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Dr. John: The Night Tripper Returns (Relix Revisited)

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Following the
passing of New Orleans legend Dr. John
Thursday morning, we
revisit our interview with the iconic Night Tripper that originally
ran in Relix‘s daily newspaper at Bonnaroo Music & Arts
Festival, the Bonnaroo Beacon, in 2006.

Malcolm John “Mac” Rebennack, better known as Dr. John, has
seen a hell of a lot in his 50 years in the music business. He
started his studio career at 14 when his teacher couldn’t go to a
session. He cut his first record in 1956. His life and his career
have gone up and down. He speaks a patois all his own. In the late
1950’s, he was shot, but switched to piano and recovered. Last
year, after Hurricane Katrina killed his nephew and drowned many
parts of his city, Dr. John, a native of the Third Ward, found
himself forced into the role of musical ambassador for the city
that had suffered the worst natural disaster in the history of the
country. Singing the National Anthem at the Super Bowl and closing
multiple benefit concerts, Dr. John reminded audiences of
everything they loved about the city: the music, the atmosphere,
and the sheer confluence of influences that made New Orleans one of
the most vibrant and unique cities on the planet.

With his 1968 album Gris-Gris, a new persona was invented,
named “Dr. John, the Night Tripper” after an old voodoo shaman.
Wild dancing, onstage chaos, voodoo face paint, outlandish costume,
and swampy music came to characterize this period, and Dr. John has
not played under this name for over 30 years. Dr. John represents
the spirit of Bonnaroo, in part for having indirectly named the
festival with his 1974 album Desitively Bonnaroo (Bonnaroo is
Cajun for “a real good time). Thus it is fitting that his
resurrection of the Night Tripper occurred on the festival grounds
in the wee hours of Saturday night/Sunday morning. The following
interview (excerpted in the Bonnaroo Beacon) took place a few days
before the fest.

Who is the Night Tripper, and how is he different from
Dr. John? Why is he coming back to life now after being dormant for
over 30 years?

Ain’t no difference. It’s all one sucka in there however you
want to break it down, I keep everything very simple. We been asked
over a lot of years basically we haven’t had all our stuff brung
up from old shows back from a long time ago. It was too much a
hassle to put it all back together, so I just kind of shelved it
for a long time.

I find it’s a kick to be playing for the Bonnaroo Festival,
and I feel it’s connected behind the Desitively Bonnaroo thing,
and I think this is somehow left-fieldly connected to the the old
kind of set that we haven’t done in a while, and I think the
band’ll get a kick out of it, and we’ll just bring something
different just for that set, and that’ll be something people talk
about, you caught it there, and that’s that. I’m gonna have
Rev. Gold with me, we’ve got the dancers, the whole maneuver.

Your new album, Mercernary, was inspired by the songs of
Johnny Mercer, and you said you found you had a lot in common with
him from reading his autobiography. What do y’all
share?

I had to hustle out of left-field to stay in this business,
cause I was never musically trained or I wasn’t a lot of things.
I just was around good guys at school, right. So, he had it because
he always had a desire to be like one of them studs getting songs
on Broadway. Well, I got songs in movies out of left field just
because of the way it is today. I never even thought about it, but
there was a thing about how it worked out. He landed out of
left-field, and I landed where I landed out of left-field. And my
life has landed me out of left field, into the bleachers, the
parking lot wherever I landed, and it was never in my original
plan.

When I became Dr. John the Night Tripper I had the idea for the
record but I was gonna have somebody else do it. The guy wanted to
but his manager didn’t like the idea, and I just hit the wall. I
got aggravated, and my conga player, Didymus, said “Look, you
know if Bob Dylan, and if Sonny & Cher can sing, then you can
sing, right. You just do it. To hell with all of that.” So that
was his attitude, and I figured, well, I had to respect my
elders.

Do you remember the first record you cut?

The first record I made as an artist, I cut it in 1956. It was
called “Storm Warning”. My first session, I’m not sure, I
just know it was subbing for “Papoose” Nelson. I’m not sure
whose session it was, but it was back when I was playing the guitar
before I got shot in my finger, and that’s what I can
remember.

How did you get shot?

A guy was trying to pistol-whip the singer with the band, and
the guy’s mama said she wouldn’t like it if something happened
to her son. So I was thinking about that, and went to get the gun.
I thought my hand was over the handle but it was over the barrel,
and that’s life.

Was the piano something that you learned afterwards, or
did you know how to play it beforehand?

My auntie taught me how to play the piano as a little kid. She
showed me how to play some boogie-woogie stuff and all. But I knew
I’d never get a job in New Orleans playin’ no piano with all
them bad piano players around. Everybody, every neighborhood had
bad piano players. I wanted to play music, so I figured that’s
how I’m gonna get me a job learn the guitar.

Now I’d like to take a moment for what I’d like to
call Dr. John’s Dictionary. I was hoping you would define some of
the terms that show up in your work.

No problem.

Gris-gris:

It’s an African term, it might be what you would call voodoo,
but it really represents that there is no black or white in
anything that everything is shades of grey, and that’s kind of a
way to work. It comes from Africa, but it’s a French word.

Sippiana:

It’s the coast right between Mississippi and Louisiana where
the Hurricane hit. My father and a lot of the old-timers used to
call that Sippiana and we used to fish a lot, on the boat we’d go
from Louisiana, and be in Mississippi and some other areas still
fishing from one to the other, and all along that Sippiana Coast
was good fishing without going into the Gulf of Mexico or anything
else. You could stay in the brackish waters inland which are
disappearing, which is another thing that’s affecting the good
food down here because of all this stupidity.

Mama Roux:

This was a story that I wrote about a gris-gris queen down
there. I didn’t know that one of the women was also one of the
queens of the Indians, the little red-white-and-blues. When I was a
kid there was one of the famous Indian Tribes, the Mardi Gras
Indians, and she was double well-known.

Mos’ Scoscious:

Scoscious is kind of like a combination of scrumptious and
delicious. Typical Ninth Ward word.

Jockamo feeno ah nah nay, jockamo feena
nay:

Well, you’ll have to ask one of the Mardi Gras Indians. There
might be one or two at the gig. Just ask them.

Back to matters of a bit more gravity, Katrina
devastated New Orleans in a way I can’t really put into words.
How has it affected you? How has it affected your
shows?

We made a record called Sippiana Hericane right after that. I
say something about it at my shows, and it’s not nothing nice
I’m saying about a lot of people. I’m a coonass from Louisiana,
and we some grudge-holding suckas and we are not people to mince
our words about nothing.

To make a long story short: we are aggravated and disgusted that
they want to put a third-world country levee back up that was never
sufficient to maintain a problem that’s been going on for fifty
years. They want to rebuild the levee, and it might help if they
guaranteed it would hold up, and on and on, but there’s people
scattered and splattered all over the United States, and there’s
people scared to go home that could possibly go home cause it’s
so shaky what they did, et cetera, et cetera, et cetera. I’m not
too thrilled with none of it.

I just go out and tell the truth the best I know it, and I get a
lot of flak from a lot of people. I hear about stuff from the
e-mails and all that, but I’ve got the attitude that that’s
just how it is.

I think that I’m going to remember forever the look on
your face when you closed Shelter from the Storm and sang
“Walking to New Orleans.” I think the horror there said more
about the devastation than anything and I think it got the point
across to everyone who watched the benefit.

That’s Bobby Charles’ song that he wrote for Fats Domino.
The whole town where he was in South Louisiana is gone, in what
they used to call the Cajun Riviera. It ain’t no more.

We were driving back from a gig in Galveston, and when we drove
and crossed the Texas border highways was fine in Texas. Soon as we
hit Louisiana, it was a disaster area. It looked like a volcano had
just wiped out Houma, Lake Charles, and all that area just
flattened. As you went further east towards New Orleans, it looks
like they dropped atom and hydrogen bombs all over St. Bernard. As
you’re proceeding east, it just looks like different kinds of the
highways are so bad, everything you’re dealing with is so bad.
It’s very, very hard for people to understand the depth of the
destruction.

The post
Dr. John: The Night Tripper Returns (Relix Revisited)
appeared
first on Relix Media.

Read more: relix.com

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