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for a morning full of tunes, hobble-stepping and beers, broadcast live on local radio station KVPI-FM from nearby Ville Platte.A pinprick of a town with no more than 3,500 residents, Mamou has become a touchstone for all things fiddle-and-accordion, and a destination point for visitors from around the globe.
Zigaboo Modeliste, who also played with Art Neville in the Meters, drummed on the Tchoupitoulas release as well.
He sought the young chief out again with a request: Dollis should write a new Indian song, something original, and they’d make a record.
Davis was also a fan of keyboardist Willie Tee, who’d had several R&B hits — notably “Teasin’ You” — in the mid-’60s.
Barkus, the original New Orleans Mardi Gras canine parade, was founded in 1992, where all great Carnival institutions are conceived: in a barroom. Biscuit was discovered in an open field out near Lafayette, La., in the days following Hurricane Rita — more than three weeks after Katrina had laid waste to the rest of South Louisiana in the fall of 2005. Major producers and new-wave craft distillers alike have revived forgotten liquors (like rye and aquavit) and rolled out innovative new products, like bourbons finished in sherry casks.
And scratches her belly when the masses are at bay.
According to Jason Berry’s New Orleans music history, , it was the photographer Jules Cahn, who had been shooting second-line parades and jazz funerals since the ’50s, that invited young Davis to a White Eagles Indian practice at a small Central City lounge.
Davis brought a reel-to-reel tape recorder, and as he later listened to the chants and clattering percussion he’d captured, he found himself drawn in again and again by one element in particular: Dollis’ raspy, powerful, soulful voice.
“It was probably the first time that Mardi Gras Indian music had been done outside the culture,” Davis told magazine’s David Kunian in a 2011 interview. He got up on piano and started playing with them and he went in and out and way in and way out, and it just happened.” Dollis went and wrote that new Indian song, and Davis put together a band led by Willie Tee, which included Snooks Eaglin on guitar, Alfred “Uganda” Roberts on congas, Joseph “Zigaboo” Modeliste on drums and a murderers’ row of New Orleans sidemen rounding it out.
“Handa Wanda,” the first single by the Wild Magnolias, came out in 1970.
Its follow-up, the first full-length Mardi Gras Indian funk album — with drumming, backing vocals and beadwork for the cover art by Big Chief Monk Boudreaux — was released in 1974 on the Polydor label.
The music critic Robert Christgau rated it among his top albums of the year in the newspaper’s annual Pazz & Jop poll, calling it “the most boisterous recorded party I know.” The Wild Magnolias weren’t the only group marrying electric New Orleans funk to the city’s older traditions in the ’70s.
Davis booked Tee, who would soon form the seminal New Orleans funk band the Gaturs, to play a show alongside Bo Dollis and the Wild Magnolias on Tulane’s campus.