Bo Dollis and the Original Wild Magnolias

Not only the greatest Mardi Gras Indian albums ever made, but some of of the most seriously bad-ass funk ever played anywhere. The Turbinton brothers band, known both as the New Orleans Project and the Gaturs, absolutely DESTROY it on both records; first with Snooks Eaglin on guitar and Julius Farmer on bass, then with Guitar June (not the Japanese guy) and Ervin Charles on bass for the second album. Farmer and Charles were two of the funkiest bass players EVER. (George would be the first to agree) Of course leading the show here on some of the most revolutionary music ever played in New Orleans is the great Bo Dollis at the height of his powers. This is how he will always sound in my mind's ear; rest in peace my big chief.

Bo Dollis & the Wild Magnolias - I'm Back at Carnival Time!

I hadn't noticed before just how square the review sounded.

''Bo Dollis, New Orleans' most popular "Indian" chief, has been heading the Wild Magnolias since 1964. His fiery, flamboyant, charismatic style is ideal for the backdrop of Mardi Gras. He's an exuberant vocalist, equally gifted at rousing chants, energetic up-tempo tunes, or even more traditional gospel-tinged soul. This session featured Dollis and the Wild Magnolias backed by a great set of session musicians and, at times, the Rebirth Brass Band. This links the Indian performing tradition with Crescent City blues, R&B, and vintage jazz sensibilities, resulting in several superb, roaring performances. The best in both Mardi Gras and contemporary/classic New Orleans fare."

Wild Magnolias - Thirty Years A Still Wild!

 Believe it or not Mardi Gras season has begun!

"The Australian AIM record label has been a major proponent of Louisiana-centric zydeco and mardi gras music. This release represents a 30-year history of rare recordings from seminal New Orleans favorites Bo Dollis & the Wild Magnolias. No doubt, this is dance music steeped in New Orleans' Mardi Gras heritage, hearkening back to the slave trade as the tradition of "masking" (costume garb) carries forth some 100 years later. Commencing around 1970, Dollis and his associates were among the first to extend these roots and to include street music, or "second line" dance progressions, into a commercial forum. Moreover, this retrospective contains six new tracks, as the spirit of Mardi Gras is transposed to your listening space in altogether joyous and exuberant fashion. A noted live act, the Wild Magnolias meld catchy hooks, funky horns, and guitar parts with rumbling rhythms and festive chants. Here, second-line dance grooves attain a happy co-existence with a contemporary or modern-day Mardi Gras-induced outlook. Dollis possesses a muscular voice and knows how to work the crowd. In addition, famed New Orleans natives Zigaboo Modeliste (drums), Donald Harrison (sax), and the late, great Professor Longhair (piano) represent just a few of the many notables performing throughout. Think of it as a series of magnificent events stitched together via a 30-year time lapse. A wonderful affair indeed." 

I used to have a copy of this that Bo had given me, but it was stolen a couple years ago, I'm about to order a new one.

Remembering Willie Tee, Part II - The Gaturs Meet The Wild Magnolias

Bo Dollis

Either the Gaturs started out as The New Orleans Project or they were also known under that name, I've never been sure which. In 1971 the band hooked up with Big Chief Bo Dollis' Wild Magnolias to craft a new music together; a stunning blend of New Orleans funk and Mardi Gras Indian music that had never before been heard (remember that this is 5 years before the Meters/Nevilles team up with the Wild Tchapitoulas). Not only do these albums precede the Tchapitoulas album, they are, IMO, FAR superior. As much as I adore the Meters, this was a deeper, greasier funk groove than even my boys could manage; I think primarily due to the wonderful sax of brother Earl Turbinton, the twin miracles of Snooks Eaglin on guitar and Ervin Charles on bass (a man even George Porter looked up to) and of course the phenomenal vocals of Big Chief Bo Dollis. I swear there were nights when Bo would holler his "Heee Yaaaa!" to begin Hand Wanda and he would peel the last of the paint off the walls of the old Donna's on Rampart street.

It was Jazz Fest's Quint Davis who was at least partly responsible for this marriage and the beginnings of moving the Wild Magnolias from being just another tribe to being a professional music act. For me these two records are in my desert island picks, I just could not imagine being without them. The second album (1974) has my favorite Mardi Gras tune ever to this day, the Willie Tee penned 'New Suit'. The tendency is to focus on the powerhouse vocals and the whole 'different' nature of what is going on here, but you shouldn't lose site of the fact that they are inventing a genre that we take for granted now, 40 years down the road - the truth is even today it has never been done better.