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Does anybody out there love the Professor as much as I do?	1	July 2009

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Biography

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New Orleans is said to be a city where having a party has been elevated from a casual pastime to a way of life. Nobody understood this better than Professor Longhair, one of the pioneers of New Orleans rhythm & blues. His influence can be heard in Fats Domino, Allen Toussaint and Dr. John, among many others. Known for his unique mix of blues, jazz, calypso, ragtime, and zydeco, "Fess" (as he was known) defined and captured the essence of New Orleans in his music. Born Henry Roeland Byrd in Bogalusa, Louisiana 1918, and raised in New Orleans, Fess started performing at an early age, often dancing down Bourbon Street for tips. In addition to piano, he learned to play guitar and drums in the early 1930s and was in and out of numerous bands. He soon found there were better ways to make money than music. He worked as a cook, then as a boxer, and eventually became a professional card player. It wasn't until the late 1940s that he returned to music.

He went into the army during World War II, and was discharged in 1943. At that point he led a variety of groups, including the Mid Drifs, Professor Longhair and the Four Hairs, and Professor Longhair and His Shuffling Hungarians. He made his recording debut with the latter group in 1949 on the Star Talent label. A year later he had a new group and a new label. The Blues Jumpers recorded for Mercury, which released “Bald Head,” the only Professor Longhair ever to make the R&B charts, peaking at number five.

Longhair recorded for Atlantic and Federal, and many smaller labels such as Edd, Ron, Rip. Despite recording such classics as “Tipitina,” “Big Chief” and “Going To The Mardi Gras,” he never received much exposure outside of Louisiana, although his reputation in New Orleans was substantial. With songs like “Tipitina,” “Hey Now,” “Baby,” “In The Night,” ‘Big Chief” and the great :Going To The Mardi Gras,” Fess was the reigning king of New Orleans.

Even though a New Orleans legend, Fess was forced to support himself by returning to cards and working as a janitor in the mid-1960s. Luckily, he was rediscovered in the early 1970s and performed at the New Orleans Jazz and Heritage Festival in 1971. He played the New Orleans festival every year thereafter until his death. He toured Europe, headlining the 1973 Montreux Jazz Festival. Paul McCartney flew him to California in 1975 to play an exclusive private party on the Queen Mary. He was an idol to people who were not even born when “Bald Head” was a hit.

Of his many recordings, however, perhaps his best and most fully realized is CRAWFISH FIESTA, recorded for Alligator Records in 1979. Bruce Iglauer, president of Alligator Records, continues the story. "I was on the phone with Professor Longhair's manager, and I mentioned that I'd love to record Fess for Alligator. I loved his eccentric, rhumba-blues New Orleans piano style and wild, cracked vocals, and he was one of my favorite musicians. I flew down to New Orleans and listened to the master pound out all his old hits and a slew of Crescent City R&B standards. I made an offer, and, much to my amazement, it was accepted. Surrounded by friends (including Dr. John on guitar) and finding himself in a studio situation where he was completely in charge (maybe for the first time ever), Professor Longhair presented Alligator with perhaps the finest album of his long career and one of the best Alligator ever released."

The album shipped out on January 30, 1980, the day Professor Longhair died.

This biography was provided by the artist or their representative.

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Justly worshipped a decade and a half after his death as a founding father of New Orleans R&B, Roy "Professor Longhair" Byrd was nevertheless so down-and-out at one point in his long career that he was reduced to sweeping the floors in a record shop that once could have moved his platters by the boxful.

That Longhair made such a marvelous comeback testifies to the resiliency of this late legend, whose Latin-tinged rhumba-rocking piano style and croaking, yodeling vocals were as singular and spicy as the second-line beats that power his hometown's musical heartbeat. Longhair brought an irresistible Caribbean feel to his playing, full of rolling flourishes that every Crescent City ivories man had to learn inside out (Fats Domino, Huey Smith, and Allen Toussaint all paid homage early and often).

Longhair grew up on the streets of the Big Easy, tap dancing for tips on Bourbon Street with his running partners. Local 88s aces Sullivan Rock, Kid Stormy Weather, and Tuts Washington all left their marks on the youngster, but he brought his own conception to the stool. A natural-born card shark and gambler, Longhair began to take his playing seriously in 1948, earning a gig at the Caldonia Club. Owner Mike Tessitore bestowed Longhair with his professorial nickname (due to Byrd's shaggy coiffure).

Longhair debuted on wax in 1949, laying down four tracks (including the first version of his signature "Mardi Gras in New Orleans," complete with whistled intro) for the Dallas-based Star Talent label. His band was called the Shuffling Hungarians, for reasons lost to time! Union problems forced those sides off the market, but Longhair's next date for Mercury the same year was strictly on the up-and-up. It produced his first and only national R&B hit in 1950, the hilarious "Bald Head" (credited to Roy Byrd & His Blues Jumpers).

The pianist made great records for Atlantic in 1949, Federal in 1951, Wasco in 1952, and Atlantic again in 1953 (producing the immortal "Tipitina," a romping "In the Night," and the lyrically impenetrable boogie "Ball the Wall"). After recuperating from a minor stroke, Longhair came back on Lee Rupe's Ebb logo in 1957 with a storming "No Buts - No Maybes." He revived his "Go to the Mardi Gras" for Joe Ruffino's Ron imprint in 1959; this is the version that surfaces every year at Mardi Gras in New Orleans.

Other than the ambitiously arranged "Big Chief" in 1964 for Watch Records, the '60s held little charm for Longhair. He hit the skids, abandoning his piano playing until a booking at the fledgling 1971 Jazz & Heritage Festival put him on the comeback trail. He made a slew of albums in the last decade of his life, topped off by a terrific set for Alligator, Crawfish Fiesta.

Longhair triumphantly appeared on the PBS-TV concert series Soundstage (with Dr. John, Earl King, and the Meters), co-starred in the documentary Piano Players Rarely Ever Play Together (which became a memorial tribute when Longhair died in the middle of its filming; funeral footage was included), and saw a group of his admirers buy a local watering hole in 1977 and rechristen it Tipitina's after his famous song. He played there regularly when he wasn't on the road; it remains a thriving operation.

Longhair went to bed on January 30, 1980, and never woke up. A heart attack in the night stilled one of New Orleans' seminal R&B stars, but his music is played in his hometown so often and so reverently you'd swear he was still around. ~ Bill Dahl, All Music Guide

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