SHE AIN'T GOT NO HAIR - Walter Papoose Nelson, Professor Longhair

Born Walter Charles Nelson Jr., 26 July 1932, New Orleans, Louisiana Died 28 February 1962, New York City, New York Guitarist Walter Nelson was born into a musical family. His father, Louis Nelson, was also a guitarist and had played with Louis Armstrong. Nelson Sr. taught music to both Smiley Lewis and Professor Longhair. Walter's younger brother, Lawrence Nelson (1936-1963), called himself Prince La La, who made a couple of classic R&B recordings in the early 1960s, before his untimely death from a drug overdose. Melvin and David Lastie were Walter's cousins. His sister, Dorothy Nelson, was married to singer Jessie Hill. They all grew up in a poverty-stricken area. Mac Rebennack : "They're all from the housing projects in the Ninth Ward which is the ultimate in ghettoes in New Orleans - bad conditions, gang wars, just a totally bad and violent situation. They've had very, very rough lives." (Quoted by John Broven, p. 93.) "Papoose", as Walter's nickname was, learned to play guitar from his father. By 1949 he had joined Professor Longhair's band and he plays on the Professor's earliest recordings. Fats Domino heard Papoose when he was playing with Longhair and persuaded him to join his band in 1950. Unfortunately, playing in shady clubs like Longhair's hangout, the Caldonia Inn, he had gathered some bad habits, notably an addiction to heroin. Still, Walter's driving-but-mellow style became the backbone of the Fats Domino band, as Billy Diamond put it. >From January 1951 until September 1959, Papoose played on most of Fats Domino's sessions. When he was not available, it was mostly because he had to spend some time in jail, for drugs possession or non- support. Fats would bail him out, whenever possible. In a way, the Domino band was Papoose's family, as he became more and more estranged from his own relations because of his drug habit. "He was just a good-hearted cat who happened to be strung out", writes Mac Rebennack in his auto- biography. Papoose was Rebennack's first guitar teacher and Mac speaks highly of him. "He was a real soulful player, probably the most soulful guitar teacher I had." Dave Bartholomew was also full of praise for Nelson's guitar playing. Papoose could read music and sometimes he contributed to the arrangements of Fats's records, especially in the case of "I'm Walkin'". However, Alvin 'Red' Tyler didn't think too much of Nelson and rated Edgar Blanchard and Justin Adams, and especially Ernest McLean, higher as guitarists. (John Broven, p. 91-92.) Nelson made one vocal record, "Why Did We Have To Part", on the flip of Herb Hardesty's "The Chicken Twist" (Federal 12460, 1962). On February 28, 1962 (Ash Wednesday), Billy Diamond drove to the Theresa Hotel in Harlem to pick up the members of Fats Domino's band. When Papoose didn't answer his knock, the bell captain opened the door. They found the guitarist lying askew on the bed with one shoe on and a needle in his arm. He was cold, dead from a heroin overdose at the age of twenty-nine. The funeral in New Orleans was not attended by Fats and his band who were still on tour. Roy Montrell replaced Papoose as the guitarist in Domino's band. Montrell would die under very similar circumstances (at the Sonesta Hotel in Amsterdam), while the band was on tour in Holland in 1979. If you support live Blues acts, up and coming Blues talents and want to learn more about Blues news and Fathers of the Blues, -  ”LIKE” ---Bman’s Blues Report--- Facebook Page! I’m looking for great talent and trying to grow the audience for your favorite band!

Ladies and Gentlemen, Professor Longhair By Lee Pons - John Francis Kavanagh contributor

John Bonham of Led Zeppelin with Professor Longhair, Photo by Sidney Smith

Today is the birthday of the funky, enigmatic, and wildly talented Professor Longhair, who’s outstanding life and music have touched millions for generations.
Lovingly known far and wide as the “Fess”, the godfather of New Orleans piano, Professor Longhair was born Henry Byrd on Dec 19th, 1918 in Bogalusa, Louisiana. The family moved to New Orleans shorty after his birth and, though he did get music lessons from his mother, he would say that his first musical instruments where the bottoms of his feet! As a child, he used to tap dance on street corners of the French Quarter for spare change.
Byrd didn’t get any real serious interest in music until he was in his late teens. He was a member of a dance troupe when he had to fill in for the drummer one night (no one knew he could play the drums — not even him!). Tuts Washington, the piano player in that group, told Byrd he should continue with the drums, which he did. Pretty soon he got tried of having to lug a drum set around, and switched to the piano. Tuts acted as one of Byrd’s early mentors on the piano. Fess also got encouragement from Sullivan Rock who taught him how to play the standard “Pinetop’s Boogie Woogie”.

The Birth of Fess

One of Byrd’s strongest influences came from working with a government road crew. The job’s tenure was for 6 months, and involved a good amount of traveling. During these travels, he was exposed to a variety of Latin and Caribbean band music. Drawn by the rhythmic interplay of the music, Fess soon incorporated the unique syncopations into his own playing style, by blending them with blues and barrellhouse piano. This “Rumba Boogie” as he would later call it, would turn out to have an immeasurable impact on New Orleans music, and in Piano Blues music as a whole.
In 1942, Byrd was inducted into the army, and left 2 years later on a medical discharge. Afterward, he spent spend the next few years working as a cook or as a professional card player. Gambling would always be his “second profession”, as he would say, and he became well known in New Orleans as an amazing card shark. In the mean time, he would play occasional gigs as a piano player, but he wasn’t noticed as a musician until 1948, when, during another band’s break, he played a few songs on the piano at a club. He caused such a hoopla with the patrons that the owner of the club fired the band and hired Byrd, right then and there! It was at this club that he would be given his nickname, Professor Longhair, because of the ponytail he sported at
the time. His accompanying band was known as the Three Hair Combo, Featuring Professor Longhair, Professor Shorthair, and Professor Nohair.

A Recording Career in 88 Keys

A recording boom was happening in New Orleans at the time, and Byrd jumped right in, recording 4 songs in 1949 for a small label. Because the session didn’t meet union regulations, the songs where never released. Byrd didn’t seem to mind, however, as he was being courted by a number of labels who had learned about the piano wizard down in New Orleans. Toward the end of 1950, he would record what where to become two of his most famous songs, “Baldhead” (which made it to #5 on the R&B charts), and “Mardi Gras in New Orleans” which would become a perennial favorite and the official unofficial theme song of Mardi Gras!
During the 1950′s Byrd continued to record, and would create his signature piece, “Tipitina”. Outside of New Orleans, Longhair wasn’t enjoying much success. One of the reasons was because he frequently changed labels and monikers, billing himself as Professor Longhair on one label, Roy Byrd, Roeland Byrd, or Robert Byrd on others. At each label, of course, he signed an exclusive recording contract — something John Lee Hooker would also do! His Band would also change names as well, using titles like The Blues Scholars, The Blues Jumpers, and even this great idea for a band name; The Shuffling Hungarians!! But no matter what name he used, or what band he had, everyone in New Orleans knew who he was, and most simply called him “Fess”!
Fess had a stroke in 1954, and was unable to play for a number of months. He would record a few sessons as a sideman in 1955, but it wasn’t until 1957 that he would record again as a leader. He recorded the locally popular “No Buts, No Maybes”, but played few shows and soon faded from the public eye.

Won’t Bow. Don’t Know How. 

In 1964 he recorded “Big Chief”, which was penned by the well known songwriter Earl King. “Big Chief” was and continues to be a tribute to the magical Mardis Gras Indians, who make new elaborate and ornate suits of beads every year and parade through the streets on Mardis Gras Night with a fascinating hierarchal “indian tribe”. Fess made the song into his own with an instantly identifiable riff, telltale whistle, and backed by an all-star band, which included members of The Meters and his one-time student Mac Rebennack, better known as Dr John, on guitar! With a stunning horn arrangement and one of Fess’ most unique and memorable piano licks, the song became a New Orleans anthem. The record didn’t sell fantastically, but Fess’ spirit was lifted, and he slowly began playing at local clubs and private parties again.
Fess’ story would have probably ended here had it not been for 2 New Orleans music aficionados, Quint Davis, and Allison Minor, who where instrumental in launching the New Orleans Jazz and Heritage Festival in the early 1970′s.
They only knew about Fess from his recordings, but where determined to find him and include him in the festival. It took them nearly a year, but they found the dynamic musician working at a record shop sweeping floors. What they found was not at all what they where hoping for. Fess was in bad shape; living in poverty, with weak knees, unable to eat, walk, or use the bathroom without help. Davis and Minor nursed Fess back to health and, still weak, the piano master somehow managed to take the stage at the 1971 festival.
Then, in a story etched in the halls of live music fame, it happened…. Before everyone’s eyes, right there on the stage, a Phoenix was reborn! Backed by bluesman Snooks Eaglin, after years of anonymity and virtual poverty, the career and life of Professor Longhair made a major turn. He gave a exhilarating performance that literally bought the rest of the festival to a stand-still! Everyone there, the musicians, the vendors, the audience, stopped and witnessed the return of Professor Longhair. Suddenly, with a single performance, Fess found himself revered by a whole new generations of fans.
Davis assumed the role of  manager and Fess started rebuilding his career. He began playing local clubs and a demo tape won him a European tour with The Meters. Fess recorded several songs, but they wheren’t released until much later. Actually, the only “new” Professor Longhair album was  just a collection of his recordings for Atlantic Records from 1949 and 1953, but the original disks had become prized collector’s items, and it sold well, boosting Fess’ career.
Tragedy struck in 1974, when a fire broke out and destroyed the house that was Fess’ Family home and rehearsal space. Thankfully no one was hurt, but Fess lost everything he had. The house was uninsured and he was left with nothing. As it so often does, the New Orleans music community rushed to his aid with benefit concerts, and recording session time was arranged to help him. Out of those recordings came what is widely regarded as one of the best albums of the mid 70′s; Rock and Roll Gumbo.
In 1976, Fess gained further attention when Paul McCartney hired him to play at a private party that the famous Beatle was having on the Queen Mary. Fess had no idea who Paul McCartney was, but he took the job, and the performance was recorded and released as Fess’ next album. In 1977, a venue in the New Orleans French Quarter called the 501 Club was reopened. It’s specific purpose was to give Fess a regular place to play. They renamed it “Tipitina’s”.  By the end of 1978, for the first time in his life, the good professor was living comfortably from his music.

“Give Him the Graveyard, that is, if he Dies”
Junko Partner, 1972

In 1979, along with Allen Toussaint and Tuts Washington, Fess took part in a film documentary called “Piano Players Rarely Ever Play Together”, and signed a contract with Chicago’s famed blues label Alligator Records. Supported by a crack team of New Orleans musicians (including Dr John, in a now rare appearance on guitar,) he recorded what many believe was the best album of his career, Crawfish Fiesta. Those who knew Fess say he was more proud of this recording then any other he did. The album, recorded at Allen Toussaint’s Sea Saint Studio and produced by Alligator founder Bruce Iglauer, earned great accolades, was critically praised, and won the Handy Award (later renamed the Blues Music Award) for Best Album of the Year from the Blues Foundation. Sadly, Fess never saw the great success of Fiesta, or even it’s release. The piano genius suffered a heart attack and died in his home on January 30, 1980 — the night before the album’s release.
In a city known worldwide for it’s lavish funerals, Fess’ was something unforgettable. In 40 degree weather — bitingly cold by New Orleans standards –hundreds of friends, loved ones, and fans waited for hours before the 10am service. The funeral procession stretched 10 blocks, and included such New Orleans legends as Allen Toussaint and Ernie K-Doe, who gave the eulogy. The Dejan’s Olympia Brass Band played and the mourners second-lined in the streets as a city said goodbye to the man who’s music was, and still by and large is, the very essence of the City of New Orleans.
Even 40 years after his triumphant return at the New Orleans Jazz and Heritage Festival, the spirit of Professor Longhair still flows thru the streets of New Orleans. Professor Longhair, who along with no other except for Louis Armstrong, is a patriarch of the Crescent City Rhythms, and the Big Easy Blues. He set the standard for a long, rich line of New Orleans pianists, and changed music forever.
Professor Longhair, Rock and Roll Gumbo, The Meters, Tipitina

About Lee Pons

Lee Pons is a classically trained, amazingly talented blues piano player from the magical city of New Orleans. He's a rising star in the blues, with his music making House of Blues Radio and, most recently, Sirius XM's Bluesville! Pick up his latest album Big Boogie Voodoo here. Be sure to like his Facebook page for updates and shows

Every Day I Have The Blues - Professor Longhair

Professor Longhair (December 19, 1918 – January 30, 1980; born Henry Roeland Byrd, also known as Roy "Bald Head" Byrd and as Fess) was a New Orleans blues singer and pianist. Professor Longhair is noteworthy for having been active in two distinct periods, both in the heyday of early rhythm and blues, and in the resurgence of interest in traditional jazz after the founding of the New Orleans Jazz and Heritage Festival.

The journalist Tony Russell, in his book The Blues – From Robert Johnson to Robert Cray, stated "The vivacious rhumba-rhythmed piano blues and choked singing typical of Fess were too weird to sell millions of records; he had to be content with siring musical offspring who were simple enough to manage that, like Fats Domino or Huey "Piano" Smith. But he is also acknowledged as a father figure by subtler players like Allen Toussaint and Dr. John.
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