New Orleans Jazz Fest Guide 2022

April 26-May 2 2022 Volume 43 Number 17

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Mother’s Day

APRIL 26 — MAY 2, 2022 VOLUME 43 || NUMBER 17

CONTENTS

JAZZ FEST WEEK ONE!

I S M AY 8 T H !

Gambit Picks for Friday.............. 23 Friday Preview.............................. 24 Map of the Festival Grounds ....30 Cubes! Glorious Cubes! ................31 Gambit Picks for Saturday ........ 37 Saturday Preview......................... 39 Gambit Picks for Sunday ........... 42 Sunday Preview............................ 43

DE R TO DAY! SCH ED ULE YO UR OR

NEWS Opening Gambit ...............................7 Commentary....................................11 Clancy DuBos..................................12 Blake Pontchartrain.....................15

CURRENT HOURS: MON-FRI 7am-1pm /// SAT 7am-Noon

Jazz Fest YOUR

PRE AND POST STOP! Less than 2 miles ! from the Fairgrounds

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TA N D E M C L I N I C A L R E S E A R C H . C O M

19

Jazz Fest Week One! It’s finally here, you guys!

The New Orleans Jazz & Heritage Festival is back!

Here’s the rundown on the week one festivities!

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Contributing Writers | IAN MCNULTY Intern | KHAYLA GASTON

CREATIVE

J UST S OL D

We Are Music! A Portrait of Jon Batiste by Terrance Osborne. The official 2022 New Orleans Jazz & Heritage Festival silk-screen poster is published by art4now inc. (www.art4now.com).

TM & ©2022 N. O. Jazz & Heritage Foundation, Inc. All rights reserved.

Publisher | JEANNE EXNICIOS FOSTER

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FEATURES Arts & Entertainment ....................5 Eat + Drink...................................... 45 Music Listings................................ 55 Film ....................................................61 Stage................................................. 62 Puzzles............................................. 63

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Radio Kreyol

Leyla McCalla previews new album at Jazz Fest LEYLA MCCALLA SINGS THE SONG “POUKI” IN HER THEATRICAL WORK “Breaking the

Thermometer to Hide the Fever” and on the album based on the show, which is due out on May 6. It’s a political protest song popularized by Haitian singer Manno Charlemagne. “‘Pouki’ means ‘Why?’ in Kreyol,” McCalla says. “Why is life the way it is? One of the lines that resonates for me is ‘Why does love taste like pain?’ — Why does the big shark always go for the small fish? It’s really beautiful playful lyricism that nobody understands because it’s in Kreyol. That’s part of my mission here — this language that fomented a revolution that has made such an impact on the world.”

The album, with the shortened title “Breaking the Thermometer,” is propelled by McCalla’s cello and banjo playing and singing. Sometimes it encapsulates painful parts of Haiti’s past in beautiful songs. “Fort Dimanche” is a beautiful song, though it’s about a notorious prison run by President Jean-Claude Duvalier, who was ousted in 1986.

The theater piece and album talk about McCalla’s embrace of her Haitian identity and the legacy of Radio Haiti, an independent, Kreyol language radio station that shutdown in 2003 after it was targeted by political violence.

McCalla’s parents emigrated from Haiti to New York, where she grew up. She pursued music and was a member of the Carolina Chocolate Drops before launching her solo career. She’s explored her Haitian identity and the country’s music in socially conscious albums including “A Day for the Hunter, A Day for the Prey” and “Capitalist Blues.”

In 2016, she performed at Duke University while touring in support of “A Day for the Hunter.” Duke had recently acquired the archives of Radio Haiti, and the university invited McCalla to create a theater piece based on the recordings.

“I had no idea that it would take over my life for the next five years, but I am grateful for it,” she says.

She delved into the archives and worked with Kiyoko McCrae on a devised theater piece, which premiered at Duke in 2020, one week before the pandemic shutdowns. The pandemic gave McCalla more time to work on the theater piece, which premiered locally at the Contemporary Arts Center in December 2021. She also met Andy

|

by Will Coviello

Kaulkin, the director of ANTI- records, and started working on the album, which also includes songs not in the show.

The album opens with “Nan Fon Bwa,” which features a recording of McCalla’s mother talking about McCalla returning from a trip to Haiti as a young girl with a new consciousness about her Haitian identity.

McCalla says her memories of staying with her grandmother outside Portau-Prince were the stuff of childhood — stepping on a sea urchin at the beach and listening to the sound of roosters in the morning. But her grandmother also showed her all aspects of Haitian life.

“The poverty in Haiti was always very obvious, but there was a lot of beauty that I thought never got a lot of attention,” McCalla says. Her grandmother also made an impression with her fierce pride in being Haitian, she says.

Exploring the archives also reflected the worldviews of her parents. Her father is an advocate for human rights and her mother is a lawyer who’s worked with immigrants. McCalla lived in Ghana for a couple of years while her mother assisted refugees.

“I understood pan-Africanism, the slave trade, the social-political effects of that,” McCalla says. “Haiti is a case study of all those things converging. It’s the first independent Black nation in the world.”

Some of the songs take inspiration and lyrics from Radio Haiti’s longtime director Jean Dominique, who was assassinated at the station in 2000. The station shutdown in 2003, following a failed assassination attempt on his wife, Michele Montas.

The term “Breaking the Thermometer to Hide the Fever” comes from an editorial by Dominique that said suppressing independent journalism wouldn’t hide the problems facing the nation or citizens’ unrest.

McCalla spoke to Montas, a journalist and former spokesperson for UN Secretary-General Ban Ki-Moon, while going through the archives and developing the work.

Nathaniel Rateliff & Night Sweats

ROOTS ROCKERS NATHANIEL RATELIFF & THE NIGHT SWEATS are close to the

end of a tour with soul singer-songwriter Devon Gilfillian and have been bringing out special guests at select stops. During their New Orleans stop, they will be joined by rhythm and blues and soul icon Mavis Staples for a show at 8 p.m.

Thursday, April 28, at Mardi Gras World. Tickets are $60 at axs.com.

PROVIDED PHOTO BY RUSH JAGOE

Leyla McCalla (right) releases ‘Breaking the Thermometer’ on May 6.

“She said there are so many people of your generation who are connected to Haiti who don’t know how they are Haitian,” McCalla says.

“They know they are Haitian, but they don’t exactly understand it.

They don’t understand Kreyol. They have to reach back. That’s up to your generation; you have to do this work in order for it to be possible for future generations.”

McCalla wrote the song “Vini We” about Montas and Dominque’s relationship.

“She was talking about how Jean would sometimes wake her up at 4 in the morning to get her to read an editorial he wanted to put up,” McCalla says. “People would say, ‘How can you handle this?’ She says, ‘Well, he made coffee.’ That’s so sweet. So I was imagining him waking her up at 4 in the morning and them reading these editorials and then watching the sun rise. ‘Veni we’ means ‘come see.’ I am saying, ‘Come see the sun rise.’”

It’s a sweet homage to their bond as well as a sense of hope about the new day.

The album weaves together songs about McCalla and Radio Haiti, sometimes working in snippets of recordings.

McCalla will preview the album at her set at 1:40 p.m. Friday, April 29, at Jazz Fest on the Sheraton New Orleans Fais Do-Do Stage. The set will feature the musicians who recorded the album and Haitian master drummer Markus Schwartz. The album’s official release is May 6, when McCalla will be in Miami, where she’s presenting her theater piece.

PHOTO PROVIDED BY MALIA JAMES

Nathaniel Rateliff the Night Sweats perform Thursday, April 28, at Mardi Gras World.

Treme Threauxdown

TROMBONE SHORTY RETURNS TO THE SAENGER THEATRE for Treme

Threauxdown 6. The annual show is always a crowd pleaser, and this year’s lineup is packed with national and local talent, including rock legend Joan Jett, Gary Clark Jr., Big Head Todd, the Preservation Hall Jazz Band, Galactic, David Shaw, Fred Wesley, James Andrews, Tank and The Bangas and more. The show starts at 8 p.m. Saturday, April 30. Tickets start at $49.50 at saengernola.com.

Smokehouse Brown Allstar Band

SINCE MID-FEBRUARY, BLUESMAN SMOKEHOUSE BROWN, the longtime

Johnny Maestro and Mama’s Boys guitar player, has been holding down a Monday night gig at BJ’s Lounge. His Allstar Band, made up of members of the Special Men and Little Freddie King’s band, mix up the blues, funk and jazz and has built quite the cult following over the last few months. An added bonus: There’s red beans and rice thanks to chef Felton. His next show at BJ’s is at 9 p.m. Monday, May 2. Admission is $10.

PAGE 59

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NEW ORLEANS NEWS + VIEWS

It’s been three years since ya fested, so make sure to pack plenty of sunscreen. And extra koozies.

#

T H U M B S U P/ THUMBS DOWN

1,090

LouisianaOutdoorsOutreachProgram recently celebrated its 25th

anniversary. The nonprofit works to get kids from underserved communities in the Greater New Orleans area out into nature through camping, canoeing and fishing trips, a summer camp and other activities. The organization, founded by Dan Forman, noted as part that it served more than 1,600 people during the 2020-21 school year.

P H O T O B Y B R E T T D U K E / T H E T I M E S - P I C AY U N E

Council President Helena Moreno and Vice President JP Morrell.

City turns over hundreds of pages on smart cities deal following council subpoena MAYOR LATOYA CANTRELL’S ADMINISTRATION PROVIDED the New Orleans

FrenchQuarterFestival took part

in the Geauxing Green program to cut back on waste during the four-day event. During the fest, all food was sold in compostable packaging; drinks came in recyclable bottles and cans or a re-usable souvenir cup; there were more recycling and composting stations; and a “green team” helped guide festival-goers. FQF also partnered with Glass Half Full to recycle wine and liquor bottles from the event. Geauxing Green is an initiative of the Barataria-Terrebonne National Estuary Program in partnership with festivals across Louisiana.

Eleven Louisiana House Republicans voted along party lines

in the Committee on Civil Law and Procedure to kill a bill allowing elderly or disabled tenants in need of new dwellings for their care or treatment to terminate residential leases with 30 days’ notice and a doctor’s note. HB 257 by state Rep. Mandie Landry, D-New Orleans, also would have allowed tenants to sue landlords for twice their monthly rent if they refused.

THE COUNT

City Council with hundreds of pages of documents on Monday in response to a recent council subpoena related to a controversial, multimillion-dollar “smart cities” project that aims to create a privately owned, but “city-directed” WiFi service.

The council sent the subpoena last week after what Council President Helena Moreno said was a lack of answers on the scope of the project, its costs and the involvement of a Chicago consulting firm that has been central to concerns about potential contract-rigging.

The documents show that the city was communicating with members of Smart+Connected NOLA, the business consortium that would go on to win the public bid, months before the bid was released last year. And they show how the “pro-bono” consultant that helped write the bid solicitation — called a request for proposals, or RFP — was pitching Smart+Connected NOLA-member firms to the city as early as 2020.

They also provide the first look at a one-year draft contract the city is negotiating with Smart+Connected NOLA. The documents released on Monday are only part of what the subpoena requires. It also directs the director of the Mayor’s Office of Utilities, Jonathan Rhodes, to appear before the council on April 27 and answer questions about the project under oath.

The subpoena specifically demanded documents related to the Chicago-based consultant, Ignite Cities.

Moreno had previously told The Lens she believed there were “potential ethics problems” with the public bid process that awarded the project to Smart+Connected NOLA, a group led by wireless giant Qualcomm and JLC Infrastructure, an investment firm co-founded by NBA legend Earvin “Magic” Johnson and Chicago investment banker Jim Reynolds, Jr. In the press release, Councilman JP Morrell also said the open bid process had “obvious procedural defects.”

A rival bidder for the project, Cox Communications, submitted a formal protest over the selection of Smart+Connected NOLA soon after they were awarded the contract, accusing the city and Ignite Cities of conspiring to direct the project to a pre-selected contractor. The city dismissed the protest last year, and Cox has not yet appealed that decision in Civil District Court.

Cox’s objections to the process centered on Ignite Cities’ prominent role in developing the smart cities project, and even writing part of it. According to the city, Ignite Cities was working as a “pro-bono” consultant, wasn’t an official member of Smart+Connected NOLA and didn’t have any financial stake in the project.

PAGE 9

THE NUMBER OF DAYS THAT WILL HAVE PASSED BETWEEN THE FINAL DAY OF JAZZ FEST 2019 AND THE FIRST DAY OF JAZZ FEST 2022.

Since the last Jazz Fest, a LOT has changed. We have one new president, suffered through at least four waves of COVID-19 and for the first time went without Jazz Fest for two years.

Now it’s time to grab your fanny pack and sunscreen, dust off your finest Crocs and fasten some Mardi Gras beads to your koozie – otherwise how ya gonna clap?

C’EST W H AT

?

How many days of Jazz Fest are you going to this year?

39.7%

6.3%

I’M CHOOSING TO SIT AND DRINK ON MY PORCH INSTEAD AND TUNE INTO WWOZ

EVERY DAY. I’M BASICALLY LIVING AT THE FAIR GROUNDS

27%

JUST ONE DAY

14.3%

I’LL BE OUT FOUR OR FIVE DAYS

12.7%

TRYING TO GO ONE DAY EACH WEEKEND

Vote on “C’est What?” at www.bestofneworleans.com

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PAGE 7

The city never explained, however, why Ignite, a for-profit firm, would provide its consulting services for free.

But existing evidence, along with new information in the subpoenaed documents, suggest that Ignite Cities does have a financial stake in the project. And hundreds of pages of emails from Rhodes’ inbox show that the firm worked to get Smart+Connected NOLA members in front of city officials, including the mayor.

Emails between Rhodes and Ignite Cities founder George Burciaga show that Burciaga was setting up meetings between the city, JLC and Qualcomm as early as September 2020 to discuss a potential smart cities plan. For example, meeting notes — written by Burciaga — from a Sept.

2020 meeting with Ignite Cities, JLC and city officials says that “all parties are in agreement and will work together to develop a final proposal/offering.”

The Lens attempted to reach Burciaga on the cell phone number listed in the emails. He did not pick up and did not immediately respond to a voicemail requesting comment.

On Sept. 29, Rhodes emailed Burciaga about another project, then ended the email by asking him to help keep “momentum going on public WiFi with Qualcomm and partners.”

Later in the year, Rhodes and Burciaga began preparing for a major presentation in front of Cantrell. In December, Rhodes requested email addresses for people who wanted to attend the Jan. 5 presentation. Burciaga provided a list that included Qualcomm and JLC employees.

On the day of the meeting, Burciaga shared a copy of the presentation with Rhodes.

A timeline provided by the city shows that officials began working on a draft smart cities RFP that month.

The documents also show that Ignite Cities continued to stay involved in the project after it was awarded to Smart+Connected NOLA. Burciaga was included on the email Rhodes sent to the Smart+Connected NOLA team congratulating them on their winning proposal. And meeting notes show Burciaga was involved in a smart cities project progress meeting as recently as April 7.

In addition to the partnership Ignite has with Qualcomm and JLC, it is also connected to another Smart+Connected NOLA partner, recent reporting from Illinois TV station WCIA revealed. The story — about how another top Ignite Cities executive used his wife’s position as City Clerk of Chicago

to move projects forward, both in Chicago and New Orleans, on behalf of clients — also showed that the executive, Reyahd Kazmi, is a lobbyist for IKE Smart City. That company is also official member of Smart+Connected NOLA. Emails show that Ignite Cities was trying to pitch the city on installing 30 IKE-brand kiosks as early as May 2020, before the broader smart cities project came together. That full smart cities proposal came nearly a year later, and also included exactly 30 IKE-brank kiosks.

Moreno said the missing details became even more glaring as the Cantrell administration began pressuring the council to get on board with the plan. Last month, Cantrell held several events with NBA superstar Magic Johnson — who’s investment firm JLC Infrastructure is involved in the project — to sell the project as “WiFi for All” and encourage the council to support it.

The reason Cantrell needed the council’s support is because she’s seeking to sign a multi-year contract Smart+Connected NOLA. And all multi-year contracts need to be approved by the council.

But last week, the Cantrell administration confirmed that it was trying to kickstart the project with a one-year agreement, which does not require council approval, as the city works to negotiate a long-term agreement that’s palatable to the City Council. Moreno called it an attempt to “circumvent the council,” although the Cantrell administration denied that.

The day after Moreno sent her subpoena, the subject of the subpoena — Jonathan Rhodes, director of the Mayor’s Office of Utilities — sent a four-page letter to the council giving some additional details on the plan. But it still fell short of satisfying Moreno’s questions, or clearly laying out what the ultimate form and cost of the project will be.

It did, however, shed some light on what the city imagines will happen at least during the initial one-year agreement. The main task in that first year is installing new WiFi equipment at 10 NORD recreation centers for $3 million. The equipment will cost $300,000 a year to maintain. That will give the city a chance to test out the new infrastructure that the consortium plans to use on its city-wide broadband network.

The draft agreement outlines the consortium’s responsibilities during the one-year pilot, mostly producing a “technology demonstration program” and participating in community outreach. The one-year agreement will not cost the city anything, according to the draft. — MICHAEL ISAAC STEIN / THE LENS

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11

Legislature should protect victims, not abusers

P H O T O B Y B I L L F E I G / T H E T I M E S - P I C AY U N E

Rep. Alan Seabaugh, R-Shreveport, has sought to roll back key protections for domestic abuse survivors.

IN 2014, STATE LAWMAKERS UNANIMOUSLY PASSED A BILL by then-Rep. Helena Moreno that disarmed

domestic abusers during the pendency of court-issued protective orders. A protective order could only be issued after a contradictory hearing in which a judge found, by a preponderance of the evidence, that the alleged abuser posed a credible threat to the physical safety of a family member, household member or dating partner. That law has worked, and it is fair. It has made victims safer, and it gives alleged abusers reasonable notice and an opportunity to be heard before being disarmed.

When that law was passed, Louisiana ranked second in the nation for domestic violence homicides.

Nearly 70% of those deaths occurred while victims tried to leave their abusers, and firearms were used to kill more than 65% of those victims — even after protective orders were issued. The same is true today: 60% of protective orders are violated; firearm prohibitions are too often ignored; jurisdictions fail to uniformly enforce firearm transfer laws passed in 2018; and victims and their children are being shot to death.

Despite those lapses, Louisiana today is safer for domestic abuse victims. Based on 2018 statistics from the Violence Policy Center, we now rank fifth in the nation — down from second — for

domestic violence homicides. Our fifth-place ranking is nothing to be proud of, but it represents progress that is directly attributable to laws adopted since 2014.

Sadly, some legislators want to roll back that progress. HB 464 by Rep. Alan Seabaugh, R-Shreveport, would make it harder for victims to disarm abusers. Seabaugh’s bill would require judges to find “clear and convincing evidence” of a credible threat before a protective order could trigger disarming an abuser — a much higher burden of proof that no other state requires.

Fortunately, victims and advocates on April 12 convinced the House Criminal Justice Committee to kill Seabaugh’s bill by a narrow 6-5 vote, mostly along party lines. Now, Seabaugh and others who place abusers’ gun rights above victims’ lives want

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a do-over in another committee. They have amended HB 1026 by Rep. Beryl Amedee, R-Houma, to make it essentially the same as Seabaugh’s original measure — only worse. As amended, HB 1026 imposes the “clear and convincing evidence” burden of proof and requires judges to issue written reasons for disarming abusers within 15 days of their rulings. This burdens both victims and judges.

Amedee’s amended HB 1026 will be heard on April 26 by the House Civil Law and Procedure Committee, which includes Seabaugh and three others who voted for his bill in the criminal justice committee: Reps. Ray Garofalo of Chalmette, Nicky Muscarello of Hammond and Danny McCormick of Oil City. A list of all committee members can be found at house.louisiana.gov/H_Cmtes/CivilLaw. We hope everyone who believes that victims deserve more protection than abusers will contact committee members and urge them to vote against HB 1026.

Louisiana has made progress in protecting victims of domestic violence, but we still have a long way to go. This is no time to backslide.

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TIMES WAS THE SEWERAGE AND WATER BOARD MET in the

spacious Council Chamber at City Hall, allowing hundreds of citizens to watch its proceedings.

Nowadays, the S&WB meets at its Warehouse District headquarters in a much smaller board room that scarcely seats more than a handful of citizens.

That change of venue, as it were, is a perfect metaphor for the board’s current disconnect with the people it serves.

I bear no grudge against the board or its executive director, Ghassan Korban. I actually think Korban struggles heroically under significant political and statutory constraints.

Which is why, in time, the board and Korban may appreciate House Bill 652 by state Rep. Stephanie Hilferty, R-Lakeview. Hilferty’s bill, which she filed at the request of at-large Council Member JP Morrell, would put the board’s billing practices under the City Council’s purview.

“Council members get hundreds of calls a month from constituents asking for help with high water bills,” says Morrell, “but we are powerless to help them. So we are asking the Legislature to give the council oversight of S&WB billing practices — as well as fiscal transparency and operational accountability.”

If you’re wondering why state lawmakers must resolve this intramural turf battle, it’s because the S&WB is a “political subdivision of the state,” created by legislative act in 1899. S&WB reforms, therefore, require legislative intervention.

The House Commerce Committee approved HB 652, with some amendments, by a 10-3 vote last week. It’s worth noting that the three votes against the bill came from area lawmakers who sided with Mayor LaToya Cantrell, who opposes the measure. Cantrell by law serves as board president.

“Billing has been a persistent problem, and we’ve tried for years to get the board to improve things,” Hilferty says. “It’s not fair to ratepayers to give the board more time. This measure will not

PHOTO BY MA X BECHERER / T H E T I M E S - P I C AY U N E

New Orleans City Council member JP Morrell has been an outspoken proponent of giving the council greater oversight of S&WB. rectify all issues that people have with the S&WB, but it will address the most common problem.”

The bill as amended authorizes the council to formalize a billing review and appeal process that must be uniformly applied.

Currently, says Hilferty, the appeal process is handled by S&WB contractors and is hobbled by antiquated statutes.

HB 652 also would enable the council to end the practice of “catch-up” billing, adds Hilferty.

That occurs when S&WB underestimates someone’s water usage for months (or years) and then sends an outsized bill to “catch up” when the meter is finally read. Hilferty and Morrell say they hope to accelerate S&WB implementation of so-called smart meters, which enable customers to monitor their bills — and potential issues such as leaks — in real time.

In addition to billing oversight, HB 652 gives the council subpoena power to demand greater transparency from S&WB and requires agency officials to appear before the council’s public works committee upon request.

HB 652 may feel like a slap to S&WB right now, but, ultimately, it could solve one of the beleaguered agency’s most intractable problems. If it does, the entire board should be grateful. Ratepayers certainly will be.

13

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Hey Blake,

I came across an old Jazz Fest poster which, in addition to the Fair Grounds, advertised performances at several venues: Prout’s Club Alhambra, Tyler’s Beer Garden and Faubourg Restaurant. What do you know about them?

Dearreader,

THE POSTER ADVERTISED THE 1982

New Orleans Jazz and Heritage Festival, held April 30 through May 9. In addition to music at the Fair Grounds, nighttime concerts were held on the Riverboat President, at the Saenger Theatre, Tulane University and the clubs you mentioned.

From the 1970s through the 1990s, Prout’s Club Alhambra at 728 N. Claiborne Ave. was the place to see acts such as Bobby “Blue” Bland, Ellis Marsalis, Edgar “Dooky” Chase Jr., Alvin “Red” Tyler, Smokey Johnson and others.

Bobby Marchan, a member of Huey Smith and the Clowns and frequent female impersonator, worked as an emcee there. The club hosted Jazz Fest nighttime concerts until the 1990s, when it closed.

Tyler’s Beer Garden, located at 5234 Magazine Street, opened in the mid-1970s. Musical acts who played there included Charles Neville, Germaine Bazzle, Leigh “Little Queenie” Harris, Henry

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Butler and James Rivers. According to a 1990 Times-Picayune article, actor Clint Eastwood showed up at Tyler’s one night to watch Rivers play. Eastwood would go on to hire Rivers to compose music for the soundtracks to several of his movies, including 1984’s “Tightrope,” which was filmed in New Orleans.

For the 1982 Jazz Fest, newspaper listings report that Tyler’s hosted a concert featuring Ellis Marsalis, James Black and Jim Singleton. The club was destroyed by fire in 1990.

Faubourg Restaurant was the original name of Snug Harbor, the music club still going strong at 626 Frenchmen St. It operated as Faubourg from 1980 to 1982, famous for its late-night weekend jazz sets, which started as late as 1 a.m. and ended at sunrise. It became Snug Harbor in 1983. In 1982, Faubourg hosted a concert featuring Cedar Walton, Buster Williams, Billy Higgins and Earl Turbinton, Clyde Kerr Jr. and Tony Dagradi.

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BL AKEVIE W WHEN THE NEW ORLEANS JAZZ AND HERITAGE FESTIVAL MAKES ITS RETURN to the Fair Grounds Race Course this week, it will mark 50 years since the event was first held at the historic racetrack.

For its first two years, in 1970 and 1971, the festival was held at Congo Square. Although the crowds started off small, the event quickly gained a following and began to outgrow the square.

City Park was suggested as an alternative, but eventually the 145-acre Fair Grounds was selected. The racetrack’s catering manager, George Rhode, helped sweeten the deal, offering a swap for rental fees. The Fair Grounds would keep the proceeds from concessions such as beer, soft drinks, peanuts and popcorn in exchange for hosting the festival on its site.

Performers at the 1972 festival (held April 26 through 30) included local legends Professor Longhair, Deacon John and the Zion Harmonizers as well as nationally known acts B.B. King, Roberta Flack, Dizzy Gillespie and Thelonious Monk.

In addition to the performances at the Fair Grounds, there were also night performances at various venues, including the Municipal Auditorium, the Roosevelt Hotel and the S.S. President riverboat.

That first year at the Fair Grounds, Jazz Fest attendance was 50,000 over four days. By 1975, the Festival reported an attendance of 80,000.

In 2019, the last year of the festival before the pandemic, about 475,000 people attended the 50th anniversary event.

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Jazz Fest 2022

g OOD tiM ES Roll the

The New Orleans Jazz & Heritage Festival is back April 29-May 8

P H O T O B Y D AV I D G R U N F E L D / T H E T I M E S - P I C AY U N E

Trombone Shorty performs at Jazz Fest.

BY JAKE CLAPP, WILL COVIELLO, KHAYLA A. GASTON, LIAM PIERCE, KAYLEE POCHE, SARAH RAVITS & JOHN STANTON LET THE FESTING BEGIN!

After three years away from the Fair Grounds and much anticipation, the New Orleans Jazz & Heritage Festival opens its gates Friday. A dozen stages welcome fans back with touring rock stars, international visitors and a full slate of Louisiana musicians who make it a rich dive into local music and culture.

Visiting headliners for the first weekend include The Who, Lionel Richie, the Red Hot Chili Peppers, Nelly, Jason Isbell and The 400 Unit, CeeLo Green, Charlie Wilson, The Avett Brothers and many more. Among the local favorites are Irma Thomas in the Gospel Tent, Donald Harrison Jr., Tank and the Bangas, The Soul Rebels, Ivan Neville and Dumpstaphunk and Lost Bayou Ramblers. International visitors include Bombino from Niger, DakhaBrakha from Ukraine, Haiti’s Lakou Mizik, Son Rompe Pera from Mexico and Canadian-based Congolese outfit Kizaba.

Since the last Jazz Fest, the city has lost several legendary musicians and culture bearers.

Commemorative second lines and installations of new markers for Jazz Fest Ancestors (see page 20) will occur both weekends of the festival.

There also are a host of musical tributes on festival stages.

The festival has a few changes. There isn’t an Allison Miner Music Heritage Stage this year, but there will be some interviews interspersed on other stages. The Cultural Exchange Pavilion will host a variety of acts, rather than focusing on a single cultural or national theme. The AARP Rhythmpourium will host music performances, and its schedule is included on the cubes (see page 31-35).

The festival runs Friday, April 29, though Sunday, May 1, and May 5-8. Single-day tickets are $80 in advance or $90 at the gate.

Tickets for children under 11 are $5 and available at the gate only when accompanied by an adult. VIP packages also are available. See nojazzfest.com for details on tickets, food and craft vendors on the grounds, and lists of what fans can and cannot bring onto festival grounds.

In 2019, Jazz Fest marked its 50th event, celebrating five decades of music, culture, food and more. The 51st Jazz Fest also seems like a milestone event, even if just getting back to normal feels like the best of times.

Let’s savor every moment. Check our site bestofneworleans.com for more previews, news from the festival and more throughout the week. See y’all at the fest!

DE W H AT ’S I N S I

JAZZ FEST TRIBUTES & NATIVE AMERICAN POW WOW ..................................20 GAMBIT PICKS Friday .........................................................................23 Saturday ....................................................................37 Sunday ........................................................................42

BAND PREVIEWS Friday .........................................................................24 Saturday ....................................................................39 Sunday .......................................................................43

JAZZ MAP .................................................................30 CUBES ...........................................................................31

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WEEK 1

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WEEK 1

Jazz Fest 2022

Celebrating LOST CULTURE BEARERS

THREE YEARS AND A PANDEMIC LATER,

Jazz Fest is finally home, and this year is shaping up to be a great time. From the musical lineup to the return of festival food, there’s a ton to celebrate this year.

But there’s also plenty to miss.

New Orleans and the Jazz Fest community have suffered some significant losses since 2019, and organizers are planning a series of events both weeks to remember the culture bearers and others who are now gone.

“In New Orleans music our culture is sacred, and many of those who make it are woven into the fabric of our lives. Whether it’s Dr. John, Art Neville, or Ellis Marsalis, we are connected to them,” says Quint Davis, the festival’s director and producer. “Having played a central role in the festival for decades, they are part of the ‘Festival Family.’

With their passing, we honor them with a celebration of their music on stage, a jazz funeral, and unveil a larger-than-life painted statue of them that will keep them at the festival. Though no longer with us, their spirit lives on at Jazz Fest.”

Most notably, of course, was the loss of George Wein last year at the age of 95. Wein, a pianist, was the founder of Jazz Fest and the Newport Jazz Festival.

To honor Wein, the festival will hold a jazz funeral on the Fair Grounds at 2 p.m. Friday, April 29, and at 12:50 p.m. Friday, May 6. Both second lines will end at the Congo Square field where his likeness will join totems of Professor Longhair and other spiritual ancestors of the festival and New Orleans music.

At 12:30 p.m. Friday, Times-Picayune music writer Keith Spera will discuss Wein’s life and legacy with Davis on the Lagniappe Stage, while Ashley Kahn and the Newport All-Stars will appear there at 3:25 p.m. May 6 to pay tribute to Wein. The Newport All-Stars will perform in the WWOZ Jazz Tent at 5:45 p.m. that day for a second tribute show.

The festival will honor several other New Orleans legends lost since the last fest with second line funeral parades and ancestor unveilings, including Dr. John (who died in

June 2019) at 1:25 p.m. Saturday, April 30, Ellis Marsalis Jr. (who died in April 2020) at 11:55 a.m. Sunday, May 1, and a joint ceremony for brothers Art and Charles Neville (who died in July 2019 and April 2018 respectively) at 1:55 p.m. Saturday, May 7.

A memorial performance for Marsalis will be held in the WWOZ Jazz Tent at 2:30 p.m. Sunday, May 1. The Funky Meters will play a tribute to Art and Charles Neville at 1:45 p.m. Friday, May 6, on the Festival Stage. And Irma Thomas will lead a tribute to Dr. John on the Festival Stage on Sunday, May 8, at 12:30 p.m.

The festival also will honor other musicians who passed since the last fest with onstage performances and remembrances, including Lil’ Buck Sinegal, Dave Bartholomew and Spencer Bohren, who each passed in 2019.

Those are in addition to tribute performances to jazz and New Orleans music legends that have become mainstays of the festival, including a tribute to Bessie Smith led by Meschiya Lake, a James Booker tribute led by Davell Crawford, an Allen Toussaint tribute led by Adonis Rose and the New Orleans Jazz Orchestra, and Kermit Ruffins’ Louis Armstrong tribute, among others. — JOHN STANTON

Native American

POW POW

THERE’S A MAN WHO COMES BY the Native American Village at Jazz Fest every year known as “Flyswatter Guy.” Grayhawk Perkins, 65, one of the organizers of the Village — a display of Indigenous culture, music and dance by way of traditional pow wows — has a particular affinity for the guy.

“He carries this flyswatter around his waist, and is very respectful. He has a great time — dances pretty interesting,” Grayhawk says with a laugh. “I actually keep in touch with him.”

Jazz Fest is a passport to different countries and cultures from all over the world. And none of them are more at home than the native peoples who first lived on these lands. So it makes sense that Native American involvement in the festival dates back to the first Jazz Fest when vendors sold Indigenous crafts.

P H O T O B Y M AT T H E W H I N T O N / T H E T I M E S - P I C AY U N E

Melissa Guerrero of the Wastek Native American tribe dances at Jazz Fest.

This year, there will be a representation of four nations from Louisiana — the Coushatta, the United Houma Nation, the Clifton Choctaw, and the Chitimacha — along with the Blackfeet Nation of what is known as Montana.

But not everyone is like Flyswatter Guy. “People don’t think we’re here,” Grayhawk says about the frequent misconception about Indigenous people. “When people talk about native people, they think we’re like leprechauns — these mystical magical creatures that don’t exist anymore. People will say, ‘Are you really an Indian?’ And it’s like, yeah!

I’m not a reasonable facsimile of an Indian. I’m an Indian.”

It’s not a great look. So here are a few ways to be a lot less like that, and a lot more like Flyswatter Guy:

DON’T JUST GRAB REGALIA

Aside from it just not being polite to grab things — and yet another example of people taking things from Native Americans — dancers, musicians and maybe even craft makers, depending on their nation, might actually have to cleanse the objects you touch to maintain their spiritual significance. The best way to handle this? Don’t touch stuff. If you really want to? Just ask politely.

JOIN IN DANCES WHEN INVITED

The pow wow is alluring; it’s meant to be! But there is a time when it’s OK to join in. Thankfully, there’s an announcer to tell you when. Listen to them.

DO NOT SAY STUPID THINGS

Grayhawk and Native American Village organizer Rachel Ornelas say that most Jazz Festers do their cultural homework, but they’ve heard people reference Disney’s

“Pocahontas” songs (“That movie should be burned,” Grayhawk says half-jokingly), question people’s authenticity, call people “chief,” and use a certain very offensive term for women. Just … don’t. And especially don’t do whatever you think a Native American yell is.

LOOK OUT FOR THE FOLLOWING DANCES

Grayhawk says that the most popular dances are the men’s fancy dance and the women’s fancy dance, which involve gymnastic athleticism, bright colors and riveting songs. The hoop dance is one of Grayhawk’s favorites, in which dancers tell stories that often depict animals with hoops, with individual dancers holding up to 50 hoops at a time. The friendship dance is another one of Grayhawk’s personal favorites, as it invites everyone to join.

ENJOY

Despite this being a fairly “don’t” heavy list, The Native American Village is, after all, there to be engaged. The various nations look forward to greeting and educating visitors, and “breaking down barriers,” Grayhawk says.

One of Grayhawk’s favorite moments was when a Zulu tribe came to present at the festival from South Africa. He helped them build huts and a loom, and they were all shocked at how similar their processes were. There even was a moment where the Zulu dancers joined in on the pow wow, and the Native American dancers synced up in similar poses.

“They went off,” Grayhawk says. “We didn’t speak the same language, but we talked with them through dance.” — LIAM PIERCE PAGE 23

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Friday april 29

WEEK 1

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Kizaba 11:20 A.M.-12:10 P.M. FESTIVAL STAGE

Note: Compensation for time and travel may be provided.

2:00 P.M.-3:00 P.M. CULTURAL EXCHANGE PAVILION Though based in Canada, Lionel Kizaba’s namesake band combines Afropop, Afrobeat and soukous, a dance music from his native Democratic Republic of the Congo.

A singer and multi-instrumentalist, Kizaba is pioneering an Afrofuturist vision of electro grooves. The band blends guitars, electronic effects and traditional Congolese percussion instruments to bridge rock and propulsive polyrhythms.

12:20-1:10 P.M. CONGO SQUARE STAGE Right around this time last year, Dawn Richard released “Second Line: An Electro Revival.” The genre-bending, boundary-busting electro-dance album ended 2021 on several “best albums of the year” lists, including Rolling Stone, Pitchfork and NPR. Richard took influence from and celebrated her family and the traditions she grew up around in New Orleans — all while reframing them through Afrofuturism and electro-pop.

79rs Gang 12:45 P.M.-1:35 P.M. CULTURAL EXCHANGE PAVILION 3:00 P.M.-4:00 P.M. JAZZ & HERITAGE STAGE Big Chief Romeo Bougere of the 9th Ward Hunters and Jermaine Bossier of the 7th Ward Creole Hunters first crossed paths as rivals from different tribes and wards. Now they share lead singing duties in the 79rs Gang. Their first release, “Fire on the Bayou,” was largely a traditional approach to Mardi Gras Indian music. The 2020 release, “Expect the Unexpected,” shows them finding their own sound, combining rap and

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elements of Indian music, with contributions from a host of New Orleans musicians.

PJ Morton

4:05 P.M.-5:05 P.M. CONGO SQUARE STAGE

Bombino 1:35 P.M.-2:25 P.M. BLUES TENT 4:45 P.M.-5:45 P.M. CULTURAL EXCHANGE PAVILION One of the most dazzling guitarists of the desert blues, Bombino hails from Agadez, Niger. Born Oumara Moctar, his take on his native Taureg music features fast picking and hypnotic rhythms. His 2011 release “Agadez” drew the attention of musicians including the Black Keys’ Dan Auerbach, who produced his 2012 follow-up “Nomad.” His most recent release was a 2020 live concert release on Partisan records.

Leyla McCalla 1:40 P.M.-2:40 P.M. SHERATON NEW ORLEANS FAIS DO-DO STAGE Since leaving the Carolina Chocolate Drops, Leyla McCalla has delved further into her Haitian roots. She recorded her forthcoming album “Breaking the Thermometer” — due out May 6 on ANTIRecords — based on the archives of Radio Haiti, a station shuttered by political violence (station owner

Jean Dominique was assassinated at the radio station) and unrest in Haiti. The songs combine lovely melodies, Caribbean rhythms, folk songs and singing in English in Haitian Kreyol.

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CeeLo Green as…

‘Soul Brotha #100’ 3:25 P.M.-4:40 P.M. FESTIVAL STAGE CeeLo Green long ago declared that he wrote the Gnarls Barkley tune “Who’s Gonna Save My Soul Now” about the death of James Brown. The veteran of the Atlanta hip-hop group Goodie Mob has been more focused on soul singing in recent years, as on his 2020 album “CeeLo Green is Thomas Callaway.” He’s on tour with this tribute to the Godfather of Soul.

PJ Morton 4:05 P.M.-5:05 P.M. CONGO SQUARE STAGE PJ Morton has been on a tear in recent years, releasing R&B albums

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Dawn Richard

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WEEK 1

Friday april 29

Thursday, April 28 7-9pm

and a gospel record — and winning Grammy awards in both categories. He also contributed to Jon Batiste’s Album of the Year, “We Are.” On Friday, Morton’s releasing his latest album, “Watch the Sun” and getting ready for a global tour with this set.

The new album includes contributions from Alex Isley, El DeBarge, Jill Scott, Nas and Stevie Wonder.

Quiana Lynell

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4:10 P.M.-5:15 P.M. WWOZ JAZZ TENT Though she trained in classical music at LSU, Quiana Lynell has distinguished herself as a vocalist who can draw on jazz, R&B, blues, gospel and more. She won the Sarah Vaughan International Vocal Competition in 2017. In 2019, she released “A Little Love” on Concord Jazz, and on the album she sings tunes by Ira and George Gershwin, Duke Ellington and Irma Thomas’ “Hip Shakin’ Momma.”

Lionel Richie

P R OV I D E D P H OTO B Y DAV I D M C C L I S T E R

The War and Treaty

5:40 P.M.-7:00 P.M. BLUES TENT

Arturo Sandoval

5:25 P.M.-6:55 P.M. FESTIVAL STAGE It’s been a while since Lionel Richie left the Commodores and ruled the Billboard charts in the 1980s, with songs like “Endless Love,” “Truly” and “All Night Long (All Night).” But it hasn’t been so long since he visited Jazz Fest.

He delivered a set full of his hits in 2018, and with the crowd singing along, he didn’t need to do too much himself. Perhaps the “American Idol” judge will offer some feedback this time around.

5:40 P.M.-6:55 P.M. WWOZ JAZZ TENT Trumpeter Arturo Sandoval studied classical music while growing up in Cuba, but Dizzy Gillespie’s music turned him onto jazz. Sandoval was a founding member of Irakere, which started blending jazz, rock and Cuban sounds in the 1980s. Since emigrating to the U.S., Sandoval has focused on jazz, though he occasionally performs classical music. He’s collected 10 Grammy nominations, four awards and a Presidential Medal of Freedom.

Third World

The War and Treaty

5:35 P.M.-7:00 CONGO SQUARE STAGE While based in reggae, Jamaica’s Third World has embraced a wider palette in its almost five decades.

The line-up also has changed over the years, but the band incorporates dancehall, R&B, funk, rap and more into its sound. Its 2019 album, “More Work to Be Done,” was nominated for a Best Reggae Grammy award.

5:40 P.M.-7:00 P.M. BLUES TENT In past performances at Jazz Fest, Michael Trotter Jr. teased audiences with his imitation of Louis Armstrong’s voice, scatting and even imitating a horn. But what’s made shows on the Lagniappe Stage and Blues Tent so impressive are the soul-baring vocals he and partner Tanya Blount unleash when they get going, blending R&B, soul, gospel and blues.

Friday april 29

WEEK 1

Dawn Richard 12:30 P.M.-1:10 P.M. CONGO SQUARE STAGE As the name implies, Dawn Richard’s “Second Line: An Electro Revival” is a moving, roving celebration.

On her sixth solo album, released just around this time last year, Richard finds inspiration in many things: her mother, Debbie; their family history; the Black pioneers of electronic music; Afrofuturism; her own artistic freedom; breaking genre boundaries; creating space for Black girls and non-binary folk in the “electro revival”; and — at the root of it all — New Orleans.

Richard dives deep into the culture on “Second Line” and celebrates the traditions she grew up with in New Orleans — and reframes them for the present and future.

“What does it mean to second line?” Richard asks early on the song “Nostalgia.” “To give the good footwork with the good work. It’s a celebration. An opportunity for us to do us,” she replies over the bouncy synthesizer. And as the beat picks up: “I’m gonna get you to move.”

“Second Line” appeared on several best albums of 2021 lists, including Rolling Stone, Pitchfork and NPR — and Gambit’s list of New Orleans albums we just couldn’t stop thinking about. Richard has taken the album on tour, albeit not as much as she would have liked, she says, given the ongoing pandemic.

Now, Richard brings it home for a performance on the opening day of Jazz Fest.

“You can expect to see a spectacle,” Richard says. “I always try to bring something a bit unique. Lots of glitter, lots of disco balls, lots of attitude, and the pop and electronic sound. We have multiple genres that come out of our city, and I just want to bring something that’s new and refreshing to the Jazz Fest stage.”

P R OV I D E D P H OTO B Y A L E X A N D E R L E ’J O

Dawn Richard

12:30 P.M.-1:10 P.M. CONGO SQUARE STAGE

Like the music on her recent albums, Richard wants to respect the traditional sounds of New Orleans but bring a futuristic take on things. “I want to bring the aspect of pop culture that sometimes people miss that we have here,” Richard says. “We are the now.”

Richard’s family has had a long history in Black Masking Indian culture, particularly with the Washitaw Nation, and Richard plans to pay homage to the culture in her live show, she says. Richard explored her family’s history of masking Indian and the culture’s traditions on the 2019 album “New Breed.” And similar to how Richard features her mother on “Second Line,” her previous record focuses on her father, Frank, and sampled his New Orleans funk band, Chocolate Milk.

PAGE 27

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Friday previews

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After more than a decade living on the West Coast — during which she co-founded Danity Kane and Dirty Money, a duo with Kalenna Harper that performed closely with Diddy — Richard decided to return to her hometown.

She moved back to New Orleans permanently while working on “New Breed,” visiting Los Angeles for certain projects, and within the last two years, she has moved her Recording Academy membership from Los Angeles to the Memphis chapter (which covers Louisiana).

“I was also talking to a lot of my peers, my friends, and they were saying, ‘We can make a hub in New Orleans,’” Richard says, citing PJ Morton’s move back to New Orleans, working with Trombone Shorty and getting to know Tank and the Bangas.

“It’s been a beautiful journey in the last three years,” she says.

“It is a new city — it’s not the one I grew up in, but it’s not a bad thing, it’s just an evolved one.

It’s been a lovely opportunity to re-meet it. To see how it has changed, but also feel the ancestral and heritage still rooted.”

The move back to New Orleans has come with challenges, Richard says, particularly as a woman working in electronic and pop. “I am not doing the traditional sound of what you would think a New Orleans artist is being respected for,” she adds.

There also are the obstacles that come with a lack of music industry infrastructure in New Orleans — access to more management teams, publicists, business resources and other national industry professionals.

But Richard sees opportunities in the challenges. She’s fighting the stereotype of what people think is a “New Orleans sound.”

She wants to show listeners that not only do all musical roads start in New Orleans but the city will lead the way in the future. And New Orleans already has the talent to build an industry hub.

“We’ve always been the base of things, but to really see [Jon Batiste’s Grammy recognition] happen, it’s a full circle moment where you’re seeing popular culture understand the presence and the beauty of what we can offer,” Richard says. “It’s just a good time for New Orleans, and I’m hoping I can show the female aspect when things tend to be a little male heavy.” — JAKE CLAPP

Bombino 1:35 P.M.-2:25 P.M. BLUES TENT 4:45 P.M.-5:45 P.M. CULTURAL EXCHANGE PAVILION One of the biggest rock stars out of North Africa, Bombino is a Jazz Fest veteran whose unique story is tailor-made to the range Jazz Fest has to offer.

Bombino, whose birth name is Oumara Moctar, is Taureg, an ethnic group of the nomadic Berber people who roam across borders throughout the Sahara desert.

Bombino was 12 when he first heard the electric guitar — while in exile in Algeria during an armed conflict the Taureg had with the Niger government.

He became captivated by the sound and, over time, cultivated an arpeggiated kind of rock/folk/ blues style that simultaneously feels exotic and familiar to ears attuned to the Delta Blues.

Bombino’s reedy voice shimmers over bright runs of steely, primarily finger-picked notes, and you can’t help but think of the voice of 1960s rocker Marc Bolan of T. Rex. But unlike T. Rex’s frivolous English jumbles of hip-sounding metaphors, Bombino sings in his native Tamasheq, often about the geopolitical struggles of his people.

Bombino’s influences fell more along the lines of Jimi Hendrix and Dire Straits’ Mark Knopfler, who he obsessively watched with friends in Libya and Algeria during his teens. He would practice the guitar his relatives gave him while he herded animals.

The precocious Moctar hooked up with famed Taureg guitarist Haja Bebe, who gave him the moniker he carries around with him today, an improvisation on “bambino,” the Italian word for “little boy.”

It wasn’t long after his phase selling mixtapes in 2009 that he made his first Jazz Fest appearance in 2012. Bombino, with his World-meets-blues, genre-obliterating style, has been a welcome performer at Jazz Fest since.

— LIAM PIERCE

79rs Gang 12:45 P.M.-1:35 P.M. CULTURAL EXCHANGE PAVILION 3:00 P.M.-4:00 P.M. JAZZ & HERITAGE STAGE The 79rs Gang, established in 2013, showcases the power of unity. Before collaborating and

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Friday april 29

forming the 79rs Gang, Big Chief Jermaine Bossier of the 7th Ward Creole Hunters and Big Chief Romeo Bougere of the 9th Ward Hunters were rivals. They put aside their differences to create music with a new sound.

Bougere says the partnership of the 79rs Gang is a testament to the power of resolution. “It should show that no matter who you are or to what extent life could be as bad as it could be with a person, you could overcome it,” he says.

“We did it. Now all of y’all can come do it.”

The 79rs Gang’s sound is rooted in the cadence of Mardi Gras Indian music and infused with electrically produced rhythms.

Eric Heigle is the producer for the group and works to ensure the performances handle the traditions smoothly.

“We aim to make it easy for people to understand by keeping that core rhythm and cadence and call and response. The tambourine element is like the core of what it is,” Heigle says. “The last couple months have been focused on solidifying a core group of musicians who can not only play all genres of music but also are sensitive to the ideas of what 79rs Gang is trying to present.”

At Jazz Fest, the duo will perform their latest releases as well as new music.

“What makes us different and unique is that we’re not just singing about Carnival. Every song is not about a second line,” Bossier says. “We’re really singing about real life topics.”

The traditional call and chant nature of Mardi Gras Indians also allows for improvisation.

“In an Indian song, each song can be different and you could say some of the same words and mix them up,” Bougere says.

— KHAYLA A. GASTON

Boyfriend

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3:40 P.M.-4:50 P.M. SHELL GENTILLY STAGE There’s a good chance Jazz Fest won’t be the first time you’ve seen Boyfriend this year. The “rap-cabaret” singer’s likeness was the figurehead for a float at this year’s Krewe of Freret parade — complete with her trademark curlers and glasses.

The 33-year-old has wide ranging musical tastes, from some of the country music she grew up with in Nashville to screamo, hyper pop, doo-wop tunes, Joni Mitch-

ell and Weezer. And her music reflects that. She’s rapped with Big Freedia but also has a song with Preservation Hall Jazz Band and a pop anthem that appeared on Netflix’s “The Duchess.”

“I think the algorithm is confused by me,” she says.

Lately, she’s been finishing up her first full-length album, “Sugar and Spice,” which she’ll debut this summer. The album will feature Big Freedia, Pussy Riot, Death Valley Girls and Pyra. She’s hoping this album will launch the next phase in her career, giving her a bigger budget to bring her creative ideas to life, whether it’s in music videos or through fashion design.

“There’s been a lot of wonderful Boyfriend ripples and waves lapping at your ankles in the pond,” she says. “But I’m hoping to at least see a little bit of frothy white crest on this one and get to the very next level of awareness and following outside of the city.”

Boyfriend designs her own costumes, and she designed some of the costumes you’ll see the singers and dancers wearing on stage during her set, which naturally will include plenty of outfit changes.

Eventually, she hopes to design every item worn during her sets.

“I’m hoping this time next year, it’s like OK, now I’m at this level where my art ideas aren’t dreams, they’re realities,” she says.

Boyfriend also has a concert on Thursday, April 28, at the Joy Theater. She says the show at the Joy will be less dance heavy than some of her others and “more like a rock show.” She’ll be backed

by The Revivalists and joined by Maggie Koerner, Kristin Diable, Alexis Marceaux of Sweet Crude, Anjelika “Jelly” Joseph of Galactic and others.

Expect The Revivalists to come dressed for the part, too, decked out in robes with rollers in their hair — and maybe even a man thong or two. “It is a sight to behold,” she says.

Boyfriend says her favorite part about performing at Jazz Fest is that her family flies into town. As he’s done in previous years, her father, country songwriter Monty Powell, will play guitar for her set.

“They’re not gonna all fly in for just a show, but because Jazz Fest is this hallowed tradition, it’s something that’s bigger than me,” Boyfriend says. “It almost feels like a holiday … Having us all come together is acknowledging this is this thing that people do to feel better about things and share moments with each other and express themselves.” — KAYLEE POCHE PAGE 37

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G A M B I T > B E S T O F N E WO R L E A N S . C O M > A P R I L 2 6 - M AY 2 > 2 02 2

30

7:00

6:30

6:00

5:30

5:00

4:30

4:00

3:30

3:00

2:30

2:00

1:30

1:00

12:30

12:00

11:30

Lionel Richie

5:25-6:55

(A James Brown Tribute)

CeeLo Green As...

“Soul Brotha #100”

3:25-4:40

Big Sam’s Funky Nation

1:50-2:55

Rockin’ Dopsie, Jr. & The Zydeco Twisters

12:30-1:25

Death Cab for Cutie

5:30-7:00

Boyfriend

3:30-4:50

Sweet Crude

2:05-3:15

Royal Teeth

12:40-1:40

Third World

5:35-7:00

PJ Morton

4:05-5:05

Partners -NCrime

2:45-3:40

Big Chief Donald Harrison Jr.

1:30-2:25

Dawn Richard

Arturo Sandoval

5:40-6:55

Quiana Lynell

4:10-5:15

Astral Project

2:50-3:50

Marlon Jordan

1:30-2:30

Brian Blade

featuring

12:20-1:10 The John Mahoney Big Band

12:20-1:10

Love Your Own Noise

Kizaba Naughty Professor

Donald Harrison Jr.’s New Orleans Music Interns

(of Dem. Republic of Congo and Canada)

11:15-12:00

11:15-12:00

11:20-12:20

11:20-12:10

WWOZ JAZZ TENT

SHELL CONGO FESTIVAL GENTILLY SQUARE STAGE STAGE STAGE

The War and Treaty

5:40-7:00

Eric Lindell & the Golden Twilight Orchestra

4:10-5:10

The Johnny Sansone Band

2:45-3:45

(of Niger)

Bombino

1:35-2:25

Little Freddie King Blues Band

12:20-1:15

Ronnie Lamarque

5:45-6:45

Doreen’s Jazz New Orleans

4:25-5:25

Jamil Sharif

featuring

Tribute to Jabbo Smith

3:05-4:05

Tommy Sancton’s New Orleans Legacy Band

1:40-2:40

Paulin Brothers Brass Band

12:25-1:20

Kid Simmons’ Local International Allstars

11:15-12:05

the Creole Cowboys

5:45-6:45

Baby Boyz Brass Band

4:20-5:20

79rs Gang Music Group

3:00-4:00

Renard Poché

featuring

NOLA Reggae

1:40-2:40

The High Steppers Brass Band

12:20-1:20

Mardi Gras Indians

Semolian Warriors

11:20-12:00

Grupo Jeffery Sensacion Broussard & Nola

5:55-6:55

Doug Kershaw

4:25-5:30

Steve Riley & the Mamou Playboys

3:00-4:00

Leyla McCalla

1:40-2:40

Rosie Ledet & the Zydeco Playboys

12:20-1:20

Sweet Cecilia

11:15-12:00

SHERATON ECONOMY JAZZ & HALL TENT NEW ORLEANS HERITAGE FAIS DO-DO PRESENTED BY STAGE STAGE LOUISIANA TRAVEL

The City of Love Music & Worship Arts Choir

6:00-6:45

Akia Nevills

5:05-5:50

Rodney Mills & The Virginia Aires

3:50-4:50

Josh Kagler & Harmonistic Praise Crusade

2:45-3:30

The Jones Sisters

1:50-2:35

Pastor Tyrone Jefferson

12:55-1:40

Betty Winn & One A-Chord

12:05-12:45

The Legendary Rocks of Harmony

11:15-11:55

with

Jamie Lynn Vessels

5:35-6:30

Lilli Lewis

4:10-5:10

with guests TK Hulin and Johnnie Allan

Gregg Martinez & the Delta Kings

2:40-3:45

The Betty Shirley Band

1:25-2:15

Quint Davis and Keith Spera

“Memories of George Wein”

12:30-1:05

Shake Em’ Up Jazz Band

11:30-12:15

GOSPEL LAGNIAPPE STAGE TENT

FOR KIDS TENT, PARADE AND FOLKLIFE STAGE SCHEDULES, VISIT WWW.NOJAZZFEST.COM

Michael Juan Nunez

11:20-12:05

BLUES TENT

presents

(of Niger)

Bombino

4:45-5:45

The High Steppers Brass Band

3:35-4:20

Mardi Gras Indians

3:10-3:25

Kizaba

(of Dem. Republic of Congo and Canada)

2:00-3:00

79rs Gang

12:45-1:35

Michael Skinkus and Moyuba

11:30-12:20

CULTURAL EXCHANGE PAVILION

SCHEDULES SUBJECT TO CHANGE.

The Monocle

Aurora Nealand

4:15-5:00

The Jelly Sisters

2:50-3:35

Eric Lindell

1:25-2:10

Lilli Lewis

12:00-12:45

AARP RHYTHMPOURIUM

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FRIDAY, APRIL 29

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3:30

3:00

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12:00

11:30

The Who

5:30-7:00

Galactic featuring Anjelika ‘Jelly’ Joseph

3:35-4:50

Cyril Neville

2:05-3:10

Bonerama

12:40-1:40

Johnny Sketch and The Dirty Notes

Jason Isbelle and The 400 Unit

5:40-7:00

The Soul Rebels

4:05-5:05

George Porter Jr. & Runnin’ Pardners

2:45-3:40

David Shaw

1:35-2:25

John “Papa” Gros

12:25-1:15

J & The Causeways

Nelly

5:40-6:55

Tank and The Bangas

3:50-5:05

Mia X

2:15-3:20

Water Seed

12:45-1:50

Jason Neville FunkySoul Band

Delfeayo Marsalis & the Uptown Jazz Orchestra

5:55-7:00

featuring Billy Harper, Eddie Hendreson.

Donald Harrison Jr., David Weiss, George Cables, Cecil McBee, and Billy Hart

The Cookers

4:15-5:30

Trumpet Mafia

2:50-3:50

Germaine Bazzle

1:30-2:30

David L. Harris

12:15-1:10

José Feliciano

5:40-7:00

Tab Benoit

4:10-5:10

James Andrews & the Crescent City AllStars

2:50-3:50

Don Vappie & the Creole Jazz Serenaders

5:55-6:45

Gregg Stafford’s Jazz Hounds

4:25-5:25

Tribute to Bessie Smith featuring Meschiya Lake, Jolynda “Kiki” Chapman, and Barbara Shorts with Lars Edegran

3:10-4:10

Tim Laughlin

1:45-2:45

The Palm Court Jazz Band

12:25-1:25

Clive Wilson’s New Orleans Serenaders

11:15-12:05

Nathan & the Zydeco Cha Chas

6:00-7:00

Asleep at the Wheel

4:35-5:40

Martha Redbone Roots Project

3:05-4:10

Lost Bayou Ramblers

1:45-2:40

Mid-City Aces

12:25-1:20

Kim Carson and the Real Deal

11:20-12:05

Hardhead Hunters

Mardi Gras Indians

5:50-6:45

Higher Heights Reggae

4:25-5:25

Young Pinstripe Brass Band

3:00-4:00

Lakou Mizik (of Haiti)

1:40-2:40

Pocket Aces Brass Band

12:15-1:15

The Creole Wild West

Mardi Gras Indians

11:20-11:55

ECONOMY SHERATON JAZZ & HALL TENT NEW ORLEANS HERITAGE FAIS DO-DO PRESENTED BY STAGE LOUISIANA TRAVEL STAGE

Morning Star Missionary Baptist Church Mass Choir

6:00-6:45

Pastor Terry Gullage & Kingdom Sound

5:05-5:50

The Gospel Soul of Irma Thomas

3:50-4:50

Jessica Harvey and The Difference

2:50-3:35

Voices of Peter Claver

1:55-2:40

The Showers

1:00-1:45

Leo Jackson & The Melody Clouds

12:05-12:50

Otis Wimberly Sr. & the Wimberly Family Gospel Singers

11:15-11:55

Billy Iuso

5:30-6:30

Lulu and the Broadsides

4:15-5:10

Kristin Diable & The City

3:00-3:55

The New Orleans Guitar Masters: John Rankin, Jimmy Robinson, and Cranston Clements

1:45-2:40

Higher Heights Reggae

12:40-1:25

Esther Rose

11:30-12:20

GOSPEL LAGNIAPPE STAGE TENT

FOR KIDS TENT, PARADE AND FOLKLIFE STAGE SCHEDULES, VISIT WWW.NOJAZZFEST.COM

Luther Kent and Trickbag

1:40-2:30

Mem Shannon & the Membership

12:25-1:15

Tulane BAM Charmaine Ensemble Neville Band

11:15-12:05

11:15-12:00

11:20-12:20

11:15-12:05

11:20-12:20

BLUES TENT

WWOZ JAZZ TENT

SHELL CONGO FESTIVAL GENTILLY SQUARE STAGE STAGE STAGE

SATURDAY, APRIL 30

Lakou Mizik (of Haiti)

4:45-5:45

Walter Wolfman Washington Trio

3:15-4:20

Mardi Gras Indians

2:45-3:00

DakhaBrakha (of Ukraine)

1:40-2:40

Queens of the Indian Nation

Big Chief Walter Cook presents

12:40-1:15

Young Pinstripe Brass Band

11:30-12:15

CULTURAL EXCHANGE PAVILION

SCHEDULES SUBJECT TO CHANGE.

John Rankin

4:15-5:00

Gina Forsyth and Friends

2:50-3:35

Dayna Kurtz and Robert Maché

1:25-2:10

Kristin Diable

12:00-12:45

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7:00

6:30

6:00

5:30

5:00

4:30

4:00

3:30

3:00

2:30

2:00

1:30

1:00

12:30

12:00

11:30

Red Hot Chili Peppers

5:30-7:00

Dumpstaphunk

Ivan Neville’s

3:35-4:50

Anders Osborne

2:00-3:10

Cowboy Mouth

12:40-1:40

Original Pinettes Brass Band

The Avett Brothers

5:40-7:00

Voice of the Wetlands AllStars

4:10-5:10

Jon Cleary & the Absolute Monster Gentlemen

2:45-3:45

Paul Sanchez & the Rolling Road Show

1:30-2:20

Zachary Richard

12:20-1:10

Charlie Wilson

5:30-7:00

Gilberto Santa Rosa

3:40-4:50

Cha Wa

2:10-3:10

Hot 8

Brass Band

12:45-1:45

Rumba Buena

Carmen Bradford

featuring

Scotty Barnhart

directed by

The Legendary Count Basie Orchestra™

5:45-7:00

The E-Collective & Turtle Island Quartet

featuring

Terence Blanchard

4:00-5:15

David Torkanowsky, Oscar Rossignoli, Shea Pierre and Jesse McBride

featuring

‘In Memory of Ellis Marsalis’ by the Ellis Marsalis Band

2:30-3:35

Alexey Marti

1:20-2:10

Neslorchestra

Rick Trolsen’s

12:10-1:00

Deacon John

5:50-7:00

Randy Newman

4:10-5:25

Jerron ‘Blind Boy’ Paxton

2:55-3:50

CJ Chenier & the Red Hot Louisiana Band

1:40-2:35

Gerald French & The Original Tuxedo Jazz Band

5:55-6:45

Leroy Jones & New Orleans’ Finest

4:35-5:35

featuring Tommy Sancton, Sammy Rimington, and Dr. Michael White

Tribute to George Lewis

3:10-4:10

George French & the New Orleans Storyville Jazz Band

1:45-2:45

Treme Brass Band

12:25-1:15

The Louisiana Repertory Jazz Ensemble

11:15-12:05

Lil’ Nathan & The Zydeco Big Timers

6:00-7:00

Las Cafeteras

4:30-5:35

Pine Leaf Boys

3:00-4:05

Geno Delafose & French Rockin’ Boogie

1:40-2:35

Savoy Family Cajun Band

12:25-1:20

The Revelers

11:20-12:05

Caesar Brothers FunkBox

5:50-6:50

Vivaz!

4:30-5:25

SOUL Brass Band

3:05-4:05

(of Mexico)

Son Rompe Pera

1:40-2:40

Dr. Brice Miller & Mahogany Brass Band

12:15-1:15

Fi Yi Yi & the Mandingo Warriors

11:15-11:55

SHERATON ECONOMY JAZZ & HALL TENT NEW ORLEANS HERITAGE FAIS DO-DO PRESENTED BY STAGE STAGE LOUISIANA TRAVEL

Franklin Avenue Music Ministry

6:00-6:45

Nineveh Baptist Church Mass Choir

5:05-5:50

Kathy Taylor

3:50-4:50

Tyronne G. Foster and The Arc Singers

2:45-3:30

Val & Love Alive

1:50-2:35

Kim Che’re

12:55-1:40

Electrifying Crown Seekers

12:00-12:45

New Orleans Spiritualettes

11:10-11:50

Lynn Drury

5:40-6:30

feat. André Bohren, Dave Malone, Paul Sanchez, Alex McMurray, Jim McCormick, David Pomerleau, Aurora Nealand, and John Magnie

Spencer Bohren Remembered

4:15-5:20

Daniel Lanois with Brian Blade and Daryl Johnson

3:00-3:50

Eden Brent

1:45-2:40

Rich Collins

12:35-1:25

Fermín Ceballos +

Merengue4FOUR

11:30-12:15

GOSPEL LAGNIAPPE STAGE TENT

FOR KIDS TENT, PARADE AND FOLKLIFE STAGE SCHEDULES, VISIT WWW.NOJAZZFEST.COM

The New Orleans Classic Recording Revue feat. Clarence “Frogman” Henry, The Dixie Cups, Wanda Rouzan, and Al “Carnival Time” Johnson with Bobby Cure & The Poppa Stoppas

12:20-1:20

Marc Stone

UNO Jazz Allstars

Maggie Koerner

11:15-12:00

11:20-12:20

11:15-11:55

11:20-12:20

11:15-12:00

BLUES TENT

WWOZ JAZZ TENT

SHELL CONGO FESTIVAL GENTILLY SQUARE STAGE STAGE STAGE

(of Mexico)

Son Rompe Pera

4:45-5:45

Washboard Chaz Blues Trio

3:20-4:20

Las Cafeteras

2:00-3:00

21st Century Brass Band

1:35-1:50

Fi Yi Yi & the Mandingo Warriors

12:50-1:25

SOUL Brass Band

11:30-12:30 11:30-12:30

CULTURAL EXCHANGE PAVILION

SCHEDULES SUBJECT TO CHANGE.

Debbie Davis with Josh Paxton

4:15-5:00

Vivaz Quartet

2:50-3:35

Johnny Sansone

1:25-2:10

Jayce & Dem

12:00-12:45

AARP RHYTHMPOURIUM

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SUNDAY, MAY 1

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DakhaBrakha 1:40 P.M.-2:40 P.M. CULTURAL EXCHANGE PAVILION Formed in 2004 in Kyiv, DakhaBrakha calls itself a world music quartet, and it has a unique sound built on Ukrainian folk music with stirring percussion, sometimes haunting vocals and art rock.

Accordionist Marko Halanevych and cellist Nina Garenetska drive the band and Olena Tsybulska and Iryna Kovalenko add percussion.

Lakou Mizik 1:40 P.M.-2:40 P.M. JAZZ & HERITAGE STAGE 4:45 P.M.-5:45 P.M. CULTURAL EXCHANGE PAVILION Haitian roots music collective Lakou Mizik came together after the 2010 earthquake that struck the Caribbean country. They had a mission: To share Haitian culture around the world and dispel misconceptions about their home while preserving the country’s music and passing it on to the next generation.

In 2019, Lakou Mizik released its sophomore album, “HaitiaNola,” a collaboration with a number of New Orleans-based musicians, including Arcade Fire’s Win Butler and Regine Chassagne, 79rs Gang, Leyla McCalla, The Soul Rebels and Trombone Shorty. The collective’s latest album is “Leave the Bones.”

Tim Laughlin 1:45 P.M.-2:45 P.M. ECONOMY HALL TENT Early during the pandemic, clarinetist Tim Laughlin delivered short, socially distanced, solo concerts from his French Quarter balcony to raise spirits during the initial shutdowns. Laughlin was a protégé of Pete Fountain and championed traditional jazz styles and New Orleans players. In 2020, he released an album of originals titled “New Standards,” and it’s full of beautiful tones and melodies.

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Mia X 2:15 P.M.-3:20 P.M. CONGO SQUARE STAGE In recent years, Mia Young, better known as Mia X, has been spreading the word on healthier food and living, and she released a cookbook-memoir “Things My Grandma Told Me; Things My Grandma Showed Me.” But she’s still one of the fiercest women in hip-hop. She helped propel No Limit Records in the 1990s and was central to several collaborations with other No Limit artists. She climbed to the top of the hip-hop world by herself with the albums “Unlady Like” and “Mama Drama.”

Martha Redbone Roots Project 3:05 P.M.-4:10 P.M. SHERATON NEW ORLEANS FAIS DO-DO STAGE Martha Redbone’s repertoire of folk, blues, soul and more stems from her roots growing up Kentucky — drawing on her mother’s Cherokee culture and her father’s gospel singing. Redbone honed her roots and soul sound in New York, and has blended traditional and indie music sounds.

The Gospel Soul of Irma Thomas 3:50 P.M.-4:50 P.M. GOSPEL TENT Irma Thomas walked away from her R&B singing career for a few years, but she’s never stopped singing gospel. For years, she’s held down two big Jazz Fest shows — one built on R&B, and another in the Gospel Tent.

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Tank and the Bangas 3:50 P.M.-5:05 P.M. CONGO SQUARE STAGE In May 2019, Tank and the Bangas released their major label debut, “Green Balloon,” and the band’s Jazz Fest featured a burst of green balloons and costuming. The album leaned into Tarriona “Tank” Ball’s vocal talents with singing and spoken word over the band’s only-from-New Orleans mix of jazzy funk, soul and rock. This set falls just before its May 13 release of “Red Balloon,” which features contributions from Trombone Shorty, Big Freedia, Lalah Hathaway and others.

The Cookers 4:15 P.M.-5:30 P.M. WWOZ JAZZ TENT Donald Harrison Jr. will appear several times at Jazz Fest, including his own headlining set and with young musicians he is mentoring on Friday, April 29. Here, he performs with The Cookers, a septet focused on postbop jazz. The all-star lineup features veterans of some of the best-known bands and names in jazz. Billy Harper played alongside Herbie Hancock and Max Roach. Pianist George Cables backed Sonny Rollins and Freddie Hubbard. The lineup also includes Eddie Henderson, David Weiss, Billy Hart and Cecil McBee. PAGE 39

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Saturday april 30 WEEK 1 The Who 5:30 P.M.-7:00 P.M. FESTIVAL STAGE

Pete Townshend spilled the beans about a Jazz Fest date in a 2019 video to fans, but they obviously didn’t get to enjoy that 2020 appointment. Now, the legends of British rock are scheduled to hit the stage Saturday.

Roger Daltrey and Townshend perform with a full backing band, including Pete’s younger brother Simon Townshend, and on their current North American tour have been augmenting it with local orchestras.

The group has been drawing on hits spanning its career and tunes from its 2019 studio album, “Who.

Jason Isbell and The 400 Unit 5:40 P.M.-7:00 P.M. SHELL GENTILLY STAGE Jason Isbell is one of the best songwriters in contemporary rock and country music, which is reflected in the fact that his albums “Something More than Free,” “The Nashville Sound” and “Reunions” — the latter two with The 400 Unit — all reached the No. 1 spot on Billboard’s rock, country and folk charts. While his early years with the Drive-By Truckers might have been more raucous, he’s honed his songwriting since his 2007 solo debut, “Sirens of the Ditch.” His most recent release with the 400 Unit is October’s “Georgia Blue,” a collection of his favorite Georgia songs, which he pledged to record for charity if Joe Biden won the state in the 2020 election.

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Lakou Mizik 1:40 P.M.-2:40 P.M. JAZZ & HERITAGE STAGE 4:45 P.M.-5:45 P.M. CULTURAL EXCHANGE PAVILION Lakou Mizik’s first appearance at the New Orleans Jazz & Heritage Festival sparked an album. The Haitian music collective had just released its debut album, “Wa Di Yo,” in 2016 and stopped at the 2017 Jazz Fest while on its international tour. The musicians instantly connected with New Orleans and its music.

The band, which is based in Port-auPrince, returned for Jazz Fest in 2018 and began recording what would become “HaitiaNola,” an exuberant album of collaborations with New Orleansand south Louisiana-based musicians.

In buoyant style, “HaitaNola” highlights the historical, cultural and musical connections between Haiti and the northernmost city in the Caribbean.

The Preservation Hall Jazz Band, Trombone Shorty, Tarriona “Tank” Ball, Leyla McCalla, Jon Cleary, Anders Osborne, Cyril Neville, The Soul Rebels and Lost Bayou Ramblers all appear on the album. And Arcade Fire’s Win Butler and Regine Chassagne, who now live in New Orleans, appear on “Iko Kreyol,” a reimagining of “Iko Iko” also featuring the 79rs Gang and the Preservation Hall Jazz Band.

“HaitiaNola” was released in October 2019, just months before the COVID-19 pandemic put an end to touring and Lakou Mizik was sidelined for almost two years.

The nine-piece band, returns to New Orleans for Jazz Fest.

“We’re trying to be at ease, at home, the most that we can because New Orleans feels like home, too, whenever we’re there,” says Steeve Valcourt, the collective’s co-founder and guitarist.

P R OV I D E D P H OTO B Y DA N I E L S C H E C H N E R

Along with music from its first two records, Lakou Mizik’s set list also includes songs from its latest album “Leave the Bones,” released last August. The album is a thrilling collaboration with electronic musician Joseph Ray, merging percussive electronic dance music with Haitian Vodou chants and Rara musical traditions. The album also includes protest songs made for our times.

Ray was visiting Haiti in 2015 to teach a course at the Artists Institute, a music production and audio engineering school in Jacmel. While there, he caught Lakou Mizik at a small club and approached the band about working together.

According to the album’s liner notes, Ray initially thought to sample the band, but he quickly realized it wouldn’t serve the spirit of the music.

“He incorporated new time signatures to capture Lakou’s complex drum patterns, lacing in 1930s field recordings from ethnomusicologist Alan Lomax and replacing synth sounds with Mbrias and conch shell samples that he stretched,” the notes say.

In the Haitian roots music played

by Lakou Mizik, “the melody is very soulful, so it’s sometimes very slow, but the rhythm is very catchy. So it’s like very hot, but the melody goes slow,” Valcourt told Gambit. “So I was curious how [Ray’s] gonna be able to blend electric music that is fast, clubbish music to that soul vibe.”

The band went to the studio and began singing traditional songs and originals with congas in the Vodou, traditional style. “[Ray] said, ‘OK, this is good,’ but I’m like, ‘OK, but this is strictly Vodou, this is strictly traditional,’ ” Valcourt says.

It took some time — close to four years — but Ray sent a demo, “and that PAGE 40

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completely unlocked all the possibilities, because it wasn’t finished, but the way he started to show it to us it unlocked the idea … It was mind blowing,” Valcourt says.

Lakou Mizik started in 2010 after the devastating 7.0 earthquake struck Haiti. The band members had a few goals in mind: to show the world that Haiti was more than just the bad headlines seen in global newspapers; to build musical connections, like on “HaitiaNola” and “Leave the Bones”; and to pass on Haitian musical traditions from elder legends to up-and-coming artists.

“We are just happy to be on the road, and we’re gonna bring the best of what we are and what we have, what Haiti has to offer to the rest of the world,” Valcourt says.

Several projects in recent years have highlighted the connection between New Orleans and Haiti.

Along with “HaitiaNola,” Lakou Mizik was featured in the documentary project “Kanaval: Haitian Rhythms & The Music of New Orleans.” And New Orleans-based musician Leyla McCalla, who is Haitian-American, recently performed her Haiti-focused multimedia project “Breaking the Thermometer to Hide the Fever” at the Contemporary Arts Center.

McCalla has turned the music from that project into a new album, out in May. — JAKE CLAPP

Mia X 2:15 P.M.-3:20 P.M. CONGO SQUARE STAGE Mia X has a recent promo track on her website with the text, “Mia X Certified Rap Freak”; right next to it is an offer for her cookbook. The first shows her in front of a mic, holding a chain with her name spelled out in diamonds, while the other shows her wholesomely beaming in the kitchen behind a plate of some Creole goodness.

Mia X, now 52, dropped filthy verses on “Ghetto Sarah Lee” back in 1995, but that was about cooking dope. The name of her cookbook of actual food, published in 2019? “Things my Grandma Told Me; Things My Grandma Showed Me.” The native New Orleanian, “The Mother of Southern Rap,” may be a bit older and more sentimental now, but she’s still booking venues as large as the Smoothie King Center (April 30 on the No Limit Reunion Tour) and spitting out classic verses like, “stretch you out like elastic / zip that ass up in plastic / have ya folks pickin’ caskets” on No Limit’s signature

“Make ‘Em Say, Uhh.” Mia X joined her first rap group New York Incorporated — ironically formed in New Orleans — at age 15 in 1984, and played Jazz Fest as early as 1996. She was originally scheduled to be in a lineup with “Ladies of Hip Hop” in 2020, but had to postpone until this year due to Covid.

Her side hustle may be slinging prepackaged “Mama Mia’s For Whatever Seasoning,” but her live show is still certifiably fresh.

— LIAM PIERCE

Tank and the Bangas 3:50 P.M.-5:05 P.M. CONGO SQUARE STAGE Tank and the Bangas return to Jazz Fest, excited to show off tracks from the group’s forthcoming album, “Red Balloon,” due out May 13.

Local fixtures for years, the group reached wider audiences after winning an NPR Tiny Desk Concert contest in 2017.

Since then, there’s been nonstop momentum, and they will hit the road after Jazz Fest to bring “Red Balloon” across the country.

The group, which blends jazz, pop, soul, hip-hop and spoken word poetry, kept busy over the past two years, performing more than 400 livestreams when the pandemic threw a wrench into tour plans and other live gigs.

“We basically quarantined together,” says Norman Spence, who primarily plays keyboards but also dabbles in bass and guitar work. During this time, band members wrote prolifically — sometimes crafting more than 10 songs in a day.

“Red Balloon,” he says, is their “most mature body of work” to date. They recorded it in New Orleans and in Los Angeles, and collaborators include Lalah Hathaway, Big Freedia, Jacob Collier, Trombone Shorty, Jamison Ross, The Hamiltones, Georgia Anne Muldrow and Wayne Brady. The album sheds light on the ills of society that were laid bare amid the pandemic and the nationwide Black Lives Matter protests that took place in the summer of 2020. It’s also a celebration of Black music and life.

Lead singer Tarriona “Tank” Ball is stoked about being on stage again. “Nobody treats us like Jazz Fest. It’s one of the first festivals that gave us a platform in New Orleans. There are always memorable moments,” she says.

— SARAH RAVITS PAGE 42

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WEEK 1

Sunday may 01 PAGE 40

01 May

S U N D AY

Las Cafeteras 2:00 P.M.-3:00 P.M. CULTURAL EXCHANGE PAVILION 4:30 P.M.-5:35 P.M. SHERATON NEW ORLEANS FAIS DO-DO STAGE Hailing from east Los Angeles, Las Cafeteras combines Mexican son jarocho, folk and Afro-Mexican influences for an upbeat, acoustic folk sound built for zapateado dancing.

The band is driven by Mexican stringed instruments including the jarana and requinto guitars, and lyrics or spoken word in Spanish and English. Many songs invoke messages about civil rights, immigrants and fighting injustice. The group’s most recent album is 2017’s “Tastes Like L.A.”

Ellis Marsalis Tribute 2:30 P.M.-3:35 P.M. WWOZ JAZZ TENT Ellis Marsalis Jr., patriarch of the Marsalis family, was one of the culture bearers lost during the pandemic. He was best known as a mentor to his sons’ musical careers and as an educator who influenced countless musicians as the founder and director of the University of New Orleans Jazz Studies program.

This tribute features son Jason Marsalis and a host of pianists, including David Torkanowsky, Oscar Rossignoli, Shea Pierre and Jesse McBride.

Gilberto Santa Rosa 3:40 P.M.-4:50 P.M. CONGO SQUARE STAGE Gilberto Santa Rosa is Puerto Rico’s “El Caballero de la Salsa,” or the “Gentleman of Salsa.” He’s known for salsa and bolero music and he’s one of the best-selling Latin musicians, having released more than 25 albums and reaching the top of Billboard’s Tropical chart a dozen times. He received a Latin Grammy Lifetime Achievement award in 2021.

Tribute to George Lewis 3:10 P.M.-4:10 P.M. ECONOMY HALL TENT New Orleans has produced many talented clarinetists, notably including George Lewis, whose career spanned playing with Bunk Johnson in his early years through his tenure with the Preservation Hall Jazz Band. This tribute features Dr. Michael White, Sammy Rimington and clarinetist and author Tom Sancton, whose memoir “Songs for My Fathers: A New Orleans Story in Black and White” recounts learning from Lewis at Pres Hall.

Kathy Taylor 3:50 P.M.-4:50 P.M. GOSPEL TENT Houston-based singer Kathy Taylor focuses on traditional gospel music, and launched her solo career after emerging from the Gospel Music Workshop of America, a project of James Cleveland, a founder of modern gospel sounds. Taylor’s

2009 album “Live: The Worship Experience” reached the top 10 on Billboard’s gospel charts.

Terence Blanchard featuring the E-Collective and Turtle Island Quartet 4:00 P.M.-5:15 P.M. WWOZ JAZZ TENT

Terence Blanchard has been in the news for the premiere of “Fire Shut Up in My Bones” at the Metropolitan Opera. With both of his operatic works and his film scores, he’s written for full orchestras. Here, he’s performing with his jazz-based E-Collective and the award-winning string ensemble Turtle Island Quartet. Blanchard’s 2021 Blue Note release, “Absence,” featured both groups in an album of work inspired

by Wayne Shorter.

Randy Newman 4:10 P.M.-5:25 P.M. BLUES TENT

Randy Newman may be best known for the tune “Short People,” “I Love L.A.” or “Louisiana 1927,” depending on whether you ask someone from New Orleans, Los Angeles or elsewhere. Though born in Los Angeles, he grew up in New Orleans, and the city and the South figure heavily in songs on albums including “Good Old Boys.” In recent decades, he’s focused on writing for films, especially for animated family-friendly fare, but he has a deep and diverse catalog to draw from, including many songs turned into hits by other singers.

Charlie Wilson 5:30 P.M.-7:00 P.M. CONGO SQUARE STAGE Charlie Wilson first found musical success with the Gap Band, a 1970s and ’80s funk outfit he formed with his brothers Robert and Ronnie Wilson. Before the Gap Band disbanded in 2010, Wilson started a solo career merging into the worlds of hip-hop and R&B, and has worked with everyone from Kanye West to Bruno Mars and New Orleans’ Mystikal.

The Avett Brothers 5:40 P.M.-7:00 P.M. SHELL GENTILLY STAGE The Avett Brothers burst out of North Carolina two decades ago with a string-heavy mix of folk, country, rock and bluegrass, and Seth and Scott Avett infused their live shows with a punk rock energy that made it one of the most fun acts in Americana. Over two decades, the band’s studio output moved in a more polished pop direction. In 2020, the band returned to its Gleam series of EPs and a more stripped-down sound on the third installment.

The Legendary Count Basie Orchestra 5:45 P.M.-7:00 P.M. WWOZ JAZZ TENT Pianist, composer and bandleader William James “Count” Basie led his renowned orchestra for 50 years, and it was one of the most popular bands of the swing era. It’s continued to win awards and draw fans — well after Basie’s death in 1984.

The current lineup still has many musicians hired by Basie. Trumpeter Scotty Barnhart currently leads the group, and this performance also features vocalist Carmen Bradford.

Sunday may 01

Terence Blanchard featuring The E-Collective and the Turtle Island Quartet 4:00 P.M.-5:15 P.M. WWOZ JAZZ TENT Trumpeter and composer Terence Blanchard made history when his opera “Fire Shut Up in My Bones” debuted at the Metropolitan Opera last fall. It was the first opera at the Met by a Black composer, and the show was based on a memoir

by New York Times columnist and fellow Louisiana native Charles M. Blow, in which he reckons with the poverty and abuse he faced growing up.

Jazz audiences may be familiar with his music as far back as his early days in Lionel Hampton’s orchestra or Art Blakey’s Jazz Messengers. But most people have probably heard one of the dozens of film scores he’s composed and performed on. He started working with Spike Lee back in the ’80s and composed his first film “Mo’ Better Blues” in 1990. They’ve collaborated regularly over the years, most recently on “Da 5 Bloods” and “BlacKkKlansman.”

When Lee and his father asked Blanchard to write and conduct a string arrangement for that first movie, “I got out there, and I winged it, man,” Blanchard told Deadline last year. “I was nervous as hell, and when I finished, Spike walked up to me, and he goes, ‘Man, you got a future in this business.’ ” At Jazz Fest, Blanchard will play music from his latest album “Absence,” which he released last

August. The album features his band The E-Collective and the Turtle Island Quartet, who will both join him for his Jazz Fest set. “Absence” earned him two Grammy nominations this year for best improvised jazz solo and best jazz instrumental album.

That brings him to a total of 16 Grammy nominations, including five wins. But as he recently told Variety, to him, creating music is about healing, not winning accolades. And with the pandemic and the loss of many iconic New Orleans musicians over the last few years, there’s been a lot to heal from lately.

It’s a sentiment many are feeling leading up to the first Jazz Fest since the pandemic.

“People have been dealing with depression and anxiety in ways that they couldn’t have imagined,” Blanchard said in the Variety interview. “The one small thing that gives them a little bit of peace is the few notes and chords and rhythms that we put streaming on together to help take them away from the doldrums of this madness.”

— KAYLEE POCHE

Jerron ‘Blind Boy’ Paxton 2:55 P.M.-3:50 P.M. BLUES TENT Jerron “Blind Boy” Paxton can play just about any instrument he wants.

He knows his way around a fiddle, guitar, ukulele, harmonica, piano, accordion and even “the bones” — a hand based percussion folk instrument. But he probably knows the banjo most intimately. Oh, and he tells a pretty good occasional joke and story while he’s at it.

P H OTO B Y DAV I D G R U N F E L D / T H E T I M E S - P I C AY U N E

Jerron ‘Blind Boy’ Paxton 2:55 P.M.-3:50 P.M. BLUES TENT Paxton is 33 years old — and might be 100 in music years, with a style that harkens back to the 1920s, at the intersection of ragtime, old-time, French reels, Appalachian mountain music and blues.

It may be quick and easy to draw comparisons to Taj Mahal or John Hammond Jr., but to Paxton, it all originates in him.

“For me, music is not an academic experiment,” he told thecountryblues.com. “I play it the way I feel like it, because it should be an expression of how I see things.”

Paxton grew up in South Central Los Angeles and currently lives in

Queens, New York, but he often shouts out his Louisiana Creole roots. He picked up the fiddle when he was 12, then moved on to the banjo at 14. It was at 16 that he started to lose his vision.

Paxton appeared on the cover of the December 2012 issue of “Living Blues Magazine,” despite never having released an official recording, and in 2016 he played Carnegie Hall for a Lead Belly tribute. Jazz fest fans can catch him in his best medium — live — in the Blues Tent.

— LIAM PIERCE

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Fresh start

Tava serves Indian food in new standalone CBD spot IF A LOAF OF SAN FRANCISCO SOURDOUGH MARRIED A FRENCH CREPE, they’d bring

a bouncing baby dosa into the world. Dosa is a favorite Indian street food, a slightly sour fermented rice and lentil pancake, made a la minute and used to bundle all manner of savory fillings. Spongy like its Ethiopian cousin, injera, dosa is also gluten free and can easily accommodate vegan diners.

Dosas are at the center of Tava, chef Manish Patel’s new restaurant in the CBD, a follow up to his successful food stall of the same name at the now shuttered Auction House Market. Tava opened in mid-March along a strip of eateries including Willa Jean and soon, District Donuts.

Patel followed his heart and his father’s footsteps to make cooking his vocation. The 34-year-old is the first generation in his family to be born in the U.S. From Day One, he knew what kind of restaurant Tava would and would not be.

“Indian food isn’t just butter chicken, biryani and lamb curry,” Patel says. “That’s not what I want to do. Dosa was always something special in our home, and not too many restaurants make it.”

His new space has a long chef’s bar, an open kitchen and a bold color scheme, including an eye-popping mural from local artist Rebeka Skela. The heart of the operation is the dosa station, which has two large portable crepe grills.

To make dosas, rice and lentils are soaked overnight. Then the mix sits on top of the oven for about four hours, encouraging fermentation. The mix is spread over the hot grill and cooked until the edges are just crispy.

Dosas are served with either masala potatoes, shredded lamb vindaloo or garbanzo bean curry, a serving of lentil soup and coconut chutney on the side. “Rip it and dip it,” Patel says.

At Auction House, Patel had a much smaller space, so his menu was concise. Besides dosas, he made kathi rolls — a flaky laminated dough wrapped around chicken tikka masala or lamb vindaloo. He’ll add

|

FORK + CENTER

by Beth D’Addono

them to the new Tava menu once he gets a little more kitchen help. He also will add thali, a platter of many small Indian dishes served family style.

For now, he’s offering small plates like street corn spiced with dried Kashmiri chilies, cumin, ghee and cilantro. Fried Brussels sprouts are glazed with chili vinaigrette and citrus. Stir-fried noodles are tossed with vegetables in a mild to spicy peanut sauce and is available with or without chicken.

Fried nuggets of potato are topped with chutney, a drizzle of yogurt and herbs. His signature chicken 65 sandwich features marinated and fried thigh with a crunchy coating of Kashmiri chili and curry leaves bound with yogurt. It is dressed with garlic aioli slaw and bread-and-butter pickles on a sesame seed bun and served with house-made chips. Chicken wings are prepared with the same burnished crust.

Patel makes all his own houseground spice mixes, a side business he hopes to grow with time.

Sliders are made with spiced potato, onion, tomatoes and roasted peanuts. A Bombay sandwich takes the masala potatoes used with dosa and adds mint chutney, red onion and tomatoes on Texas toast. There’s also a kid’s meal created in honor of his two nephews: a grilled cheese sandwich with a side of tikka dipping sauce and a mango juice box.

A creative bar program incorporates ingredients like curry leaf and Limca (an Indian soda similar to Sprite) into drinks like the curry mule, a Masala old fashioned and the Limca paloma.

Patel’s father, Dalpat Patel, worked his way up from a steward

Email dining@gambitweekly.com

Makin’ groceries

A CENTURY AGO, LANGENSTEIN’S GOT STARTED AS A GROCERY tucked

PHOTO BY CHERYL GERBER

Manish Patel opened Tava Indian Street Food. position at a Mumbai hotel to executive chef for Marriott in India and the Middle East. He transferred to the New Orleans Intercontinental in 1985 with his wife Bharti, and the family grew to include Manish, his brother and sister.

Although he went to school for graphic design, Patel always cooked with his father at home and helped him with catering jobs, such as elaborate Indian wedding feasts. His father cooked all the food for his sister’s multi-day wedding for 400.

Currently, Tava’s hours are abbreviated due to a staffing shortage, but Patel expects to add lunch next. Patel is already accustomed to the restaurant business’s challenges. When the pandemic started, Auction House closed for two months. Instead of closing operations, Patel ordered more supplies for curries offered in family size portions.

“My girlfriend and I delivered them to people’s doors,” he says. “We sold enough to keep things going.”

Tava

FILE PHOTO

underway. The original location remains part of the Lanaux family, now operated as Prytania Wine & Spirits.

The next expansion came 40 years later, in 1994, when Langenstein’s opened a second location in Old Metairi at 800 Metairie Road. A third location followed in 2015 with a River Ridge location, at 122 Sauve Road, the anchor for a development dubbed Langenstein’s Center. — IAN McNULTY / THE TIMES-PICAYUNE

Trademark Hansen’s

HANSEN’S SNO-BLIZ & SWEETSHOP, THE UPTOWN MAINSTAY which has a

?

WHAT

deep within its Uptown neighborhood. Today, the family-owned New Orleans business has three locations, each much larger than that original outpost. On April 21, Langenstein’s threw itself a public centennial birthday party with a performance by Delfeayo Marsalis & the Uptown Jazz Orchestra and complementary snacks and spirits.

The Lanaux family are the fifth-generation owners of Langenstein’s. The business got its start in 1922 when Michael Langenstein and his sons George and Richard opened a grocery just around the corner from its current Uptown location, at 1300 Arabella St. The family moved to its much larger space in 1954, when the modern supermarket era was

WHERE

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Dosa and a short menu of Indian dishes

claim to being the oldest snowball purveyor in the United States, has honed its reputation in New Orleans and beyond by developing a unique PAGE 46

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slate of family recipes over eight decades.

Now, the company is suing to protect its brand, alleging that an Alabama-based online marketer is illegally profiting by selling merchandise depicting Hansen’s quaint corner store, which has stood at the intersection of Tchoupitoulas and Bordeaux streets since 1939.

In the complaint, filed recently in U.S. District Court for the Eastern District of Louisiana, Hansen’s asserts that Ronald Rutherford, owner of Caroline’s Treasures of Mobile, agreed six years ago to cease selling goods bearing Hansen’s motifs.

But he’s at it again, the suit claims, and Hansen’s wants a court to force him to stop.

An array of Caroline’s Treasures products are currently available via Amazon and other third-party sellers, including cutting boards at $37.50 and a door mat for $32.29, all depicting the same view of Hansen’s shop.

Ashley Hansen, the current owner, declined to comment further citing the advice of her attorney. But the lawsuit details the history of the business and the reputation it says is at risk because of the alleged trademark infringement.

The shop was started by Ashley’s grandfather, Ernest Hansen, after he invented a machine in the mid-1930s that would produce especially fine shaved ice. Ernest ran it with his wife Mary until early this century when Ashley, who had worked there since her teens, started running it and later bought the shop after her grandparents had passed away.

“On warm days in New Orleans, customers can be seen in very long lines waiting to purchase (Hansen’s Sno-Bliz) products,” the lawsuit says, adding that the shop is perhaps the city’s best-known maker of snowballs (not to be confused with the coarser snow cones sold in the rest of the country).

In 2014, Hansen’s was named by the James Beard Foundation as one of its “America’s Classics,” an honor given to food and beverage makers that have “a timeless appeal” and are beloved in their region.

“It is clear that (Caroline’s Treasures) is attempting to benefit from the fame and goodwill (Hansen’s) has obtained after more than eighty years in business,” Hansen’s complaint asserts.

Hansen’s has its own merchandise for sale in the shop and online. T-shirts marking the shop’s 80th anniversary in 2019 go for $25 each. Embroidered hats and

beanies are the same price, while onesies for toddlers can be had for $18.

The lawsuit is seeking unspecified damages.

Rutherford said in a phone interview that he was unaware of the lawsuit and hadn’t been making any Hansen’s-related products since he agreed to stop six years ago. However, he said, as a wholesaler he doesn’t have control over third parties who might still be selling the merchandise online.

“We discontinued them back then,” he says, “But I have other vendors and I have no control over them.”

The lawsuit says that the products have turned up on the websites of Sears, eBay, Houzz, and Walmart, as well as on Amazon.

Though he had apologized and promised to stop selling Hansen’s products, Rutherford did note in his response to the 2016 “cease and desist” order that the items he was selling were reproductions of an original watercolor painting by artist Sylvia Corban.

The store licenses and sells Corban’s work through its website.

One well-established defense against trademark infringement is “fair use” depiction in works of art, according to LaShel Shaw, a Salt Lake City-based lawyer who has written extensively on the subject.

“Art is in the eye of the beholder and the ‘fair use’ defense is there because of the first amendment,” Shaw said. “It is a baked-in backstop to make sure that intellectual property rights are not pushed so far as to inhibit free speech.”

However, she says, the law is murkier when it comes to a vendor selling goods depicting someone else’s art, which itself contains the protected trademark of another vendor.

In other words, there is a clear defense for an artist who depicts, for example, a gas station that might have a vending machine selling Coca-Cola in the background.

But it is less clear if someone is selling reproductions of that original work on mass-produced knickknacks.

Shaw also says that Rutherford’s claim to have no control over third party online sellers is untested water.

“It’s a fascinating and unusual case in two different respects,” Shaw says. “It could be an interesting case if it goes anywhere; or at least it would make a great law school exam question.”

— ANTHONY McAULEY / THE TIMES-PICAYUNE

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Cedd Moses

OF THE

WEEK

Bar entrepreneur

by Will Coviello

CEDD MOSES LEFT A SUCCESSFUL CAREER IN FINANCE to get into

the bar industry. One of his first ventures was to take over The Golden Gopher, a century old bar (originally named the Golden Sun Saloon), which had become part of the blight in a rough area of Los Angeles by the early 2000s. In his book, “Pouring with Heart,” Moses describes his first visit to the bar as entering a filthy, dangerous front for a crack-selling operation that had two bottles of gin and no ice. He bought the bar and turned it into a thriving part of the craft cocktail and bar scene, and did the same with other rough spots. He also opened Broadway Bar, Seven Grand, The Varnish and more.

Moses’ company 213 Nightlife continued to open bars at a rapid pace and now operates as Pouring with Heart. It currently runs almost 20 bars and microbreweries in Los Angeles and San Diego and has expanded to Denver and Austin, Texas. Moses has ambitious plans to keep growing, and the book details his approach to the bar business and what makes the industry unique.

Moses is visiting New Orleans this week for an event Thursday, April 28, at the Southern Food and Beverage Museum. It’s a joint book event with Dale DeGroff, who wrote the introduction to Moses’ book. DeGroff is credited with leading the craft cocktail movement from positions including head bartender at New York’s Rainbow Room in the 1980s.

DeGroff recently released “The New Craft of the Cocktail,” an updated version of his cocktail bible. Find tickets to the event at southernfood.org.

In the book, you paint a pretty bleak picture of what the Golden Gopher looked like before you took over.

Why did you decide to try to make something of that space instead of starting from scratch elsewhere?

CEDD MOSES: I had a vision for the rundown downtown area of Los Angeles thinking that if I built 10 bars, it would create a destination and really turn around the neighborhood. Golden Gopher was

the oldest bar down there and had amazing bones and history. It had tremendous potential despite the rough neighborhood.

You emphasize that people are the most important part of a bar. What are some of the better and worse reasons people enter the industry?

M: I think a lot of people get in the business for the wrong reasons. The main one is just to make money. If you’re doing it just for the money and not for being of service to other people, then you’re bound to get burnt out and you will never be truly successful. Getting in the business just because you like to drink is a recipe for disaster.

The best reason is that you love taking care of people; you love to make folks smile. Those are the people that really thrive in the business because their intention and passion is rooted in the most important characteristic of the business. When you’re passionate about taking care of your customers, then you’ll be passionate about making them great drinks as well.

We look for people that fit our values and are eager to be of service to others. We can train them to do everything else, so they don’t need to have a ton of experience. We

PHOTO PROVIDED BY CEDD MOSES

can’t train people to be nice. That was up to their parents or therapist.

The bar business is all about people. Empathy is a uniquely human characteristic and key for a great bartender or leader. For most people this is counterintuitive since they assume bars are about booze, but we can drink at home. We go to bars for a deeper reason.

You dedicate the book to people in the service industry who kept the business going during the pandemic. What do you think the pandemic exposed about the needs of service industry workers?

M: Service workers have been poorly taken care of for decades.

If you want those people to be there for guests, then we need to be there for them. Our staff is our No. 1 priority and we are always trying to get better and take care of them. That’s why the majority of our people couldn’t wait to come back to work for us after the pandemic. And it’s why they naturally want to take great care of our customers and each other.

For more information about Moses’ bars and his book, visit pouringwithheart.com.

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C O M P L E T E L I S T I N G S A T W W W. B E S T O F N E W O R L E A N S . C O M Out 2 Eat is an index of Gambit contract advertisers. Unless noted, addresses are for New Orleans and all accept credit cards. Updates: Email willc@gambitweekly.com or call (504) 483-3106.

7th Ward

Nonno’s Cajun Cuisine and Pastries — 2025 N. Claiborne Ave., (504) 354-1364; nonnoscajuncuisineandpastries.com — The menu includes home-style Cajun and Creole dishes with some vegan options. Shrimp is sauteed with onion and bell pepper, topped with cheese and served with two eggs and toast.

Reservations accepted. Delivery available. Breakfast and lunch daily. $$

CBD

Juan’s Flying Burrito — 515 Baronne St., (504) 529-5825; juansflyingburrito.com — See Uptown section for restaurant description. Outdoor dining available.

No reservations. Lunch and dinner Thu.-Tue. $$

CARROLLTON

Mid City Pizza — 6307 S. Miro St., (504) 509-6224; midcitypizza.com — See MidCity section for restaurant description.

Takeout and delivery available. Lunch Thu.-Sun., dinner Thu.-Mon. $$ Mikimoto — 3301 S. Carrollton Ave., (504) 488-1881; mikimotosushi.com — The South Carrollton roll includes tuna tataki, avocado and snow crab. Takeout and delivery available. Lunch Sun.-Fri., dinner daily. $$ Nice Guys Bar & Grill — 7910 Earhart Blvd., (504) 302-2404; niceguysbarandgrillnola.com — Char-grilled oysters are topped with cheese, and a lobster tail or fried catfish fillet are optional additions. The menu also includes wings, quesadillas, burgers, sandwiches, salads, seafood pasta and more. No reservations. Lunch daily, dinner Mon.-Sat. $$$

CITYWIDE

Breaux Mart — Citywide; breauxmart. com — The deli counter’s changing specials include dishes such as baked catfish and red beans and rice. Lunch and dinner daily. $

FRENCH QUARTER

Desire Oyster Bar — Royal Sonesta New Orleans, 300 Bourbon St., (504) 586-0300; sonesta.com/desireoysterbar — The menu features Gulf seafood in traditional and contemporary Creole dishes, po-boys and more. Char-grilled oysters are topped with Parmesan, herbs and butter. Reservations recommended.

Breakfast, lunch and dinner daily. $$

HARAHAN/JEFFERSON/ RIVER RIDGE

The Rivershack Tavern — 3449 River Road, (504) 834-4938; therivershacktavern.com — This bar and music spot offers a menu of burgers, sandwiches and changing lunch specials. Delivery available. Lunch and dinner daily. $ Theo’s Neighborhood Pizza — 1212 S. Clearview Parkway, Elmwood, (504) 7333803; theospizza.com — There is a wide variety of specialty pies and toppings to build your own pizza. The menu also includes salads and sandwiches.

$ — average dinner entrée under $10 $$ — $11-$20 $$$ — $20-up

Takeout and delivery available. Lunch and dinner Tue.-Sat. $

LAKEVIEW

The Blue Crab Restaurant and Oyster Bar — 7900 Lakeshore Drive, (504) 2842898; thebluecrabnola.com — The menu includes sandwiches, fried seafood platters, boiled seafood and more.

Basin barbecue shrimp and grits features eight jumbo shrimp over creamy cheese grits and a cheese biscuit.

Outdoor seating available. Lunch and dinner Tue.-Sun. $$ Lakeview Brew Coffee Cafe — 5606 Canal Blvd., (504) 483-7001; lakeviewbrew.com — This casual cafe offers coffee, pastries, desserts, sandwiches and salads. Tuna salad or chicken salad avocado melts are topped with Monterey Jack and Parmesan. Takeout and delivery available. Breakfast and lunch daily. $

METAIRIE

Andrea’s Restaurant — 3100 N. 19th St., Metairie, (504) 834-8583; andreasrestaurant.com — Chef Andrea Apuzzo’s speckled trout royale is topped with crabmeat and lemon-cream sauce. Capelli D’Andrea combines house-made angel hair pasta and smoked salmon in cream sauce.

Delivery available. Lunch and dinner daily, brunch Sun. $$$ Chef Ron’s Gumbo Stop — 2309 N. Causeway Blvd., Metairie, (504) 8352022; gumbostop.com — The Seafood Platter comes with fried catfish, shrimp, oysters and crab balls and is accompanied by fries and choice of side. There are several types of gumbo on the menu. Delivery available. Lunch and dinner Tue.-Sat. $$ Kosher Cajun New York Deli & Grocery — 3519 Severn Ave., Metairie, (504) 8882010; koshercajun.com — This New Yorkstyle deli specializes in sandwiches, including corned beef and pastrami that come from the Bronx. Takeout available.

Lunch Sun.-Thu., dinner Mon.-Thu. $ Martin Wine Cellar — 714 Elmeer Ave., Metairie, (504) 896-7350; martinwine. com — See Uptown section for restaurant description. No reservations.

Lunch daily. $$ Nephew’s Ristorante — 4445 W. Metairie Ave., Metairie, (504) 533-9998; nephewsristorante.com — Chef Frank Catalanotto is the namesake “nephew” who ran the kitchen at his late uncle Tony Angello’s restaurant. The CreoleItalian menu features dishes like veal, eggplant or chicken parmigiana, and Mama’s Eggplant with red gravy and Romano cheese. Reservations required.

Dinner Tue.-Sat. $$ Theo’s Neighborhood Pizza — 2125 Veterans Memorial Blvd., Metairie, (504) 510-4282; theospizza.com — See Harahan/Jefferson section for restaurant description. $ Short Stop Po-Boys — 119 Transcontinental Drive, Metairie, (504) 885-4572; shortstoppoboysno.com — The menu includes more than 30 po-boys along with other Louisiana staples. Fried Louisiana oysters and Gulf PAGE 52

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shrimp are served on a Leidenheimer loaf with lettuce, tomato, onions and pickles.

No reservations. Breakfast, lunch and dinner Mon.-Sat. $

MID-CITY/TREME

Angelo Brocato’s — 214 N. Carrollton Ave., (504) 486-1465; angelobrocatoicecream.com — This sweet shop serves its own gelato, spumoni, Italian ice, cannolis, fig cookies and other treats. Lunch and dinner Tue.-Sun. $ Frey Smoked Meat Co. — 4141 Bienville St., Suite 110, (504) 488-7427; freysmokedmeat.com — The barbecue restaurant serves pulled pork, St. Louis ribs, brisket, sausages and more. Pork belly poppers are fried cubes of pork belly tossed in pepper jelly glaze. No reservations. Lunch and dinner daily. $$ Juan’s Flying Burrito — 4724 S. Carrollton Ave., (504) 486-9950; juansflyingburrito. com — See Uptown section for restaurant description. Outdoor dining available. No reservations. Lunch and dinner Thu.-Tue. $$ Katie’s Restaurant — 3701 Iberville St., (504) 488-6582; katiesinmidcity.com — Favorites include the Cajun Cuban with roasted pork, grilled ham, cheese and pickles pressed on buttered bread. The Boudreaux pizza is topped with cochon de lait, spinach, red onions, roasted garlic and scallions. Takeout, curbside pickup and delivery available. Lunch and dinner Tue.-Sun. $$ Mid City Pizza — 4400 Banks St., (504) 483-8609; midcitypizza.com — The

neighborhood pizza joint serves New York-style pies, plus calzones, sandwiches and salads. Signature shrimp remoulade pizza includes spinach, red onion, garlic, basil and green onion on an garlic-olive oil brushed curst. Takeout and delivery available. Lunch Thu.-Sun., dinner Thu.-Mon. $$ Neyow’s Creole Cafe — 3332 Bienville St., (504) 827-5474; neyows.com — The menu includes New Orleans favorites such as red beans with fried chicken or pork chops, as well as grilled or fried seafood plates, po-boys, raw or char-grilled oysters, pasta, salads and more. Lunch daily, dinner Mon.-Sat., brunch Sun. $$ Theo’s Neighborhood Pizza — 4024 Canal St., (504) 302-1133; theospizza. com — See Harahan/Jefferson section for restaurant description. $

NORTHSHORE

The Blue Crab Restaurant and Oyster Bar — 118 Harbor View Court, Slidell, (985) 315-7001; thebluecrabnola.com — See Lakeview section for restaurant description. No reservations. Lunch Fri.-Sat., dinner Wed.-Sun. $$ Theo’s Neighborhood Pizza — 70488 Highway 21, Covington, (985) 234-9420; theospizza.com — See Harahan/Jefferson section for restaurant description. $

UPTOWN

Joey K’s — 3001 Magazine St., (504) 8910997; joeyksrestaurant.com — The menu

includes fried seafood platters, salads, sandwiches and red beans and rice.

Sauteed trout Tchoupitoulas is topped with shrimp and crabmeat and served with vegetables and potatoes. Delivery available. Lunch and dinner Mon.-Sat., brunch Sun. $$ Juan’s Flying Burrito — 2018 Magazine St., (504) 569-0000; 5538 Magazine St., (504) 897-4800; juansflyingburrito.com — The Flying Burrito includes grilled steak, shrimp, chicken, cheddar-jack cheese, black beans, yellow rice, salsa la fonda, guacamole and sour cream.

The menu also has tacos, quesadillas, nachos and more. Outdoor seating available. No reservations. Lunch and dinner Thu.-Tue. $$ Martin Wine Cellar — 3827 Baronne St., (504) 894-7444; martinwine.com — The deli at the wine and spirit shop serves sandwiches, salads and more. The Sena salad includes pulled roasted chicken, golden raisins, blue cheese, pecans and field greens tossed with Tobasco pepperjelly vinaigrette. No reservations.

Lunch daily. $$ Red Gravy — 4206 Magazine St., (504) 561-8844; redgravycafe.com — Thin cannoli pancakes are filled with cannoli cream and topped with chocolate.

The menu includes brunch items, pasta dishes, sandwiches, baked goods and more. Takeout available. $$ Theo’s Neighborhood Pizza — 4218 Magazine St., (504) 894-8554; theospizza. com — See Harahan/Jefferson section for restaurant description. $

Tito’s Ceviche & Pisco — 5015 Magazine St., (504) 267-7612; titoscevichepisco.com — The Peruvian menu includes a version of the traditional dish lomo saltado, featuring beef tenderloin tips sauteed with onions, tomatoes, cilantro, soy sauce and pisco, and served with fried potatoes and rice. Dine-in, outdoor seating and delivery available. Lunch and dinner Mon.-Sat., brunch Sun. $$$

WAREHOUSE DISTRICT Annunciation — 1016 Annunciation St., (504) 568-0245; annunciationrestaurant. com — The menu highlights Gulf seafood in Creole, Cajun and Southern dishes.

Fried oysters and skewered bacon are served with meuniere sauce and toasted French bread. Reservations required.

Dinner Thu.-Sun. $$$ The Mill — 1051 Annunciation St., (504) 582-9544; themillnola.com — Short ribs are braised with red wine and served with risotto. Reservations accepted. Dinner Thu.-Sat., brunch Sat.-Sun. $$

WEST BANK Mosca’s — 4137 Highway 90 West, Westwego, (504) 436-8950; moscasrestaurant.com — This family-style eatery serves shrimp Mosca, chicken a la grande and baked oysters Mosca, made with breadcrumbs and Italian seasonings.

Curbside pickup available. Dinner Wed.Sat. Cash only. $$$

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F O R C O M P L E T E M U S I C L I S T I N G S A N D M O R E E V E N T S TA K I N G P L AC E I N T H E N E W O R L E A N S A R E A , V I S I T C A L E N D A R . G A M B I T W E E K LY. C O M To learn more about adding your event to the music calendar, please email listingsedit@gambitweekly.com

TUESDAY 26 BAYOU BAR AT THE PONTCHARTRAIN HOTEL — Peter Harris Quartet, 7 pm CARNAVAL LOUNGE — Wojtek Industries, 9 pm D.B.A. NEW ORLEANS — DinosAurchestra, 6 pm; Ghalia Volt, 9 pm DOS JEFES — Tom Hook, Wendell Brunious, 8:30 pm FRITZEL’S EUROPEAN JAZZ CLUB — Richard “Piano” Scott, 12:30 pm; Fritzel’s All Star Band, 8 pm KITCHEN TABLE CAFÉ — Kitchen Table Cafe Trio, 7 pm ONE EYED JACKS — Madison Cunningham, 9 pm SATURN BAR — A Deer A Horse, Guts Club, Missing, 9 pm THE BROADSIDE — Big Sam, Helen Gillet & Jason Marsalis, 7 pm ZONY MASH BEER PROJECT — Rebirth Brass Band, 7 pm

WEDNESDAY 27 BAYOU BAR AT THE PONTCHARTRAIN HOTEL — Peter Harris Trio, 7 pm BLUE NILE — New Breed Brass Band, 9 pm CAFE NEGRIL — Colin Davis and Night People, 10:30 pm D.B.A. NEW ORLEANS — Walter “Wolfman” Washington & the Roadmasters, 9 pm D.B.A. NEW ORLEANS — Tin Men, 6 pm DOS JEFES — Kris Tokarski, 8:30 pm FRITZEL’S EUROPEAN JAZZ CLUB — Richard “Piano” Scott, 12:30 pm; Bourbon Street All Star Trio, 7 pm; Fritzel’s All Star Band, 9 pm GASA GASA — The Slaps, Shmoo, Maddy Kirgo, 9 pm HOTEL MONTELEONE — James Martin Band, 8 pm LAFAYETTE SQUARE PARK — Tab Benoit and The New Orleans Johnnys, 5 pm MADAME VIC’S — Matt Andrews and the Sheepshead Serenaders, 8 pm MRB BAR & KITCHEN — Lynn Drury, 7 pm NEW ORLEANS BOTANICAL GARDEN — Evenings with Enrique , 5 pm PALM COURT JAZZ CAFE — Palm Court Jazz Band with Lars Edegran, 7:30 pm REPUBLIC NOLA — Homeshake, Babehaven, 8 pm SANTOS — Russell Welch Swamp Moves Trio , 8 pm; Adult, Kontravoid, Spike Hellis, 9 pm SATURN BAR — Paprika, Sodomite, Fumes, Plomo, 9 pm THE SANDBAR — Victor Goines, 7 pm THE TOULOUSE THEATRE — Heartless Bastards + Julie Odell, 7:30 pm TIPITINA’S — Patty Griffin, 8 pm ZONY MASH BEER PROJECT — The Pack AD, 7 pm

THURSDAY 28 ACE HOTEL NEW ORLEANS — CeeLo Green, 7 pm

ASHÉ CULTURAL ARTS CENTER — Music at the Museum: Portrait of a Queen, 6 pm BAYOU BAR AT THE PONTCHARTRAIN HOTEL — Peter Harris Quartet, 8 pm BLUE NILE — Where Y’at Brass Band, 9 pm BOURBON SQUARE JAZZ BAR — Alicia Renee “Blue Eyes”, 7:30 pm BUFFA’S — Tom McDermott and Aurora Nealand, 7 & 9 pm CARNAVAL LOUNGE — Jamie Vessels Band, 6 pm; Loose Cattle & Happy Talk Band , 9 pm D.B.A. NEW ORLEANS — New Orleans Klezmer All Stars, 7 pm; Little Freddie King, 11 pm DOS JEFES — Ashley Beach & the Oddities, 8:30 pm FRITZEL’S EUROPEAN JAZZ CLUB — Richard “Piano” Scott, 12:30 pm; Doyle Cooper Trio, 2:30 pm; John Saavadra Trio, 6 pm; Fritzel’s All Star Band, 9 pm GASA GASA — LEYA, Silver Godling, Rhelm, 9 pm KITCHEN TABLE CAFÉ — Dr. Mark St. Cyr Traditional Jazz Band, 7 pm LE BON TEMPS ROULE — Soul Rebels, 10 pm MADAME VIC’S — Silver Lining Serenaders, 8 pm MARDI GRAS WORLD — Nathaniel Rateliff & The Night Sweats, 7 pm MIDNIGHT REVIVAL — The Jake Landry Band, 8 pm NEUTRAL GROUND COFFEE HOUSE — Mars Cooper, Mia Day, Caroline Tebbs, 9 pm NEW ORLEANS PHARMACY MUSEUM — Los Po-Boy-Citos, 7 pm ORPHEUM THEATER — Les Claypool’s Bastard Jazz, 9 pm PALM COURT JAZZ CAFE — Leroy Jones & Katja Tiovala with Crescent City Joymakers, 7:30 pm PEACOCK ROOM, HOTEL FONTENOT — Ruth Marie and Mark Monistere , 8 pm POUR HOUSE SALOON — Ron & Tina’s Acoustic Jam, 7 pm ROCK ‘N’ BOWL — Nathan & the Zydeco Cha-Chas, 8 pm SATURN BAR — Cliff Hines, 9 pm SOUTHPORT HALL LIVE MUSIC & PARTY HALL — Fozzy, 6:30 pm ST. ANNA’S EPISCOPAL CHURCH — Gina Forsyth, 7 pm TIPITINA’S — Anders Osborne, 9 pm WRONG IRON ON THE GREENWAY — Jam in the Van, 12 am ZONY MASH BEER PROJECT — Bobby Gentilo & Carlos Elliot ft. Tiffany Pollack, 2 pm; Rockin’ Dopsie and the Zydeco Twisters with The Marc Stone Band, 6 pm; Mars Williams, Helen Gillet, Rob Cambre, 11 pm

FRIDAY 29 3500 MARDI GRAS — Gov’t Mule , 8 pm BAYOU BAR AT THE PONTCHARTRAIN HOTEL — Peter Harris Trio, 8 pm BLUE NILE — Big Chief Monk Boudreaux, 11 pm; MonoNeon, 11:59 pm

PHOTO BY CLINTON BURRELL / T H E A D V O C AT E

BUFFA’S — Lynn Drury and Gregg Hill, 8 & 10 pm CAFE ISTANBUL — Gatorators, 11:30 pm CARNAVAL LOUNGE — VIBEYFEST 2.0, 7 pm D.B.A. NEW ORLEANS — New Orleans Jazz Vipers, 5 pm; Honey Island Swamp Band, 10 pm DOS JEFES — Vivaz!, 9 pm FRITZEL’S EUROPEAN JAZZ CLUB — Richard “Piano” Scott, 12:30 pm; Sam Friend Trio, 2:30 pm; Lee Floyd and Thunderbolt Trio, 6 pm; Fritzel’s All Star Band, 9 pm JOY THEATER — Turkuaz w/ Jerry Harrison & Adrian Belew, 9 pm; Oteil & Friends, 9 pm KRAZY KORNER — DayWalkers feat.

Waylon Thibodeaux, 1 pm MADAME VIC’S — Jacky Blaire and the Hot Biscuits, 8 pm MIDNIGHT REVIVAL — The Quickening, 9 pm MUSIC BOX VILLAGE — Les Filles des Illighadad, 7 pm NEUTRAL GROUND COFFEE HOUSE — Tone Idols, 7:30 pm; Shape Shifters, 9 pm ONE EYED JACKS — Bonnie ‘Prince’ Billy & Matt Sweeney “Superwolves” with Emmett Kelly, 8 pm ORPHEUM THEATER — Ween, 8 pm PALM COURT JAZZ CAFE — Kevin Louis & Topsy Chapman with Palm Court Jazz Band, 7:30 pm POUR HOUSE SALOON — The Bad Sandys, 9 pm REPUBLIC NOLA — Cory Wong, 10 pm ROCK ‘N’ BOWL — Eric Lindell, 8:30 pm SANTOS — Hash Cabbage w/ Rillo, 11:30 pm SATURN BAR — Valparaiso Men’s Chorus, 10 pm SIDNEY’S SALOON — Malevitus, 7 pm; Dancefestopia, 9 pm SNUG HARBOR JAZZ BISTRO — Jason Marsalis presents Tribute to Ellis Marsalis Jr., 9 & 11 pm

Soul Rebels plays with Lettuce at Joy Theater Saturday, April 30 THE BROADSIDE — Cimafunk with Soul Rebels, 8 pm THE FILLMORE — Chevelle , 8 pm THE HIDEAWAY DEN & ARCADE — Drug Money with Troy Bennett, 8 pm THREE KEYS (ACE HOTEL) — Grace Gibson, 9 pm TIPITINA’S — Galactic feat. Anjelika “Jelly” Joseph + The Suffers, 9 pm WRONG IRON ON THE GREENWAY — Jam in the Van, 5 pm ZONY MASH BEER PROJECT — Johnny Sketch and the Dirty Notes, 8 pm; Pollo Asado, Ween After Party, 11 pm

SATURDAY 30 BAYOU BAR AT THE PONTCHARTRAIN HOTEL — Peter Harris Trio, 8 pm BLUE NILE — Corey Henry & the Treme Funktet, 11 pm; Blades, Krasno & Moore, 11:59 pm BOURREE — Valerie Sassyfras, 3 pm BROTHERS THREE LOUNGE — HG Breland, 9 pm BUFFA’S — Tom Worrell and His Enemies, 8 & 10 pm CAFE ISTANBUL — Herlin Riley & Friends, 10:30 pm D.B.A. NEW ORLEANS — Tuba Skinny, 6 pm; Dirty Dozen Brass Band, 10 pm; Mike Dillon & Punkadelic feat. Brian Haas & Chris Senac + Special Guests, 1 am DOS JEFES — Sunpie & The Louisiana Sunspots, 9 pm FAUBOURG BREWING CO. — Marina Orchestra, Boukou Groove, Tiffany Pollack Trio & Bad Penny Pleasuremakers, 12 pm FIRST AND LAST STOP BAR — Sandra Love and The Reason Dreamwalker Album Release , 8 pm PAGE 56

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FRITZEL’S EUROPEAN JAZZ CLUB — Richard “Piano” Scott, 12:30 pm; Joe Kennedy Trio, 2:30 pm; Lee Floyd and Thunderbolt Trio, 6 pm; Fritzel’s All Star Band, 9 pm GASA GASA — Sheer Mag, Porch Lord, 9 pm GEORGE AND JOYCE WEIN JAZZ & HERITAGE CENTER — Brian Quezergue, 8 pm JOY THEATER — Lettuce & The Soul Rebels, 10 pm KITCHEN TABLE CAFÉ — Bad Penny Pleasuremakers, 7 pm KRAZY KORNER — DayWalkers feat.

Waylon Thibodeaux, 1 pm MADAME VIC’S — Gal Holiday, 7 pm MIDNIGHT REVIVAL — Eric Johanson, 9 pm NEUTRAL GROUND COFFEE HOUSE — Bobby Burge, 7:30 pm; Purple Lotus, 9 pm ONE EYED JACKS — Big Freedia & Sweet Crude, 8 pm ORPHEUM THEATER — Ween, 8 pm PALM COURT JAZZ CAFE — Will Smith with Palm Court Jazz Band, 7:30 pm PELICAN GREENHOUSE AT CITY PARK — Trombone Shorty & New Orleans Avenue, 8 pm PORTSIDE LOUNGE — Helen Gillet and Jessica Lurie, 8 pm POUR HOUSE SALOON — Rotten Cores, 9 pm REPUBLIC NOLA — Voodoo Dead, 10 pm ROCK ‘N’ BOWL — Cowboy Mouth, 8:30 pm SANTOS — Bakey’s Brew and Whisper Party Jazzfest Latenight Psychedelic Brain Melt, 10 pm SATURN BAR — Pump, 10 pm SIDNEY’S SALOON — Dancefestopia, 9 pm SNUG HARBOR JAZZ BISTRO — Mahmoud Chouki New World Ensemble, 9 & 11 pm THE BOMBAY CLUB — Anais St. John, 8 pm TIPITINA’S — Big Head Todd and the Monsters, 9 pm; The California Honeydrops, 2 am WRONG IRON ON THE GREENWAY — Jam in the Van, 12 am ZONY MASH BEER PROJECT — Tommy Malone with guests Rurik Nunan & Myles Weeks plus Minos the Saint!, 7 pm ZONY MASH BEER PROJECT — Skerik, Helen Gillet & Pedro Segundo, 11:30 pm

New Orleans

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Contact Ad Director Sandy Stein 504.483.3150 or sstein@gambitweekly.com

SUNDAY 1 BLUE NILE — Water Seed, 10:30 pm BUFFA’S — Some Like It Hot, 11 & 1 pm; Marc Stone, 8 & 10 pm CAFE ISTANBUL — James Singleton’s MALABAR, 10 pm; Jacob Fred Jazz Odyssey, 11:45 pm CARNAVAL LOUNGE — Pastel Panties Dirty Laundry Sundays with Chris Acker, 9 pm CARNAVAL LOUNGE — Ever More Nest, 6 pm

D.B.A. NEW ORLEANS — Palmetto Bug Stompers, 5 pm; Funk & Chant w/John Papa Gros & Big Chief Monk Boudreaux, 10 pm; Iceman Special, 2 am DOS JEFES — Tangiers Combo, 8 pm FAUBOURG BREWING CO. — Bon Bon Vivant, Ghalia Volt & Eric Johanson, 12 pm FRITZEL’S EUROPEAN JAZZ CLUB — Molly Reeves Trio, 12:30 pm; Joe Kennedy Trio, 2:30 pm; Marla Dixon Trio, 6 pm; Fritzel’s All Star Band, 8 pm MIDNIGHT REVIVAL — Bianca Love, 9 pm POUR HOUSE SALOON — HG Breland, 5 pm REPUBLIC NOLA — Voodoo Dead, 9 pm ROCK ‘N’ BOWL — Marc Broussard and Sonny Landreth, 8 pm SANTOS — MNDSGN w/tba, 8 pm SATURN BAR — Alex McMurray Quartet, 9 pm THREE KEYS (ACE HOTEL) — Steve Lands Threauxdown, 8 pm TIPITINA’S — North Mississippi Allstars 8 pm; Greyboy Allstars, 1am WRONG IRON ON THE GREENWAY — Jam in the Van, 12 am ZONY MASH BEER PROJECT — Tyron Benoit Band with Firebrain, 6 pm

MONDAY 2 BLUE NILE — Thee Big Little Baby Jesus Pleasant Party, 11 pm BUFFA’S — Doyle Cooper Trio with Ryan Hanseler, 7 pm CARNAVAL LOUNGE — Leroy Jones, 7 pm D.B.A. NEW ORLEANS — John Boutté, 6 pm; Johnny Vidacovich Trio feat. John Medeski & Benny Bloom, 9 pm; Glenn David Andrews, 11:59 pm; Maliguanas feat.

Papa Mali & the Iguanas , 1 am DOS JEFES — John Fohl, 8:30 pm FRITZEL’S EUROPEAN JAZZ CLUB — Twisty River Band, 8 pm REPUBLIC NOLA — Built To Spill, 8 pm SATURN BAR — BC Coogan Piano Night, 8 pm THE TOULOUSE THEATRE — Shorty Fest feat. Trombone Shorty & Orleans Ave., Galactic with Anjelika “Jelly” Joseph, Dumpstaphunk, Dirty Dozen Brass Band and students from the Trombone Shorty Academy, 7 pm ZONY MASH BEER PROJECT — Reed Mathis’ Electric Beethoven ft. Johnny Vidacovich, 2 pm; A Tribute to Eddie Bo & the Lost Legends of New Orleans Funk!, 7 pm; Broad City Allstars: Ari Teitel, Kevin Scott, Andriu Yano & more!, 10:30 pm

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Delgres

Fest on Friday, May 6. Tickets for Friday’s show with The Soul Rebels are $35 at broadsidenola.com.

the French for resisting colonial rule, Delgres is based in Paris.

Guitarist Pascal Danae, a native of Guadeloupe, leads the grooving blues rock trio, which incorporates other global sounds, including strains of New Orleans music.

Locals may appreciate that the rhythm section is held down by a drummer and tuba player. Bon Bon Vivant opens at 7 p.m. Wednesday, April 27, at The Broadside. Tickets are $20 via broadsidenola.com.

Les Filles de Illighadad

THOUGH NAMED AFTER A CARIBBEAN CREOLE MAN who was killed by

Bass Church with LTJ Bukem FEW ARTISTS HAVE HAD MORE OF AN IMPACT ON ELECTRONIC MUSIC and

DJing than LTJ Bukem. The English DJ and producer is considered one of the godfathers of drum and bass music, championing a style that draws on jazz, soul and other elements. LTJ Bukem makes a rare New Orleans appearance at Bass Church with a roster of local and national DJs including Unicorn Fukr, Rekanize, Beverly Skillz and more.

The show starts at 2 p.m. Sunday, May 1, at the Rabbit Hole. Tickets are $20 at rabbitholenola.com.

Jam in the Van

THE IDEA IS SIMPLE: SOME FOLKS DRIVE THEIR VAN AROUND THE COUNTRY

and set up shop outside music festivals and other events. Bands then come around and play shows in the van. This year’s Jam in the Van Experience: New Orleans takes place at Wrong Iron during the first weekend of Jazz Fest and features performances by Bonerama, Lettuce, Pimps of Joytime, Samantha Fish, Tank and the Bangas, Cha Wa, Motel Radio, The Rumble, Papa Mali, Anders Osborne and more. The event benefits the SIMS foundation, which provides mental health and substance use recovery help to musicians, music professionals and dependent family members.

All day, Friday, April 28 through Sunday, May 1, at Wrong Iron on the Greenway.

Cimafunk

AFRO-CUBAN FUNK PHENOM CIMAFUNK ROCKEDTHE BROADSIDE last October

on the eve of releasing his new album “El Alimento.” The record opens with the groove “Funk Aspirin,” and a guest appearance

by George Clinton, who called Cimafunk “the next one.” The musician returns to New Orleans for three shows. He plays The Broadside at 8 p.m. Friday, April 29, with The Soul Rebels and again on Cinco De Mayo with The Iguanas. He also plays Jazz

WIDELY BELIEVED TO BE THE FIRST TUAREG WOMAN TO PROFESSIONALLY PLAY GUITAR , Fatou Seidi Ghali

formed Les Filles de Illighadad in 2016 with her cousin Alamnou Akrouni, a singer and percussionist.

They come from the small village of Illighadad in a remote region of Niger, but have caught international attention for their interpretation of tende music, mixing desert guitar (an uncommon instrument in tende) with traditional, regional sounds. Les Filles de Illighadad plays the Music Box Village at 8 p.m. Friday, April 29. Tickets are $25 at musicboxvillage.com.

Los Po-Boy-Citos

THE FACT THAT LOS PO-BOY-CITOS’ MIX OF LATIN BOOGALOO and New

Orleans funk and soul grooves creates an infectious, danceable sound isn’t a surprise. The fact that so few people haven’t copied their formula is. Catch one of their too rare shows at 7 p.m.

Thursday, April 28, at the New Orleans Pharmacy Museum on Chartres Street. Tickets are $15 at eventbrite.com.

Christone ‘Kingfish’ Ingram

EARLIER THIS MONTH, CHRISTONE “KINGFISH” INGRAM WON THE GRAMMY AWARD for best contemporary

blues album for “662.” The title is a nod to his hometown of Clarksdale, Mississippi. It was his first Grammy win, but the second nomination for the 23-year-old blues singer and guitarist, who reached national audiences with his 2019 “Kingfish” debut — and made fans out of blues legends like Buddy Guy and Keb’ Mo’. At 9 p.m. Thursday, April 28, at the Saenger Theatre. Tickets start at $29.50 at saengernola.com.

Primus

LES CLAYPOOL’S OUT-THERE OUTFIT PRIMUS is currently on the “A

Tribute to Kings” tour, an homage to Rush and their 1977 album “A Farewell to Kings.” After a set of Primus material, the band will play Rush’s album in full. The band plays at 8 p.m. Wednesday, April 27, at the Saenger Theatre. Tickets start at $79.50 at saengernola.com.

Lucinda Williams

STORIED AMERICANA SINGER-SONGWRITER LUCINDA WILLIAMS returns to

New Orleans for a two-night stand at the House of Blues. She plays at 8 p.m. Friday, April 29, and Saturday, April 30. Tickets are $42.50 at houseofblues.com/neworleans.

Six of Saturns Fest

A 10-DAY CELEBRATION OF MUSIC ROOTED IN NEW ORLEANS’ BLACK TRADITIONS will return to the Ace Hotel

New Orleans starting Thursday, April 28. The series includes an interview with Cee-Lo Green, DJ Soul Sister and performances by other touring and local artists in the Three Keys space. Find information and tickets at acehotel. com/new-orleans/goings-on.

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Ween

NOTWOWEENSHOWSAREEVERREALLY THESAME. The band has a prolific,

wide-ranging catalog and likes to constantly change up their set lists — especially when playing a venue two nights in a row as they’ll do Friday, April 29, and Saturday, April 30, at the Orpheum Theater. Shows start at 9 p.m. and tickets start at $52.50 each night at orpehumnola.com.

Tuba Skinny and Charlie Halloran & The Tropicales

WHAT BETTER WAY TO END THE FIRST DAY OF JAZZ FEST than, well, listening

to more live, local jazz. The always amazing rag(time) tag ensemble Tuba Skinny will put you through your traditional jazz and American roots music paces, while Charlie Halloran and the Tropicales will be sure to bring their Cuban-flavored jazz A-Game. Meanwhile, Michelle and Lauren are slinging drinks (and the occasional side eye). At 9 p.m. Friday, April 29, at BJ’s.

Admission is $20.

Shorty Fest

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FREE EVALUATION.

TROMBONE SHORTY’S ANNUAL SHINDIG IS BACK AT TIPITINA’S on Monday, May

2. In addition to Trombone Shorty & Orleans Avenue, the lineup includes Galactic with Anjelika “Jelly” Joseph, Dumpstaphunk, Dirty Dozen Brass Band and students from the Trombone Shorty Academy. A free block party outside Tip’s kicks things off at 5 p.m. with music by New Orleans Nightcrawlers and academy students. There’s also a battle of the high school marching bands, a silent auction, and the Tipitina’s “Walk of Fame” induction ceremony, which will honor Cyril Neville. Tickets for the 7 p.m. show are $100-$300 at tipitinas.com.

Swing in the Oaks

THE LOUISIANA PHILHARMONIC ORCHESTRA PERFORMS A FREE

outdoor concert in City Park with works by Gershwin, Sousa, Prokofiev and more. Students in the Music for Life program perform at 5:45 p.m. Tuesday, April 26. The LPO starts at 7 p.m. at the Peristyle. Find details at lpomusic.com.

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Mother’s Day

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Rumors of war

by Will Coviello

THERE’S A BIZARRE, ALMOST GROTESQUE WEDDING SCENE in direc-

tor Sergei Loznitsa’s “Donbass.” The couple are a homely pairing of a rail-thin balding man in a baggy suit and a pudgy, exuberant woman — and the nature of their relationship seems inexplicable. The ceremony is presided over by a woman who looks like she’s hosting a TV game show. Some people in the rowdy crowd were — in the previous scene — part of a mob on the street that humiliated and attacked a man with his hands tied behind his back and a blue and yellow Ukrainian flag draped from his neck. Pro-Russian militia leaders toast the couple.

It’s hard to stop watching the strange and rowdy nuptials, and that’s true for many of the dozen scenes in Loznitsa’s wandering journey through a civil war-torn Donbas, the area of eastern Ukraine that’s the battleground of the current phase of Russia’s invasion.

The dystopic pastiche was released in 2018 — four years after Russian insurgents entered Ukraine’s Crimea and Donbas regions. Loznitsa says many of his fictionalized scenes are based on actual events, and the conflict has its roots in the disintegration of the USSR. The film screened at the Cannes Film Festival and was Ukraine’s entry for the 2019 Academy Awards.

There isn’t a continuous plot, and most characters are on screen for short periods as the camera veers from one vignette to the next. Most scenes are of people trying to go about their normal lives as the conflict intrudes. The Russian separatists control some local government offices, and they fly the flags of Russia and Novorossiya — an inreal-life proposed nation of “New Russia” advocated by separatists.

In “Donbass,” there are dueling military forces and vigilantes who fight for each side on their own terms. Each side sets up checkpoints on roads. While people can try to stay clear of the combatants and rockets — like a host of proUkrainian families who have taken refuge in a catacomb-like bomb shelter — there is no avoiding the way the conflict forces people to take sides. Anyone driving a

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car, riding a bus or walking down the street can be asked for their passport or “papers,” and interrogated or deemed suspect for any imaginable pretext. On a bus, a man in military gear shakes down passengers, demanding that old women hand over groceries.

Some of the Russian separatists are living the high life, which seems built on various levels of corruption. The separatists essentially run a criminal operation and use violence as a form of intimidation.

Forced “conscriptions” of everything from smartphones to luxury vehicles are presented as necessary security precautions or forms of support for the “peacekeeping” effort, but they look like extortion.

One local leader tours a hospital’s pediatric wing to do damage control over accusations of missing medicine, food and formula — and it shows the cynicism and greed that have become endemic.

While the film reflects some of the perverse effects of the fog of war, that’s the context for Loznitsa’s depiction of a post-truth world. Donbas is awash in propaganda, disinformation and gaslighting. Accusations fly, and suspicions are easily aroused. One part of the film that accurately mirrors Russian President Vladimir Putin’s propaganda is the claim the invasion is about “denazification” — an absurd notion. In the film, pro-Russians accuse everyone from a German journalist to government officials and random civilians of being Nazis or Nazi sympathizers.

Loznitsa reveals the dirty work of propaganda in another bizarre scene of a film set. It’s not easy to know if you should believe what you see. It’s a bleak but often engrossing tale that’s become ever more timely.

“Donbass” runs at Zeitgeist Theatre & Lounge.

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PREMIER CROSSWORD

SUDOKU

Looking for a sign

by Will Coviello

BILLY MIGHT BE FORTUNATE TO MISS MUCH OF THE FAMILY SQUABBLING around him. His

adult siblings Ruth and Daniel have both moved back into the nest, crowding the space and ratcheting up the pressure. His father Christopher is a dedicated critic of everything and trashes Daniel’s doctoral thesis.

Daniel in turn mocks Ruth’s singing. Beth constantly talks at top volume, a quirky and patronizing habit she developed because her son Billy is deaf.

Billy actually picks up on plenty, because he’s excellent at reading lips and faces. When he meets Sylvia, who is going deaf, the drama begins in “Tribes,” British playwright Nina Raine’s 2010 work, currently getting a vibrant regional premiere at Le Petit Theatre.

The family is a wordy bunch. Beth is writing her first novel. Christopher interrogates Daniel’s thoughts on language, which seem to involve theories of deconstruction and questioning what words signify.

Ruth has joined an opera chorus and labors to translate lyrics into English.

Billy wears hearing aids and grew up without learning sign language.

He gets interested in learning to sign when he meets Sylvia at a social event for people with hearing impairments. The first time he brings Sylvia home to meet the family, they prod her to show them a sign language translation of their take on the mechanics of another woman’s sexuality. Sylvia’s gestures barely require an interpreter.

Act 1 is full of fast and lively chatter.

Despite the constant domestic fussing and judgment of people’s partners and relationships, Raine filled her script with shrewd insights into language and communication, including its many nonverbal aspects. Billy points out that sign language is not “broken English.”

It’s got its own grammar, and it’s not second class or to be viewed as a sign of inferiority. But language barriers aren’t the only issue in the family.

A bedrock of British banter is the custom of “taking the piss” out of someone, or mocking others’ faults as a source of humor and conversation. There’s plenty of that in Billy’s family, but Christopher goes a step further. John Neisler makes him an effortlessly insistent and sincere crank — calling out personal flaws and arguing academic points even when the words are obviously painful to others. He denounces

PHOTO BY BRIT TNEY WERNER

becoming a member of any identity group, and defends the mocking of people from northern Britain. It sharpens Raine’s concept of a tribe.

More than just a language group, there’s a bond of unity — and distance from others.

Despite the challenges, Daniel battles to connect. For Billy, the silence is isolating enough. That’s a starting point with Sylvia, who is losing her hearing. But she’s skeptical that that bond is enough to sustain a relationship.

For Billy, learning a new language only opens up more questions. It leads to a job reading lips of people caught on surveillance tapes. He realizes new senses of control over his life and he starts to expect more of others.

Brian Andrew Cheslik nicely manages Billy’s transformation and drives the drama in Act 2. Cheslik is the artistic director of Deaf Austin Theatre and brilliantly articulates Billy’s point of view as well as his unspoken frustrations.

Kati Schwartz delivers a warm and nuanced performance as Sylvia.

Director Giovanna Sardelli keeps the action moving at a brisk clip, and it swirls around Joan Long’s effective set, though at times Sylvia seems to read signs from extreme angles or behind Billy’s back. The show uses supertitles at times, and video projections of sound waves help underscore some of the things Billy and Sylvia say about their experiences. The insults in the text can be blistering, but the work is sensitive to the different abilities of its characters.

While the story explores the use of language, its triumph is the sensitive way it reveals meaningful connections between people.

‘Tribes’ runs at Le Petit Theatre Thursday, April 28, through Sunday, May 1.

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