Dr. John

Early exposure to the waves of multi-ethnic rhythms floating through the Crescent City made .a strong imprint on the young Mac Rebennack. In particular, his adaptation of funk, urhich adds compounded rhythms and syncopation to a 2/4 beat, would later become Dr. John's signature and his Rx for success.

Taking a look back, Rebennack was a major sessions player during the golden years of New Orleans music, adding licks and keyboard phrasings to a host of rhythm and blues recordings performed by the legendary Fats Domino, Shirley and Lee, Little Richard and Professor Longhair.

Dr. John's long-time association with Professor Longhair, whom he considered to be like a second father, had a prafound influence on both his rnusical development and business savvy.

Duririg the formative period of his career, Dr. John paid his dues as a member of! the studio band at Cosimo Matassa's J & M Studios in New Orleans. Next, he worked a stint as-an A & R (artist and repertoire) man for John Vincent's Ace Records in Jackson,-Mississippi, before developing an on-stage and recording persona that would eventually turn l~im into a cult hero.

Ironically, Rebennack moved into the limelight by coincidence when he filled in for another artist to become his alter-ego. "I was planning to produce a record and make-Ronnie Barrons of Algiers the character, 'Dr. John,' but his management at the time didn't think it was a good career move so I became Dr. John, The Night Tripper, instead," he remembers.- (Historically, Dr;; John was a famous voodoo practitioner in New Orleans in the 1800's who held court weekly at Congo Square and was said to have great supernatural powers. Many of Rebemack's tunes are permeated with voodoo influences)

"Harold Batiste and I were working on some sessions that became the 'Gris-Gris' album (aka The Night Tripper'),"he notes, "and it opened the door for me to be, doing'what I'm doing now."

"It was something I'd never prepared for. I was always working in the background or producing but the 'voodoo rock' thing turned into a cult phenomenon.:We played Love-Ins, Be-Ins, basically anything political or mystical. After six albums, the 'Iko' record cracked the Top 40. But, the best thing to come out of, it was to get people interested in the New Orleans sound. The city's music has always-been shortchanged because it doesn't fit into the mainstream; it's a little too,subtle for the masses.

Dr. John, who grew~up in the Third Ward and Irish Channel neighborhoods here in New Orleans, has lived in New York City for the last six years.But, he still keeps his fingertips on the pulse of the Big Easy's music industry. "The hardest thing I've ever had to do was to leave New Orleans!", he explains. "But my family lives ;there and I get back down to play gigs as often as possble."