Danny Kessler, and then considered himself to be a professional musician. He later recalled that his debut in the studio, in about 1955 or 1956, came when he was signed as a songwriter and artist by Eddie Mesner at Aladdin Records. Impressed by the professor's flamboyant attire and striking musical style, Rebennack soon began performing with him, and began his life as a professional musician. When he was about 13 years old, Rebennack met Professor Longhair. Later he began to perform in New Orleans clubs, mainly on guitar, and played on stage with various local artists. Throughout his adolescence, his father's connections enabled him access to the recording rooms of rock artists, including Little Richard and Guitar Slim. His father exposed him as a young boy to jazz musicians King Oliver and Louis Armstrong, who later inspired his 2014 release, Ske-Dat-De-Dat: The Spirit of Satch.
He did not take music lessons before his teens and endured only a short stint in choir before getting kicked out.
Growing up in the 3rd Ward of New Orleans, he found early musical inspiration in the minstrel tunes sung by his grandfather and a number of aunts, uncles, sister, and cousins who played piano. His father ran an appliance shop in the East End of New Orleans, fixing radios and televisions and selling records. He was the son of Dorothy (Cronin) and Malcolm John Rebennack, and had German, Irish, Spanish, English, and French heritage. Rebennack was born in New Orleans, Louisiana on November 20, 1941. 4 1972–1974: Gumbo, In the Right Place, and Desitively Bonnaroo.
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