Professor Longhair was born on December 19, 1918 in Bogalusa, Louisiana. He made a living as a street hustler until he started to play piano seriously in his thirties. He taught himself how to play on a piano with missing keys so his style became distinct.
He began his career in New Orleans in 1948, earning a gig at the Caldonia Club, where the owner, Mike Tessitore, bestowed Longhair with his stage name (due to Byrd's shaggy coiffure). Longhair first recorded in 1949, creating four songs (including the first version of his signature song, "Mardi Gras in New Orleans," complete with whistled intro) for the Dallas, Texas based Star Talent label. His band was called the Shuffling Hungarians, for reasons lost to time. Union problems curtailed their release, but Longhair's next effort for Mercury Records the same year was a winner. Throughout the 1950s, he recorded for Atlantic Records, Federal Records and other, local, labels. Professor Longhair had only one national commercial hit, "Bald Head" in 1950, credited to Roy Byrd & His Blues Jumpers. He also recorded his pet numbers "Tipitina" and "Go to the Mardi Gras". However, he lacked the early crossover appeal of Fats Domino for white audiences.
After recuperating from a minor stroke, Professor Longhair came back in 1957 with "No Buts - No Maybes." He revived his "Go to the Mardi Gras" in 1959; this is the version that surfaces every year at Mardi Gras in New Orleans.
He first recorded "Big Chief" with its composer Earl King in 1964. In the 1960s Professor Longhair's career faltered. He became a janitor to support himself, and fell into a gambling habit.
He appeared at the 1971 New Orleans Jazz and Heritage Festival to restore his standing, and played at the 1973 Newport Jazz Festival and the Montreux Jazz Festival. His recorded live set, Live on the Queen Mary (1978) came from a party given by Paul and Linda McCartney. His single visit to the UK, in 1978, was commemorated by The London Concert.
By the 1980s his albums, such as Crawfish Fiesta on Alligator and New Orleans Piano for Atlantic, had become readily available across America. He appeared on the PBS series Soundstage (with Dr. John, Earl King, and The Meters) and co-starred in the film documentary Piano Players Rarely Ever Play Together. The latter became a memorial tribute when Longhair died in his sleep from a heart attack in the middle of filming. Footage from his funeral was included.
In 1981 he was inducted into the Blues Hall of Fame. He was awarded a posthumous Grammy for his early recordings released as House Party New Orleans Style, and in 1992 was inducted into the Rock and Roll Hall of Fame.
The B side of the 1985 Paul McCartney single 'Spies Like Us', entitled 'My Carnival', credited to Paul McCartney & Wings, was recorded in New Orleans and dedicated to Professor Longhair.
Fess's song "Tipitina" is covered by Hugh Laurie on the 2011-CD album "Let Them Talk". Laurie is a long-time fan, having used Fess's "Go to the Mardi Gras" as the theme for the pilot episode of A Bit of Fry & Laurie.
Afro-Cuban elements
In the 1940s Professor Longhair was playing with Caribbean musicians, listening a lot to Perez Prado's mambo records, and absorbing and experimenting with it all. He was especially enamored with Cuban music. Longhair's style was known locally as rumba-boogie. Alexander Stewart states that Longhair was a key figure bridging the worlds of boogiewoogie and the new style of rhythm and blues." In his composition "Misery," Professor Longhair plays a habanera-like figure in his left hand. The deft use of triplets in the right hand is a characteristic of Longhair's style.
Tresillo, the habanera, and related African-based single-celled figures have long been heard in the left hand part of piano compositions by New Orleans musicians, for example—Louis Moreau Gottschalk ("Souvenirs From Havana" 1859), and Jelly Roll Morton ("The Crave" 1910). One of Longhair's great contributions was the adaptation of Afro-Cuban two-celled, clave-based patterns in New Orleans blues. Michael Campbell states: "Rhythm and blues influenced by Afro-Cuban music first surfaced in New Orleans. Professor Longhair’s influence was . . . far reaching. In several of his early recordings, Professor Longhair blended Afro-Cuban rhythms with rhythm and blues. The most explicit is 'Longhair’s Blues Rhumba,' where he overlays a straightforward blues with a clave rhythm." The guajeo-like piano part for the rumba-boogie "Mardi Gras in New Orleans" (1949), employs the 2-3 clave onbeat/offbeat motif. The 2-3 clave time-line is written above the piano excerpt for reference.
According to Dr. John (Malcolm John "Mac" Rebennack, Jr.), the Professor "put funk into music . . . Longhair's thing had a direct bearing I'd say on a large portion of the funk music that evolved in New Orleans." This is the syncopated, but straight subdivision feel of Cuban music (as opposed to swung subdivisions). Alexander Stewart states that the popular feel was passed along from "New Orleans—through James Brown's music, to the popular music of the 1970s," adding: "The singular style of rhythm & blues that emerged from New Orleans in the years after World War II played an important role in the development of funk. In a related development, the underlying rhythms of American popular music underwent a basic, yet generally unacknowledged transition from triplet or shuffle feel to even or straight eighth notes. Concerning funk motifs, Stewart states: "This model, it should be noted, is different from a time line (such as clave and tresillo) in that it is not an exact pattern, but more of a loose organizing principle."
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."
Tipitina
Professor Longhair Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Whoa la la la-ah tra la la
Tipitina, oola malla walla dalla [little mama wants a dollar]
Tra ma tra la la
Hey Loberta, oh poor Loberta
Girl you hear me calling you
Well you're three times seven, baby
Say Loberta, oh poor Loberta
Girl, you tell me where you been
When you come home this morning, honey
You had your belly full of gin
I'll say hurry, hurry, come on Loberta
Girl, you have company waiting for you at home
Why don't you hurry little Loberta girl, hurry
Don't leave that boy alone
Tipitina tra la la la
Whoa la la la-ah tra la la la
Tipitina, hoola malla walla dalla
Tra ma ti na na
Come on baby, we're going balling
We're gonna have ourselves a good time
We gonna hoola tralla walla malla dalla
Drink some mellow wine
The song "Tipitina" by Professor Longhair is a classic New Orleans blues tune that tells the story of Loberta, a woman who loves to drink and party. The song opens with the chorus "Tipitina tra la la la, Whoa la la la-ah tra la la, Tipitina, oola malla walla dalla Tra ma tra la la," which sets a lively and infectious tone. Professor Longhair then sings about Loberta, asking her where she's been and telling her that she's got company waiting for her at home. He sings with a playful tone, suggesting that he knows Loberta well and perhaps even shares in her love of partying.
The song's lyrics are infused with New Orleans slang and Southern charm, giving the listener a sense of the rich cultural heritage of the city. The use of call-and-response vocals, a technique common to blues and gospel music, adds to the song's playful and joyful sound. The chorus is especially memorable, with its infectious melody and catchy lyrics. The song's lyrics and melody are so iconic that they have been covered by countless artists in many different genres.
Line by Line Meaning
Tipitina tra la la la
The singer is singing about Tipitina, using a playful and repetitive melody.
Whoa la la la-ah tra la la
Continuation of the playful and repetitive melody, emphasizing the fun and carefree nature of the song.
Tipitina, oola malla walla dalla
In a humorous manner, the singer suggests that Tipitina, represented as 'little mama,' wants some money.
Tra ma tra la la
Continuation of the playful and repetitive melody.
Hey Loberta, oh poor Loberta
The artist addresses Loberta and expresses concern for her unfortunate circumstances.
Girl you hear me calling you
The singer attempts to get Loberta's attention, possibly to offer help or advice.
Well you're three times seven, baby
The singer remarks on Loberta's age, suggesting that she is old enough to make her own decisions.
Knows what you want to do
The artist believes that Loberta is aware of what actions she wants to take in her life.
Say Loberta, oh poor Loberta
The artist continues to express their concern for Loberta, using a sympathetic tone.
Girl, you tell me where you been
The artist asks Loberta about her whereabouts, perhaps trying to understand her situation better.
When you come home this morning, honey
The singer knows that Loberta was out late the previous night, suggesting a potentially problematic lifestyle.
You had your belly full of gin
The artist reports that Loberta was drinking heavily, implying that she may have a drinking problem or engages in risky behavior.
I'll say hurry, hurry, come on Loberta
The singer urgently asks Loberta to come with them, likely to go home or elsewhere away from her current situation.
Girl, you have company waiting for you at home
The singer reminds Loberta that there are people who care about her and want her to be safe and happy.
Why don't you hurry little Loberta girl, hurry
The singer continues to encourage and prompt Loberta to hurry up and follow them.
Don't leave that boy alone
The artist implies that Loberta leaving a boy behind is not ideal or safe, suggesting potentially harmful or risky situations in which Loberta may find herself.
Come on baby, we're going balling
The artist is suggesting that they and Loberta have a night out to enjoy themselves and blow off steam.
We're gonna have ourselves a good time
The singer is expressing enthusiasm for the upcoming night, emphasizing the fun and carefree nature of it.
We gonna hoola tralla walla malla dalla
The singer uses playful nonsense words to convey a sense of excitement and anticipation.
Drink some mellow wine
The artist suggests that they will consume alcohol, but it will be calm and relaxed rather than the heavy drinking that Loberta engaged in earlier.
Lyrics © Regard Music
Written by: COSIMO V. MATASSA, ROY BYRD
Lyrics Licensed & Provided by LyricFind
@kaliphheightz1403
THIS IS MY GREAT GRANDPOPS ITS GOOD TO KNOW HIS MUSIC STILL LIVES!!!!!!!!!
@Menkhor
The man was a legend. You've got greatness in your veins!
@RicardoLRodriguezMD
I was in NOLA in the early eighties, and used to go into Tipitina's a lot. It is a real bar, and still exists. All the big guys used to go there and you could see them sometimes playing, sometimes at the bar. NOLA has always had the most amazing locally integrated
music scene
@WilliamMilne772
Congratulations.... your granddad is great! U play?
@MacMorse83
I grew up with his records playing all the time in my house. I feel a really special warmth towards Fess. You're a lucky guy
@samarian1942
j Sparxxs wow man
Lucky ou
All kinds of rocks
@mountainwoodie9816
The Fess IS and always will be New Orleans music. Saw him many times, sat in the back seat of his Cadillac between sets at Tips.... he’s been gone so long but he lives on as the heart and soul of NOLA".......as long as we listen to his music he lives. Nothing comes close for me
@antonioortiz4544
David Bowie asked his piano player to play Professor Lon chair style on TVC15. This guy's playing is so beautiful.
@hiddenagenda1779
That's an awesome bit of trivia. Thanks!
@tomjeffersonwasright2288
I used to come off 2 weeks on an oil field boat and head right down to Tipitina's bar. It was always lively, and the music was great, old timers and new rising hot musicians.The beer was good and cold.