OFFBEAT MAGAZINE - NOVEMBER 2018 by OffBeat Magazine

Kelcy Mae André Courville Simple Minds Michot's Melody Makers NOLA Harmonica

NEW ORLEANS MUSIC, FOOD, CULTURE—NOVEMBER 2018

Free In Metro New Orleans US $5.99 CAN $6.99 £UK 3.50

Voodoo Fest

Map and Stage Schedules, P. 24

Judah & the Lion

PHoto: ELSA HAHNE

Kelcy Mae Andre Courville Simple Minds Michot's Melody Makers

The Gospel according to PJ NEW ORLEANS MUSIC, FOOD, CULTURE—NOVEMBER 2018

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The son of a New Orleans pastor takes musical destiny into his own hands and tackles the legacy of Buddy Bolden. Page 26

Voodoo Fest Map and stage schedules

Judah & the lion

Blowin’ Like Hell

MOJO MOUTH

Smoky Greenwell, Johnny Sansone and Jason Ricci at the Harmonica Mini-Collective.

FRESH

LETTERS

Five Questions with Corey Ledet; Voodoo Fest performer Judah & the Lion; Five Questions with Holly Barrett, Festival Director of Fête des Fromages; Tonya Boyd-Cannon pays tribute to Aretha and Mahalia; Five Questions with comedian Mark Caesar; New Orleans Jazz Museum to showcase history of drum set; 30 Years of Rock ’n’ Bowl with John Blancher; Michael Tisserand’s audio comic “Happy Land” plus more.

Past and Present

Michot’s Melody Makers gives the traditional music of Acadiana a pulsating new twist.

A Bar for Every Mood

Singer-songwriter Kelcy Mae talks about her favorite places to imbibe in New Orleans.

Hitting His Prime Meet the crawfish-catching opera star André Courville.

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Voodoo Music & Arts Experience

.BLAST

FROM THE VOODOO PAST Trent Reznor: Before the Slip By Alex Rawls October 2008

Maps and stage schedules

OffBeat Eats

Restaurant Review

Michael Dominici reviews Chef Susan Spicer’s Rosedale Restaurant.

REVIEWS 34 Michot’s Melody Makers, Sabertooth Swing, Gal Holiday, Ever More Nest, Joyful, Robert Walter’s 20th Congress, Leftover Salmon and more.

LISTINGS 40 BACKTALK with Jim Kerr of Simple Minds. 45

In our interview with Trent Reznor, after Voodoo 2005 at the Fly, he talks about getting sober: “I put one addiction in the bag, and something else tries to creep up. The resentment I had when I got clean and I woke up out of a stupor, and went, ‘Several years of my life are gone. How old am I?’” (To read more this issue can be purchased at http:// www.offbeat.com/shop/ back-issues/2008/offbeatmagazine-october-2008/) NOVEMBER 2018

Letters

“I like having print advertising in publications at my disposal. I don’t want to have to subscribe to an e-mail list or 'friend' on social media for every single club in the city.” —Gerard Guidoni, New Orleans, Louisiana

Coarse Language Being an avid reader of your magazine, I couldn't understand why the need to print the offensive language in the Soundcheck: Five Questions with M.A.Q. [October 2018]. Coarse language in being tolerated at an increasing level in everyday conversations. It’s a shame your magazine has given in to this trend. —Kevin Hite, Metairie, Louisiana Whether we like it or not, the language used in this piece sort of goes hand in hand with rap music, and we preferred to keep responses true to the interviewee's culture without censorship.—Ed.

Burlesque Thanks for the article on burlesque [Jan Ramsey’s September 2018 blog post “More Burlesque, If You Please”]. I've always wanted a club with an attached burlesque museum. This has been something I've talked about and discussed with businessmen over the last 15 years. While some have taken interest and even started initial planning, nothing ever stuck. But being a native myself, and observing the things that happen in New Orleans and the things that don't happen in New Orleans, a dream like mine starts to become hopeless. The New Orleans Burlesque Festival is known as one of the top burlesque festivals in the world, and many claim it's the top. We had 2,500 people (locals and visitors) experiencing world-class burlesque this past weekend. Bustout Burlesque, my classic burlesque show at House of Blues, has been called the one of the top burlesque shows worldwide by Travel Channel. We have people lined down the block and around the corner every show. I have a vast archive of burlesque memorabilia stored away in boxes. I have vintage burlesque costumes, photos, ephemera, films, personal items, glassware, letters, videotaped interviews with the old stars, and more. While I have a great vision for a burlesque club and museum, I don't believe it's shared by the money men who can make it happen.

The forward thinking is not there. Thanks again for your article, and shining a spotlight on burlesque in OffBeat. —Rick Delaup, New Orleans, Louisiana

Print advertising The following letter is in response to Jan Ramsey’s Mojo Mouth column titled “I’ll Be Brief…” (October 2018) indicating that OffBeat will be expanding digital-only content.—Ed. I’m saddened that advertisers, especially in this case music clubs, feel that social media is preferable to print advertising. I’ve seen this trend over the past five or eight years in numerous cities. Although one can’t argue with the cost of using social media as your only form of advertising, I wonder what the results are. I like having print advertising in publications at my disposal. I don’t want to have to subscribe to an e-mail list or “friend” on social media for every single club in the city. I don’t want daily updates on who is there each night. I like being able to pick up a publication and thumb through and look at ads and see who’s at a club over the next week or weeks at a quick glance. I’ll look at ads for places I may not usually go and they may have something that interests me. And I like to see ads for events that may be coming up weeks in the future that I want to have on my radar. And yes, I can scan a printed page with numerous ads and print content faster than I can scroll. Additionally, I agree with you that print offers a wider range of news options. While reading print I may read an article I glance at but wouldn’t click on and read if only offered a headline. The browsing aspect is lost. I may be reading an article and my eye wanders over to one on the next page or the bottom of a page and it only takes a matter of seconds to read it. Best wishes in the brave new world. And by the way, I like the redesign of the website. It’s one of the nicest online versions of a print publication I’ve seen. It’s comprehensive and easy to navigate. So kudos on that! —Gerard Guidoni, New Orleans, Louisiana

OffBeat welcomes letters from its readers—both comments and criticisms. To be considered for publication, all letters must be signed and contain the current address and phone number of the writer. Letters to the editor are subject to editing for length or content deemed objectionable to OffBeat readers. Please send letters to Editor, OffBeat Publications, 421 Frenchmen St., Suite 200, New Orleans, LA 70116.

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Louisiana Music, Food & Culture

November 2018 Volume 31, Number 12 Publisher and Editor-in-Chief Jan V. Ramsey, janramsey@offbeat.com Managing Editor Joseph L. Irrera, josephirrera@offbeat.com Consulting Editor John Swenson Layout and design Eric Gernhauser, eric@offbeat.com Listings Editor Katie Walenter, listings@offbeat.com Contributors Stacey Leigh Bridewell, Noé Cugny, Michael Dominici, Herman Fuselier, Holly Hobbs, David Kunian, Amanda Mester, Brett Milano, John Swenson, Christopher Weddle, Dan Willging, Clive Wilson, John Wirth, Geraldine Wyckoff Cover Elsa Hahne Web Editor Amanda Mester, amanda@offbeat.com Videographer/Web Specialist Noe Cugny, noecugny@offbeat.com Copy Editor Theo Schell-Lambert, theo@offbeat.com Advertising Sales/Promotions Coordinator Randi Ezell, randi@offbeat.com Camille A. Ramsey, camille@offbeat.com Advertising Design PressWorks, 504-944-4300 Business Manager Joseph L. Irrera Interns James Bittner , Devorah Levy-Pearlman Distribution Patti Carrigan, Doug Jackson OffBeat (ISSN# 1090-0810) is published monthly in New Orleans by OffBeat, Inc., 421 Frenchmen St., Suite 200, New Orleans, LA 70116 (504) 944-4300 • fax (504) 944-4306 e-mail: offbeat@offbeat.com, web site: www.offbeat.com

/offbeatmagazine Copyright © 2018, OffBeat, Inc. No part of this publication may be reproduced without the consent of the publisher. OffBeat is a registered trademark of OffBeat, Inc. First class subscriptions to OffBeat in the U.S. are available for $45 per year ($52 Canada, $105 foreign airmail). Back issues are available for $10, except for the May issue for $16 (for foreign delivery add $6, except for the May issue add $4). Submission of photos and articles on Louisiana artists are welcomed, but unfortunately material cannot be returned.

MOJO MOUTH

Where’s the attention for Frenchmen?

By Jan Ramsey

he OffBeat office has been on Frenchmen Street for over 20 years. When we moved in, the only music clubs on the street were Snug Harbor, Café Brasil and the Dream Palace. We were happy as hell when Mona’s opened across the street. Another place—a high-end restaurant, Belle Forche—also opened, but didn’t last too long. In two decades, Frenchmen Street has turned into a party street. Snug is still there, the Dream Palace became the Blue Nile, after several owners came and went. Alas, Cafe Brasil and its cool vibe and music is now “Favela Chic,” shall we say, not Café Brasil. What used to be a haven for

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local music lovers has become the equivalent of Bourbon Street without the strip clubs and T-shirt shops, a place for a younger, somewhat hipper crowd to party hearty. I would venture to guess that the foot traffic on Frenchmen has increased 100-fold in two decades, as bars, clubs and pseudo-restaurants (restaurants in name only, to conform with zoning requirements) operate and draw crowds that certainly rival those of Bourbon. Yet the street still has not been able to get the attention from the city vis a vis an ongoing, steady police presence. Where there’s a lot of alcohol consumption, lots of people with partying on their mind milling around in crowds,

street traffic (which Bourbon doesn’t have), unlicensed food and merchandise vendors, you’re going to have crime and incidents, and the possibility of injury. Combine the imbibing (or drugging) crowds and all the other factors with the numbers of vagrants, homeless and alcoholic and mentally ill people who hang out in that area, and it’s a recipe for trouble. To be perfectly clear, the city of New Orleans is taking a big risk because it has not deemed Frenchmen Street as a safety priority when it assigns police details. The presence of the New Orleans Police Department on regular patrol—and being highly visible—is crucial to the continuing success of one of the city’s largest

entertainment districts. If the city and NOPD don’t find the financial resources to put police on Frenchmen, there will be more and more incidents on the street. There have been rapes, shootings, armed robberies on Decatur. Every day I see severely incapacitated alcoholics, drug addicts and mentally ill people and homeless, stumbling and sleeping on the sidewalks and in doorways during daytime hours. There are no bathroom facilities. There’s a sanitation issue, of course, and the drainage on Frenchmen is horrendous. The music is still great, but at some point in time, New Orleans’ second largest entertainment district is going to suffer. O

NOVEMBER 2018

Five Questions with Corey Ledet

orey Ledet grew up in his native Houston, listening to Clifton Chenier, John Delafose and other zydeco heroes. But Ledet was also watching Bruce Lee and Kung Fu movies in a home his mother decorated with an Asian influence. Nine CDs, a Grammy nomination and numerous international tours later, Ledet, 36, unveils his new CD and moniker, Accordion Dragon. Two years ago, Ledet began studying Wing Chun, a Chinese martial art that he's applying to music and other areas of his life. What have you learned from Wing Chun? It's about staying in control and not letting your emotions take over. If you let your emotions take over, that's not healthy. Anything can happen. Your blood pressure gets high; you might get mad and do something. By doing the training, it's taught me to be more centered. In other words, be calm. Aren't you bragging by calling yourself “Accordion Dragon”? They called Bruce Lee the dragon. A lot of people don't understand and think dragon might be something bad. But in the Asian culture, dragon is something good. It basically means, if you're a dragon at your art, you've put in the time, you've conditioned yourself. You've done your studies and you’re a master at your art. Now, you are a dragon. Trumpet and sax are seldom heard in today's zydeco. Why did you put them in your new CD? I always wanted to have a horn section, but was scared to put it. You never know what's going to work. You don't want to put something and it messes you up. But on this one, I said I'm going to do it. I like horn sections. The rest of the world likes horn sections. I'm just going to put a couple in there, just for fun, and see how it sounds. It came out really good. You were a Grammy nominee at the age of 30. What was that experience like? I still can't believe it. I can still remember it. We were traveling so such, I completely forgot to vote for myself. When I got the news, I was like, ‘Oh really.’ 10 minutes after that, they flashed it on KATC. I said, ‘Look my name on TV.’ It was a really great feeling. Bonnie Raitt was sitting like four seats over. Taylor Swift damn near bumped into me going down the aisle to get her Grammy. I was like ‘Wow, how do you explain that?’ You've taught beginning accordion several semesters in the University of Louisiana-Lafayette's Traditional Music program. What's the best advice you give students? Start slow. Start basic, just like Wing Chun lessons. I can't go into my Wing Chun class and break 10 bricks. It doesn't work like that. You have to condition your body to be strong enough to do that. Learn simple melodies. Learn the stupid songs that people say, ‘I don't want to learn that.’ That's where you have to start. It's just like a kid going to school for the first time. He has to learn his alphabets before he can start reading a book. —Herman Fuselier

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PHOTO: Kim Welsh

SOUNDCHECK

photo: courtesy of the artist

FRESH

Bobby Rush performing at Bogalusa Blues & Heritage Festival.

SWEET TWEETS Tank and The Bangas @TankandDaBangas Due to unforeseen circumstances, we have to postpone our upcoming European tour to February. The good news is that if you bought tickets, those tickets are still good for our show in February. We apologize for the inconvenience and can’t wait to see our #bangaville fans! Wendell Pierce @WendellPierce Congo Square in New Orleans is the birthplace of jazz. Captured Africans in the slave trade, free to play music on Sundays merged the brass of their European oppressors with that African 6 beat. They found their artistic freedom before their physical freedom and created JAZZ. John Papa Gros @JohnPapaGros Towards the end of Papa Grows Funk, I started working with a vocal coach. My vocal cords were shot. I needed to learn how to sing so my true self could be heard. I still don't feel like I'm where I want to be, but I'm a lot further along than I was. Trombone Shorty @Tromboneshorty Thanks to one of my favorite people #davegrohl @foofighters for swinging by the #voodoothreauxdown #nirvana

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FRESH

SOUNDCHECK

Judah & the Lion plays Voodoo Music + Arts Experience on Sunday, October 28 at 6 p.m.

We have festivals for beignets, why not cheese?

Spiced Hip-Hop

Judah & the Lion’s evolution

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PHOTo: CONNER DWYER, courtesy of the artist

efore Judah & the Lion became the hip-hop-spiced success it is now, the genre-mashing Nashville trio was a folky worship band. Annoyed about being labeled the “Christian” Mumford & Sons, Judah & the Lion chose to evolve. “I was really frustrated with that,” banjo player Nate Zuercher said of being pigeonholed, “because it felt like everyone was going to know exactly what we would do. Like we’d just be a less-good version of Mumford & Sons.” Of course, the music business is always looking for the next big thing. Earlier in this decade, Judah & the Lion fit the profile for being the next Lumineers or Mumford & Sons. “We were approached with deals that potentially would mold us into something we didn’t want to be,” Zuercher said. But Zuercher, Brian Macdonald and singer-guitarist Judah Akers refused to conform. Instead, they took the time and space they needed to develop their own sound and identity. “We played hundreds of shows,” Zuercher recalled. “That truly allowed us to see what works and what connects with people.” During Judah & the Lion’s hundreds of hours on the road, each member of the trio played DJ while they were driving the band’s van. The variety of music they heard during the road trips influenced the band’s musical explorations. Akers, for instance, played rapper 50 Cent’s Get Rich or Die Tryin’ album incessantly. Macdonald favored singer-pianist Ben Folds and other keyboard players, including baroque master J.S. Bach. “I usually had the nightshift,” Zuercher said of the driving. “So, I had to play music that kept me awake—electronic and metal music. Which no one really liked, but I was keeping us alive on the road at four in the morning.” Judah & the Lion formed in 2011 while all three members were attending Belmont University in Nashville. Early on, the band wanted to play folk and bluegrass music. “I don’t think any of us had any idea that we’d end up where we’re at,” Zuercher said. “And we were very open through this entire process—trying new things, being aware of different influences and bringing them to the table.” Judah & the Lion progressed from folk and bluegrass to folk, bluegrass and pop to the folk, hip-hop and rock heard in the group’s 2016 album, Folk Hop N’ Roll. A song from the album, “Take It All Back,” reached number one on Billboard’s Alternative Songs chart. “It’s just crazy to think about everywhere we’ve been and what we’ve gone through to get here,” Zuercher reflected. “I’m just glad we never stopped. We made our decisions, grew up together and trusted that it’s all good.” —John Wirt

he inaugural Fête des Fromages, a festival of cheeses, wines and music takes place November 17 from 11 a.m. to 5 p.m. at the New Orleans Jazz Museum at the U.S. Mint. The festival will offer extensive artisanal cheese sampling, specialty foods, French wine, cider and beer, cooking demonstrations, and talks about the history of cheese with Chef Alex Miles. VIP fest goers will be able to attend a seminar with worldrenowned cheese expert and author Liz Thorpe. Holly Barrett, Festival Director, called in to answer five questions about the upcoming festival. Tell us—how did the idea for the fest come about? It was simple! The host of the Fête des Fromages is the FrenchAmerican Chamber of Commerce, Gulf Coast. Their members all love cheese! Since this is your inaugural year, what might attendees expect when attending the festival? We will have over 100 cheeses from all over the world available for sampling. We are sure everyone will be surprised and delighted to find new and interesting cheeses they may not have tasted before! And since we anticipate folks falling in love with cheeses and wanting to take some home, St. James Cheese Company is hosting an on-site retail shop called Le Marché. What is the role of cheese in our lives and society, and how is that reflected at the festival? Historically speaking, cheese was a fascinating and fortuitous accident. Chef Alex Miles, from Dijon, Burgundy will be speaking on this topic at the Fête. Americans are increasingly eating and loving cheese; if you think about the selection available in a grocery store even 10 years ago it's pretty clear we are hungry for more cheese—and more varieties. What is your own personal favorite cheese? I have a soft spot for good English cheddar. When I was a poor college student in England a piece of cheddar and a hunk of bread was often my dinner! Now, I love to try every possible kind of chèvre I can get my hands on. Anything else you think we should know about the fest? It will be so much more than cheese! There will be some great Louisiana bands on the music stage. Liz Thorpe, the author of The Book of Cheese, will be hosting pairing/tasting seminars. Some great local restaurants will be offering cheesy yummy bites, French wines, craft beers, ciders... And watch local chefs crack 80-pound wheels of Parmesan Reggiano! It promises to be a memorable time. —Holly Hobbs www.OFFBEAT.com

FRESH

Soundcheck

Aretha and Mahalia

Five Questions with Mark Caesar

Mark Ceasar with photo of Aaron Neville

ark Caesar is a New Orleans comedian whose career stretches back well over a decade. He’s also a two-term war veteran whose comedy video “Shit New Orleans Girls Say” has racked up millions of views. In 2011, he founded Piss Yo Pants Comedy, LLC and has since toured internationally. On November 21, he’ll appear at the Mahalia Jackson Theater alongside Shack Brown, A.J. Johnson, Rude Jude and others at A Crunk Azz Comedy Show. How do you describe the comedy landscape in New Orleans? The scene right now is booming. There’s a lineup of comedy shows that’s coming here that’s ridiculous. As far as the landscape for comedians from here, we never had a comedy club. By us not having a club, there’s no place for us to say ‘This is where we go for comedy.’ The closest thing we have to that right now is the Howlin’ Wolf Den. You would think, in a big city, there would be a comedy club. It’s seventh fiddle. Nobody ever goes past second fiddle on something. How did you get your start in New Orleans comedy? I was 15 years old and used to remix songs. I’d take a song and remix it with my friends’ names in it. I remixed 50 Cent’s “P.I.M.P.” to “L.I.M.P.” because one of my friends got hurt playing football. Who were the New Orleans comedians you looked up to? New Orleans comedy is weird. Somebody I used to really like was my homeboy, Brian Bonhagen. He used to perform with a trenchcoat on, no matter what the weather was and was part of the Westbank Mafia. I used to really look up to Bri and his joke-telling style. His style of storytelling... he would take it down, then he’d go up, he’d take it down, then he’d go up, then he’d slam it with a punchline. What about nationally? Who do you look up to? Chris Rock is probably my favorite. But I respect everybody for different things. Rock has his storytelling style. Dave Chappelle has his storytelling style. I like Kevin Hart. I like Katt Williams. I like something from everybody. But as far as, ‘That’s the way to do it,’ that’d be Rock. Has being from New Orleans informed your comedy in a specific way? You get your material from where you’re at. But I’m also blessed to have traveled all over the world and interpret it in my own New Orleans way. I’m ’bout as New Orleans as it gets. I’m from Freret Street. I had gumbo for breakfast today. When people come to see me at shows across this country, that’s what they want to see. They want to see my New Orleans thing. —Amanda Mester

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photo: courtesy of the artist

PHOTo: Amanda Mester

Tonya Boyd-Cannon pays tribute

“I

call them Auntie Aretha and Auntie Mahalia because even though I never met them I feel they poured so much into me—I learned from their words, from their music,” Tonya Boyd-Cannon explains. “I’m related to them in music,” adds the vocalist, who will pay tribute to the two music legends, Aretha Franklin and Mahalia Jackson, on Saturday, November 10 at the Art Garage, 2231 St. Claude Avenue. The event benefits the highly regarded and vitally important Musicians’ Clinic and tickets include food and an open bar. Boyd-Cannon, whose father was a preacher, shares deep roots in the church with both of her idols. She once considered “sticking to gospel, sticking to Christian [music]” as Mahalia did. “Then my heart was calling for music,” she says. “That’s my Aretha side.” The band for this sure-to-be-special performance includes pianist and music director David Torkanowsky, bassist James Singleton and drummer Jamison Ross. “She’s killer,” declares Torkanowsky, who has worked with the vocalist several times and wisely left the decision-making on repertoire up to her. “I think it’s important that Tonya picks the tunes that speak to her.” “The songs that I chose I feel resonated with me as an artist and also my inner child,” Boyd-Cannon says, mentioning tunes, like Mahalia’s moving “Trouble of the World,” that she remembers hearing as a youngster. Boyd-Cannon is a Mississippi native and New Orleans resident who is noted for having reached the top 20 on NBC’s singing competition The Voice. In her selection of Aretha’s hit “(You Make Me Feel Like) A Natural Woman,” she reflects back to Aretha Franklin performing the song at the 2015 Kennedy Center Honors. “I remember her getting up from the piano and taking off that mink coat,” Boyd-Cannon says with the emotion of the moment in her voice. The vocalist also mentions the possibility of doing some personal favorites like “Rock Steady” and “Spirit in the Dark.” “This has been a serious emotional journey for me as an artist, teacher, community leader, wife and mother,” Boyd-Cannon confides. “I’m so honored to have this opportunity that I can only shed tears of gratitude for what these women have done in the music industry for me. Their approach to the music was so peaceful and then when they opened up it was like ‘Oh my god, listen to that voice.’ They were great storytellers in song and were singing through pain and joy.” “Aretha is the voice of the civil rights movement. She was the soundtrack of black America,” Torkanowsky adds. “They both have provided solace to a great number of Americans in times of extreme angst and turmoil. In that sense they were healers.” For further information go to www.artgarage.events/ —Geraldine Wyckoff www.OFFBEAT.com

FRESH

Anniversary Celebration

New Orleans Jazz Museum to showcase history of drum set

30 Years of Rock ’n’ Bowl with John Blancher

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hen John Blancher took over Mid-City Lanes in late 1988, it was a decrepit bowling alley with little promise. He turned it into Rock ’n’ Bowl, which now resides near the intersection of South Carrollton Avenue and Earhart Boulevard (there’s also a secondary location in Lafayette). By 1989, Blancher incorporated live music into the fold and history was made. “My initial concept was to make Rock ’n’ Bowl a great party place. I didn’t envision having bands all the time,” Blancher recalls. “I had heard of zydeco but nobody was really doing it. I booked Nathan & the Zydeco Cha Chas on a Saturday in November of ’92 and I was overwhelmed at the response. Four-hundred people came.” Blancher had stumbled onto a formula that has remained fruitful for well over two decades. When Jazz Fest 1993 rolled around, he decided to try zydeco that Thursday night, since the weekend was already booked up. He called Nathan & the Zydeco Cha Chas back and also John Delafose & the Eunice Playboys. He also took a chance on a relative newcomer at the time by the name of Beau Jocque. “Beau had to stop because the building was shaking so bad,” Blancher tells me. “The wine rack and the pictures at the restaurant downstairs were coming off the walls.” After the raucous debut, it was a no-brainer: Rock ’n’ Bowl would have zydeco every Thursday night. 30 years since its opening, Rock ’n’ Bowl is considered the progenitor of a template recreated by places like Lucky Strike and Brooklyn Bowl. “I think it’s generally accepted that we were really the first bowling alley to do this boutique music performance concept,” says Blancher. In New York City, Brooklyn Bowl is one of the pre-eminent venues in which to see jam and brass bands. Had its owner, Peter Shapiro, had his way, it would have been called Rock ’n’ Bowl. “He wanted to use the name in his place. He offered to license it from me but, at the time, I was hesitant to do something that I wasn’t completely in control of,” Blancher shares. He recalls a conversation he had with Steve Foster, the founder of Lucky Strike, who happened into Rock ’n’ Bowl while visiting New Orleans for Jazz Fest one year and got inspired. “I visited the Lucky Strike in Chicago and when I spoke to the fellow [Steve Foster] that opened it, I told him it was the closest thing I’d seen to my business. His reply was, ‘You’re the guy who invented this.’” On November 29, Nathan & the Zydeco Cha Chas will perform at the New Orleans Rock ’n’ Bowl. Though not advertised as a 30th anniversary celebration, it will definitely be a party. —Amanda Mester

photo: courtesy of Rock 'n' Bowl

ew Orleans is rhythm. It seems like everything that happens in this city is done in rhythm, from the way people strut down the street to the way words bounce out of their mouths. Rhythm is everywhere, and it’s at the center of the city’s incomparably rich musical history. Celebrating this history in rhythm, the New Orleans Jazz Museum is taking a close look at the development of the tool that has provided bands a core rhythm for more than a hundred years: the drum kit. “It’s really about the beginnings of the drum set and the evolution of the New Orleans drumming tradition,” says Jazz Museum Director Greg Lambousy. “And showing that through drum sets themselves but also musical examples and images.” The Jazz Museum Baby Dodds comes as a fitting home for the exhibit, as the genesis of what we know as the modern drum set is closely tied to the history of jazz in New Orleans. It was with jazz musicians that the drums stumbled down their Darwinian path to consolidation. “Drumming in New Orleans has a long history and is important to all the music that we have here,” Lambousy says. “Really the linchpin of the drums itself is the bass drum pedal—when you have that you can add elements, it frees up the hands and feet to play multiple drums and cymbals et cetera.” One of the earliest bass pedals was conceived by New Orleans drummer Edward “Dee Dee” Chandler, who played alongside the John Robicheaux Orchestra in the Storyville brothels as well as high-society hotels in late nineteenth century. It wasn’t long after that brass bands, society bands and early formations of smaller jazz bands realized they could use the tool to avoid paying three drummers, and rather have one man do all the drumming. Much like the music that it was optimized to make, the drum set is a combination of various parts from all over the world—European military drum bass and snares, Turkish cymbals, and Chinese toms. Drawing from the Museum’s archive and elements from the Southern University at New Orleans collection, the exhibit spans from early African and native American drums like Baby Dodds’ drum set, Earl Palmer, James Black, Barbarin brothers, all the way to their contemporaries, with artists like Herlin Riley, Stanton Moore, Shannon Powell and Joe Lastie. Drumsville!: Evolution of the New Orleans Beat opened on October 8 and will run until January 31, 2019. More information can be found on the New Orleans Jazz Museum website. —Noé Cugny

photo: courtesy of the New Orleans Jazz Museum

Drumming Tradition

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Happy Land

Krazy Kat rides again

dd another chapter to the saga of Krazy Kat. The beguiling black comic strip feline of indeterminate gender and heritage celebrates a 105th birthday November 13 with a party at the Treme Coffeehouse. The event marks the paperback release of Michael Tisserand’s masterful biography of Krazy Kat’s creator, George Herriman. Tisserand enlisted John Boutté to “play” Krazy Kat in a song written for the celebration, along with Ben Schenck of the Panorama Jazz Band. The song is a synopsis of the central theme in the Krazy Kat story, Kat’s love for the brick throwing anarchist mouse Ignatz. The song balances the Krazy Kat story with period music from Panorama and a wonderful piece of theater from Boutté. The music is one of the greatest examples of how effective traditional New Orleans jazz can be when applied to twenty-first century culture, as Schenck’s shrewd arrangement and the band’s expressive playing frame a story that has symbolic resonance with several contemporary themes. The band begins to play Krazy Kat’s “Happy Land” theme in a nineteenth-century waltz style before Boutté cuts in and insists they play it at a brisker tempo: “This is a jazz song, not a dreamy waltz.” Gary Washington’s banjo is used in the narrative structure in such a brilliant fashion you could swear Danny Barker had a hand in this deal, especially when Krazy Kat refers to happy land as a place where you get to eat ham and eggs several times a day. “Michael Tisserand approached me about this,” said Schenck, “because Krazy Kat sings that song with a banjo in the comic strip. He suggested that I make something out of the song. There’s not much there to work with, just the ‘Happy Land’ refrain that’s based on a Scottish hymn. Tisserand found the ‘ham and eggs’ verse from a Mark Twain story. So I got together with John Boutté and we came up with some chord changes for the piece. Michael and I worked out a script, then I wrote the music and we recorded it in 18 separate pieces at Oak Street Recording studio with Lu Rojas. Boutté was great. John had an affinity for Krazy Kat. He’s a Krazy Kat fan. Michael called him up and he jumped on it. He kept us all laughing throughout the process.” “Happy Land” will be released in November as part of Panorama’s ongoing “Song of the Month” club. Membership is $3 a month. “That was Michael’s idea,” said Schenck. “He’s a member of the club. We haven’t missed a month since we started it in May of 2014. This is our 55th release. We put out two last December, one for Hanukkah and one for Christmas.” On November 13 Tisserand will hold a book signing and Boutté will be on hand with the Panorama band to play the song live. All bricks will be checked at the door. Panorama’s song of the month club can be found at https:// panoramaland.bandcamp.com/album/song-of-the-month-club-goodmusic-for-you —John Swenson www.OFFBEAT.com

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Michot’s Melody Makers

Past and Present

ichot’s Melody Makers is a band on fire. That passion, energy and innovation drive Blood Moon, the trio’s recording debut. The Melody Makers are Louis Michot, the singing, fiddling cofounder of the Grammy-winning Lost Bayou Ramblers; two other Ramblers, bassist Bryan Webre and drummer Kirkland Middleton; and guitarist Mark Bingham. Together, the modern Cajun quartet gives the traditional music of Acadiana a pulsating new twist. “We made a lot of choices about which direction to go,” Michot said recently on the back porch at Bayou Teche Brewing in Arnaudville. “It’s been a lot of experimenting and musicians following me on the spot. We synthesized old French tunes to our rhythms.” Michot’s Melody Makers evolved from Les Brasseurs, which translates to the Brewers. The group played its first gig in 2015 at the Pine Box Rock Shop in Brooklyn, New York. Michot envisioned the Melody Makers as a band with simpler instrumentation that could fit in venues of any size.. “Because the Ramblers’ sound is so massive, it’s hard for us to play a small club,” he said. “The Melody Makers is me being able to play any time and any place I want. I can bring whoever’s available and just have fun with it.” The Melody Makers planned to record their debut album during a July residency at the Saturn Bar in New Orleans. The process began with making a huge list of songs. Michot liked the band’s initial Saturn Bar recordings, but then decided to continue recording and see what happened. “The whole thing about playing the Saturn Bar is we gave ourselves the space to explore as much as possible within

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the structures of the songs,” he said. For Michot, the Melody Makers’ Saturn Bar sets were also his attempt to connect Cajun music’s past and present. “A lot of the songs I play are super old songs that didn’t become standards. So, this was a chance for us to figure out what the original performers of these songs, a hundred years ago, had in mind. They had an unspoken communication and ability, almost on a different level than the way we play music today.” A promotional appearance on WWOZ that Michot made for the Saturn Bar residency caught the attention of Sinking City Records. The local label expressed interest in releasing a Michot’s Melody Makers album, either recorded on a show or in a studio. Circumstances aligned at the end of July. Dockside Studio was available and Lost Bayou Ramblers’ by John Wirt

New York–based producer Korey Richey, a former Rambler whose studio credits include Arcade Fire and LCD Soundsystem, was in Louisiana. Michot and Lost Bayou Ramblers have a long history with Dockside, the Acadiana studio where the Ramblers recorded their albums Vermilionaire, Mammoth Waltz and last year’s Grammywinning Kalenda. “Dockside is where the magic is,” Michot said. “So, I said, ‘Let’s do it.’” Richey, the Melody Makers and guest musicians recorded Blood Moon in thirty-six hours on July 28 and July 29. “Korey put the limit on us,” Michot said. “No overdubs once we left the studio. We worked our butts off. We used all that creative energy from the Saturn Bar and put it into Dockside in one short window. I love immediacy.” Michot’s Melody Makers has gigs booked through January,

including the group’s Monday night residency in October at d.b.a. Lost Bayou Ramblers are also scheduled to record two film scores during the final months of the year. Ironically, the Ramblers announced they’d take a hiatus in 2018. “My brother, Andre, and I talked about it more than a year ago,” Michot said. “We felt that we’d just been pushing and pushing and pushing. We were like, ‘You know what? It’s probably a good time for a hiatus.’ Because the artist’s lifestyle, as everyone knows, is not a simple or an easy way to make a living. But you do it because you love it. We’d been doing it for almost 20 years.” The Ramblers timed the hiatus to summer 2018. But then, in November 2017, Kalenda received a Grammy nomination. When the nomination subsequently yielded a Grammy win, the Ramblers delayed their hiatus until fall 2018. Although winning a Grammy has never been a goal for Lost Bayou Ramblers, Michot said, “it has been exciting that we won. So many people expressed so much love and happiness and joy for us. And it’s still going on. But we are definitely ready to take a break. Just because it’s something that we’ve never tried. We had not stopped since the day we started.” With a few exceptions, including an October 25 appearance at Sony Hall in New York City, Lost Bayou Ramblers won’t be performing in the near future. Individual Ramblers, however, will stay busy with their various musical activities. “Really, it’s a break from touring,” Michot explained. “I think it’ll be really good for the creative process. And we’ll all be playing plenty of music during the hiatus, just not with the Ramblers.” Michot’s Melody Makers plays Mondays in October at d.b.a. O www.OFFBEAT.com

Photo: Zach Smith courtesy of the artisT

Michot’s Melody Makers gives the traditional music of Acadiana a pulsating new twist.

Kelcy Mae

A Bar for Every Mood

ew Orleanians know that whether you’re looking to celebrate, dance, hang out, or heal a broken heart, there is a bar in this city for you. Just ask Kelcy Mae, frontwoman/songwriter of Ever More Nest. Kelcy was born in Shreveport and musically nurtured in New Orleans. When she’s not on the road with her new band or catching a Saints game, she often finds herself indulging in the city’s favorite pastime. What does bar culture in New Orleans mean for you? I’m a sucker for a good adult beverage, so whether it’s a solid craft brew, craft cocktail, or a classic cocktail like the Sazerac, I love the fact that you can find whatever you’ve got a taste for at just about any hour. There are so many different types of bars and they all have their moment. There’s a certain kind of bar for that 3 a.m. “I don’t want the night to end” drink (e.g. Brother’s III) versus the kind of bar you hit when you’re looking for a low-key before-drink (e.g. Swirl). And then of course, there are bars for Saints games, bars for happy hour, bars for music, and bars good for other occasions. When it comes to what I look for a in a bar I usually prefer something comfortable, dimly lit, and with helpful, knowledgeable bartenders. A good playlist or jukebox is necessary if it's not a live music venue. Food options never hurt. I'm big on feng shui—the arrangement and energy needs to feel just right. What’s your go-to bar for a tete-a-tete? I like the Bombay Club for this kind of thing. It’s often quiet and dim, a great hideaway in the Quarter with top-notch martinis. Uptown, I like the intimacy of Sovereign Pub. Treo is nice too,

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especially during happy hour when the sun starts to set. Where do you go to get crazy? I don’t do a whole lot of crazygetting anymore. Historically for me that was Molly’s at the Market on Decatur. I spent a lot of time there in college and post-Katrina. These days, crazygetting usually involves a beer and a shot special, so maybe the Seahorse on Gentilly or Pal’s in Mid-City. Where do you go to listen to music? Siberia Lounge and Chickie Wah Wah. Most of my favorite local artists play one or both of these spots. Chickie Wah Wah is probably my favorite listening room, but Siberia Lounge has the added benefit of phenomenal food and cheaper drinks. A newer spot I’m looking to spend by Stacey Leigh Bridewell

more time in for music is Portside Lounge. The tiki vibe combined with food pop-ups and diverse musical lineups offers something a little different and off the beaten path. Arguably you could say all of these spots are a little off the beaten path. Who’s got the best bang for the buck? The Chart Room, my handsdown favorite stop in the French Quarter. I’m always astounded at the totals as I walk away from the bar with hands full of drinks for the group. It’s also a nice respite from the costly, tourist-filled bars that fill the Quarter. Which bar has the best popup? I’m a sucker for Crack Burger at Pal’s. Midnight Noodle was another favorite when they’d set up shop outside of Sidney’s, but they’ve now got a permanent

setup at the Catahoula Hotel. You can usually find great pop-ups outside of either of those bars on weekends. Have you ever done your laundry in a bar? I’ve not done my laundry in a bar, but I’ve accompanied some folks who did their laundry for a time at Igor’s Buddha Belly on Magazine. We ended up there on a night where they were showing The Big Lebowski and hosting a drunken plastic bowling tournament. My friends won and were awarded a round of White Russians—all the while doing laundry. It was definitely one of those “only in New Orleans” kind of nights. Do you feel there are any bars in New Orleans that are particularly inclusive? Rest in peace, Handsome Willy’s. You could always find folks of all walks of life having a drink in there, whether it was a random Tuesday night or in the hours surrounding a Saints game. It was a gem of a bar. As a member of the LGBTQ community, I’ve certainly frequented a number of inclusive gay bars. Good Friends hosts a reliably good karaoke on Tuesdays. You’ve got one night in New Orleans, one bar to go? If it’s me, I want to go somewhere low-key with good people-watching and a great jukebox. A place like Pal’s or Molly’s. But if I’m recommending a place for visitors, people who want that New Orleans experience, you can get a full, wild night out of the Maple Leaf, Lafitte’s Blacksmith Shop, or Le Bon Temps. Check out Kelcy Mae’s new album with Ever More Nest, The Place That You Call Home, reviewed in this issue and available on iTunes. O www.OFFBEAT.com

Photo: Greg Miles courtesy of the artist

Singer-songwriter Kelcy Mae talks about her favorite places to imbibe in New Orleans.

Andre Courville

Hitting His Prime

ndré Courville lives two minutes from the Atchafalaya Basin, America's largest river swamp. At nearly one million acres, the Basin is a wildlife wonderland, home to 65 species of reptiles and amphibians and 100 different species of fish. More than 20 million pounds of crawfish are harvested from Basin waters every year, and Courville joyfully pulls as many he can for his boiling and étouffée purposes. But this avid fisherman often departs from his rod, reel and crawfish nets. He's off to Carnegie Hall, a recording session in Italy or a date at the Badisches Staatstheater Karlsruhe in Germany. Courville, 32, a French-speaking Cajun who lives next door to his parents in Henderson, Louisiana, is a rising star in opera. He loves the human voice as much as he loves catching an ice chest full of crabs at Grand Chenier. “There’s an intimacy with the human voice, my voice going into your ears, filling your body with the emotion I’m sending through the song,” said Courville. “Somebody singing on a stage, before three-or four-thousand people, can make every single one of these people feel something. “If you think about the vocal cords, they're just about an inch long. They’re just two little flaps of flesh. They’re so delicate, but they can create so much power.” Courville has been using his vocal chords to create a bassbaritone that's been delighting the emotions for more than a decade. Opera News described Courville as “jaw-dropping” with “unleashed charm and confidence for days.” The Philadelphia Inquirer said his performance as the operatic demon Méphistophélès [from

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Gounod’s “Faust”] “had a rich, enormous sound, and was deliciously evil.” Opera magazine of the UK praised him as “one of AVA's most gifted singers, the role of Mustafa [Rossini’s “L'italiana in Algeri”] showed off his fine timbre and technique.” Courville has won top awards in national and international contests, including first prize in the Loren L. Zachary National Vocal Competition and top prize in the Gerda Lissner Foundation International Vocal Competition. The honors and praise are ironic for a rising star who had dreams of being a lawyer. Courville was soundly discouraged when he decided to pursue opera. The bug bit at the age of 16, after Courville's childhood as a singer and pianist at St. Joseph Church in Cecilia, Louisiana. He was determined to take opera lessons after seeing a touring company in nearby Lafayette. Courville was valedictorian of the 2004 class at Cecilia High School. He enrolled at Loyola by Herman Fuselier

University in New Orleans, where he heard a bass student sing the old Negro spiritual, “Swing Low, Sweet Chariot.” “His voice was so powerful, it penetrated my heart, in a way that nothing had ever made me feel that way,” said Courville. “I thought, ‘Oh my God, I want to be able to make people feel that way.’ I want to be able to touch people like that. That’s something that the human voice can only do.” Courville dismissed life as a lawyer. But as a new opera student, he was told to go back to the swamp. “My voice teacher at Loyola said ‘Oh, I don’t think you really have the voice to sing opera,’” said Courville. “‘You can do a few things, but I don’t think you’re going to have an opera career.’” “Unfortunately, he’s dead now, so I can’t tell him. I had that little voice in my head wanting to prove all these people wrong.” Courville stopped singing after Hurricane Katrina upended his

life in New Orleans. He eventually landed in Philadelphia and trained at the Academy of Vocal Arts, renowned as an opera boot camp. His performances began to receive critical acclaim. Competitions brought him more success until he graduated and earned contracts with the Dallas Opera. Courville continues to build his reputation as one of opera's top voices on stages stretching from South Carolina to Kazakhstan. Yet he prefers to live in St. Martin Parish, in a family home that he remodeled. His Atchafalaya retreat is minutes away. “I just sit out in the boat and have peace. My life is so noisy, with horns in the ear and the director yelling. I go out in the Basin and have complete silence. “You can see the stars. It’s my peace. It’s my happiness. It’s really special for me.” Courville's upcoming performances include Handel’s “Messiah,” December 1 at Yavapai College in Prescott, Arizona; Figaro in Mozart’s “Le Nozze di Figaro,” April 5-14 with the Arizona Opera in Phoenix and Tucson; and Zuniga in Bizet’s “Carmen” with Opera Louisiane April 26 and 28 in Baton Rouge. Courville looks forward to a long career of touching lives with his voice. “Basses have really long careers. They can sing into their seventies, if they choose. Some sopranos and lighter voices maybe don’t have as long a life span. “But my career is just beginning. I’m hitting my prime very soon. I’m excited. I plan to sing as long as I can. It’s my passion. It’s fun. It’s always new, always different. It keeps life interesting.” O www.OFFBEAT.com

Photo: courtesy of the artist

Meet the crawfish-catching opera star André Courville.

HARMONICA

Blowin’ Like Hell

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Johnny Sansone However, some of the best players came together right here in town, something Johnny helped to promote. “Back in the 1990s we had a small club of harp players called the Brotherhood of the Iron and we would meet once a week,” he says. “Bruce Sunpie Barnes, Benny Maygarden, J. Monque'D, Andy J. Forest, Rockin' Jake and several more. We had a blues harmonica show that we hosted every year at Jazz Fest for over 24 years. I created a band with a few of my students called the King Biscuit Boys—we would have a regular Monday night gig at a

barbecue place and I would ask the members to switch instruments so everyone in the band could not only play harp but understand how to back a harp, as well as learning to play other instruments. The band members included Greg Izor and Thomas Walker, both to this day my favorite tone players who continue to amaze me. “There are several great harp players working locally on a regular basis, like Smoky Greenwell, Johnny Mastro, Jersey Slim. We also have the Crescent City Harmonica Club with instruction on playing, customizing and repairing harmonicas. And

Jason Ricci by Paddy Wells

the latest high-water mark, supernatural harmonica bad boy Jason Ricci moved back to New Orleans.” Virtuosic wunderkind Jason Ricci has indeed been back in town for the last three years, and says he hoped moving to New Orleans would inform his playing. “If that's happening and somebody else has heard that in my music since I moved here, that would be a big compliment,” says Jason. “I've definitely tried to make that happen. I recorded a song on my new record with JJ [Appleton] called ‘Geaux Nuts Kids,’ which is all an accordion imitation—my imitation of the stuff I hear around here. So it's definitely affected what I'm doing—whether I'm doing it right or not, I'll let New Orleans judge!” Jason is also among those taking part in a unique event coming to town soon. The Harmonica MiniCollective, at Chickie Wah Wah on November 1–3, will feature three full days of instruction from some of the best harp players in the world. Jason Ricci, Winslow Yerxa, John Nemeth, Rick Estrin and Hank Shreve will be holding workshops, with special performances in the evening. You can expect to see Smoky Greenwell and Johnny Sansone there, too. “I think people coming to the event will naturally ascribe significance to the location, because this is a music city,” says Jason. “The last couple of times we did this it was in Indiana, so there's a little more of a party vibe this time. I would definitely recommend people get their tickets right away—it would be really cool if we get a local following. And if we get anyone who is interested in playing harmonica coming out from New Orleans that would be great too!” O www.OFFBEAT.com

photo: courtesy of the artist

“I

f you don't live it, it won't come out of your horn.” Charlie Parker's famous quote is especially true of musicians residing in New Orleans—something happens when you live in this city that bends the music to its will. It gets in your bones. If the strident horns, loping funk guitar and swinging piano all sound just a little different here than anywhere else, then so too does the harmonica coming out of New Orleans. While the city may not be as readily associated with harp players as somewhere like Chicago, New Orleans is home to some of the instrument's finest contemporary exponents. Among them is Smoky Greenwell, who moved here from Nashville in 1989 and has been a mainstay on the live music scene ever since. After getting a job playing on Bourbon Street five nights a week, Smoky admits he got schooled in the blues of New Orleans pretty quickly. “Coming from Nashville—where I'd had a band with Warren Haynes—I still had a lot of country in my playing. So while I thought I was a real bluesman when I arrived, because of my time with blues bands there, I soon realized I had a lot to learn as far as playing blues goes!” he laughs. “The whole funk scene here is definitely in my DNA at this point too,” he adds. “I played with War for two years, which was a blues/ funk band, so hopefully a lot of that rubbed off on me. There's a great smorgasbord of music here.” Johnny Sansone, also resident in NOLA since the mid-’80s, points out that Baton Rouge was betterknown as a harmonica city, with notable players that helped shape rock ’n’ roll in subsequent decades, such as Slim Harpo, Lazy Lester, Raful Neal and Whispering Smith.

PHOTO: Jerry Moran courtesy of the artist.

Smoky Greenwell, Johnny Sansone and Jason Ricci at the Harmonica Mini-Collective

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NO VEMBER 2018

MORTON The son of a New Orleans pastor takes musical destiny into his own hands and tackles the legacy of Buddy Bolden. By Amanda Mester photos by Elsa Hahne

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Nearly three years ago, New Orleans native son PJ Morton returned home after leaving the city to pursue life elsewhere. He was gone 13 years, during which time the pianist, singer and songwriter flourished into a solo recording artist and, eventually, a member of pop-rock juggernaut Maroon 5. In 2017, he released Gumbo, the first studio album he’d ever recorded in New Orleans. As its title suggests, it’s a pastiche of what makes PJ, PJ: soulful songwriting, a penchant for the romantic, the search for acceptance and plenty of flavor. The album earned him two GRAMMY nominations and solidified his status as a once-in-ageneration talent: The man can play, sing, write and perform. It’s the New Orleans in him. More specifically, it’s the New Orleans church in him. He’s the child of two lifelong spiritual leaders, both of whom presided over the largest congregation in town at Greater St. Stephen Baptist Church (GSS). His dad is Bishop Paul S. Morton, who moved to New Orleans from Canada in 1972. “That’s where God told me to come to,” he says. “I believe that’s where my destiny was.” The senior Morton met and fell in love with PJ’s mother, Debra, at GSS, which her grandmother had been involved with since its inception. “She caught my attention the first time I saw her,” the Bishop recalls. “When I came to Greater St. Stephen, I saw her singing in the pulpit area and I said ‘Who is she?’ I moved so quick. The Lord told me to move to New Orleans and the same voice told me that was going to be my wife. When I told her that, she said ‘Have you lost your mind? I don’t even know you!’ She thought it was some kind of game. It worked out. We’ve been married 41 years.” Together, the Mortons started a family and PJ was literally raised in their church. From the age of two, Paul Morton, Jr. attended services— sometimes three times a week—and would eventually attend the school on the church property. Like generations of American musicians, church was also his first stage. His father presciently recorded many of PJ’s earliest performances, preserving on film the growth from a toddler playing drums, to a toddler dancing like Michael Jackson, to a child with a guitar, then a keyboard. “I credit the church for a lot of who I am as a soul artist, as a performer, as a songwriter,” he says. “It prepared me for performing in front of an audience. I had a built-in audience that I played for every week. You knew what worked and what didn’t, because you got an instant reaction. I wrote a lot of my songs in church, on the organ. I think church, especially a church like my dad’s where music is a huge focal point, is the best training ground. You can play a calypso song in church, you can play a reggae gospel song, and you can play a straight-up gospel song. I was prepared for any type of music. And not just music. I was prepared for any type of situation because, when the spirit moves in church, you just go with it. And things can change very quickly.” Things have changed a lot for PJ since he came home. In September, Maroon 5 will headline the Superbowl LIII halftime show in 2019. As of the writing of this story, PJ (along with the remaining band members) has the number-one song in the country, the Cardi B-assisted “Girls Like You.” And on November 9, he’ll release a solo Christmas album. He’s also in the throes of the most successful chapter of his solo career to date, serving up Gumbo around the world. Together with his wife Kortni and their three children, PJ sat in the OffBeat offices describing Morton Records, the label he started when he first moved back. Actually, he’s telling me about the sneaker store he was planning to open instead, until he realized things hadn’t really gotten any better for musicians since he’d moved away. He noticed a lack of infrastructure and, instead of looking for someone to fix it, opted to become part of the solution. www.OFFBEAT.com

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CO V

ER S TOR Y

“One thing I wanted to make sure I put emphasis on here is making records, songs that aren’t on the radio. There wasn’t really anybody while I was growing up, outside of Allen Toussaint, that I could point to as a songwriter. There were performers everywhere. I could learn how to play a trumpet. I could learn how to play keys. Nobody told me how to write a song and how to publish a song and how to produce a song for someone else. Coming home, that became more important to me than just signing artists,” he says. Part of his decision to leave for college in Atlanta was the absence of an ecosystem here for musicians looking to do more than learn an instrument. While away, he released three studio albums: Emotions (2005), Walk Alone (2010) and New Orleans (2013). He’d do work in Los Angeles, New York and his college town but New Orleans was rarely PJ Morton stands in on labels’ radar. In Atlanta, a club called Apache offered young talents front of the former a place to try things on for size every location of the Greater Wednesday night. It’s where India. St. Stephen Full Gospel Arie got her start and where PJ first Church on Liberty saw Janelle Monáe. It also served as Street in Central City. an example of something he could bring home one day. “That’s why I started my monthly thing at the Ace Hotel,” he says of his now-bygone Soundbytes residency at Three Keys. “I basically followed that same format that I was used to. CoolNasty made something similar happen at the Jazz Market and that’s vital. And that’s the reason it’s blowing up. It’s packed on Wednesdays, because people need a way to jam and express themselves without it having to be a proper show that they’re booking.” For PJ, an artist whose story is tied directly to the expression of identity, New Orleans has always been a place for creatives to blossom. There is, though, a noticeable difference from the time he left. “It’s a little freer now, the way people think. It’s a little more open here now... If you look at James Booker, he was a weirdo. New Orleans has always celebrated that, but being successful at being weird hadn’t been celebrated as much. It was like, ‘Don’t get too big. Be weird, but don’t start having these huge dreams.’ We’ve always embraced the left-of-center, but now it’s okay to be successful. “I think that’s what’s happening with young black creatives in general. Part of the gift and curse of the internet is you had to start branding yourself. Now, it’s second nature. We weren’t used to posting pictures of ourselves. Now you have all the tools you need to look like a major. They’re empowered. I’m empowered. Being punk rock now

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is signing the biggest corporate deal with somebody, whereas it was frowned upon before. I think we’ve gotten smarter about how we’re doing it, and there’s ownership involved. So long as it’s on your terms, I celebrate it.” As the son of a pastor, selfexpression as PJ, the person, was something he had to fight for well before he formed his own musical identity. “I remember once, I was listening to a Missy Elliott CD and there was a song with Busta Rhymes on it and he said ‘eff that’ in the intro. You know when you start your car and the first song pops on? My dad took it out and broke it,” he recalls with laughter. “I just was never straightforward in the sense of my thought pattern and the way I looked at things,” he remembers of his high-school years at St. Augustine. “I always dressed different. I remember during my 8th grade year at St. Aug, I was wearing some Timberlands when everyone else was wearing Polos and G-Nikes. I was going left when other people were going right. If I wasn’t confident, it could’ve broke me.” Four-letter-words in music and divergent fashion choices would be the least of his troubles. At some point, PJ had to tell his parents that he didn’t want to be a full-blown gospel musician (much less a pastor). He also had to reckon with his own feelings about choosing soul music over the church. “In the very beginning, I hadn’t decided fully that I wasn’t going to be a gospel musician but knew that I wanted to write other kinds of music. There was a little struggle when I decided I didn’t want to make gospel music. I didn’t want to disappoint my family or my church family. It was taught, initially, that I was doing something wrong. But my gut told me different. To fight with that was really an internal struggle. “All of that built the foundation of who I am. But at the same time, some of the rules and some of the boxes that were made were totally what I didn’t want to be. I’m grateful for my upbringing. I really embrace it now, whereas, at one time, I was probably running away from it. Now, I’m empowered to embrace it.” In one particular conversation with his pops, PJ was shown an example of the unconditional. “I was in Atlanta at my brother-in-law’s house when I was about 17 and called my dad and was, like, ‘Man, I’m really trying, but this isn’t me. Now, I’m forcing it.’ Immediately, he said ‘Yeah, I know. You gotta be different than I was. You’re gonna touch people, the same amount of people or even more than me, but you’re gonna do it in a different way.’ I think, at that point, he knew his son and knew that it wasn’t rebellion at that point, it was a calling.” www.OFFBEAT.com

“In the very beginning, I hadn’t decided fully that I wasn’t going to be a gospel musician but knew that I wanted to write other kinds of music. There was a little struggle when I decided I didn’t want to make gospel music. I didn’t want to disappoint my family or my church family. Bishop Morton exudes unfettered fatherly pride when he’s asked about the day he learned his son wouldn’t follow in his footsteps. But he says there was momentary concern. “I wanted him to preach. I mean, he’s Paul Morton, Jr.!” he says with a chuckle. “In the church so many times when we talk about secular music, it’s totally opposite from church music. But he explained to me, ‘Dad, the Bible talks about love. If we can talk about love, why can’t I sing about love?’ He got me. So often we box ourselves in as it relates to not really knowing the whole meaning of love. So I gave him my blessing.” PJ’s mother, on the other hand, needed less convincing. The freespirited Debra taught her son about the Beatles and the music of the Sixties and Seventies. “She was always hip,” he tells me. “She was the one that wanted to move to New York City when they first got married. Not that my dad wasn’t cool, but he was always disciplined. My mom’s crazy. She’s the best.” Since his parents’ blessing, PJ’s career has gifted us collaborations with Busta Rhymes, Lil Wayne (he was once signed to Young Money) and his stylistic doppelganger Stevie Wonder. No big deal, right? As if the studio version of Gumbo wasn’t satisfying enough, PJ released a live version earlier this year, Gumbo Unplugged (Live), which included a 22-member orchestra and appearances from BJ The Chicago Kid, Anthony Hamilton, Keyon Harrold and Lecrae. The recording was filmed and, much like his father’s home videos of yesteryear, the footage documents the gifts of a virtuoso. “I tell people, ‘I know he’s my son. But he’s a genius,’” Bishop Morton says. “The way he puts it together, the way he plays, the way he sings, the way he writes music. For it to be all wrapped up in one person is amazing.” Watching PJ perform is, indeed, epic. His talent isn’t relegated only to the buttery tone of his voice or the way he tickles the keys; the true magic lies in his ability to flood the room with whatever it was he was feeling when he wrote the song he’s performing. When you watch PJ play music, you’re watching him write in his journal. “That’s why I got into music, to express myself as purely as possible,” he says. When I ask him if he’s ever afraid of losing his means of emotional conveyance to the clutches of superstardom, he says yes. “My biggest fear is somebody taking control of that and trying to muzzle it or change it. For that reason, I’ve turned down many situations.” Even within the context of Maroon 5, his individuality has been celebrated. “I never felt like I couldn’t be myself. They found me as a solo artist, so that was already understood. I mean, I’ve opened up tours as PJ Morton and closed as Maroon 5. That’s what I mean about not selling out. I’m down with this, as long as I can be PJ.” Looking forward, PJ is continuing his work at the helm of Morton Records. His most recent signee is a producer/songwriter, a choice reflecting his desire to make New Orleans a breeding ground for future Allen Toussaints. He’s also breaking ground on work to preserve the www.OFFBEAT.com

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CO V

ER S TOR Y

PJ Morton his wife Kortni and their three children standing outside of Buddy Bolden's former home on First Street in Central City.

legacy of another New Orleans luminary: Buddy Bolden, a man whose legacy is undisputed, despite there existing not a single recording of his music and only one photograph of his person. After Hurricane Katrina, the Mortons returned to Greater St. Stephen Baptist Church at the corner of South Liberty and First Streets. They wanted to expand by purchasing the property directly around the main church building and, in so doing, unknowingly bought the house Buddy and his family lived in on the 2300 block of First Street. Like most things about Buddy Bolden, the details are murky. What does seem to be proven is his longtime address. In his 1978 book In Search of Buddy Bolden: First Man of Jazz, Donald M. Marquis says the Boldens lived at 2309 First Street from 1887 to 1905, citing Soards’ New Orleans City Directory. Despite its historic nature, one would never know that the trumpeter and man credited with popularizing jazz music ever stepped foot on that block. In a city which profits from its “Birthplace of Jazz” moniker, Buddy Bolden’s house sits dilapidated and boarded up. It’s an eyesore, really. There has been acrimonious debate about who’s responsible for preserving the house for years. Preservation societies, city bureaucracies and private citizens have all contributed their vociferous opinions about just what ought to happen with the place. This past August, New Orleans City Councilman Jay H. Banks put the responsibility of preserving the house to the Mortons, saying “We [the City] do not have the legal authority” to force the owners to do any kind of historic preservation on private property. “When I first came into ownership of the property, the houses surrounding it were fixed up,” Bishop Morton recalls when he’s asked about when he found out about owning Buddy’s house. “When we first were interested in expanding our property we wanted to tear the house down, but the city told us we couldn’t because it was a historic house, and we had no problem with that.” In fact, he says Greater St. Stephen is committed to providing financial help to make sure the house is preserved. PJ Morton has stepped in as the face of the renovation and preservation project for the Bolden house. Like Buddy did with his turnof-the-century band, PJ has taken the lead on turning the tide of New Orleans music history. He would have done it sooner, but, well, nobody told him. “I was probably there three times a week my entire childhood and all that time, I had no idea that this house was 10 steps away. No idea. And neither did they, by the way,” he says of his family. The Mortons began noticing people lining up, making pilgrimages from around the

“What gives me chills every time I talk about it is this is supposedly the house where Buddy sat on the stoop because he got kicked out of his house for playing his horn too loud. His friend down the street heard him playing the horn and that started the band they created together that started jazz music. That gives me chills. That stoop is there.

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world to see Bolden’s former home. As more attention became focused on the location, so did the pressure placed on PJ’s family. He says he’s only known his family owned the house for a little over a year. “My friend Todd took me to dinner and was like, ‘Hey man, you know your parents own Buddy Bolden’s house?’ To be honest, I wasn’t even fully hip on Buddy Bolden. I had to catch up. This was, like, a year and a half ago. I go and look him up and I’m like, ‘What? First of all, no, they can’t knock it down and, two, I wanna take this on.’” Naturally, his decision to take on such a consequential role comes with its fair share of criticism. Almost immediately upon learning of his family’s unwitting ownership of the house, PJ was thrown into a new, sometimes aggressive, world. “People started reaching out to me a week after I found out and started asking me what I was gonna do. I really don’t know how people found out that I’d found out. I think somebody might have called the church and they said ‘PJ is going to be handling it.’ A lot of hatred was coming. A lot of people have expectations when something’s not in their hands. People just don’t know. I am excited about it. I don’t want people to make me less excited about it.” The GRAMMY-nominated, globetrotting, undisputed prince of contemporary New Orleans soul music is reverential when talking about Buddy. “What gives me chills every time I talk about it is this is supposedly the house where Buddy sat on the stoop because he got kicked out of his house for playing his horn too loud. His friend down the street heard him playing the horn and that started the band they created together that started jazz music. That gives me chills. That stoop is there. It may not have been that exact story, but that stoop is there. This is the stoop that created jazz. It’s oral tradition. King Oliver says that’s the first time he heard Buddy’s horn. Louis says he heard it from King Oliver. That’s why I want to make sure it’s taken care of.” Sharing stomping grounds and a love for music aren’t the only things tying Buddy and PJ together. As Marquis writes in his book, “Of the early experiences that helped form Bolden’s musical instincts, one of the most obvious influences would have been the Baptist church. www.OFFBEAT.com

The Boldens were Baptist as far back as can be traced… [Buddy] was baptized in the St. John Baptist Church on First Street... As a youngster, he probably suffered any typical child’s impatience with too much confinement in church, but he no doubt joined in the clapping and singing and began to get a feeling for the spirituals and hymns that would remain with him.” Despite all of the self-actualization PJ holds dear to him as a creative, he is following in his dad’s footsteps. At least, kind of. His dad moved to New Orleans and shepherded the masses by changing the landscape of worship in the city. PJ just so happened to move back home at the time of the Bolden revelation and is now poised to create a new kind of place for worship. “I want it to be somewhat of a Y.M.C.A. for musicians. I want this to be a clubhouse. I’m going to call it Buddy’s House,” he says with so much glee in his voice, it’s as palpable as it is when he’s on singing on stage. In his vision, kids who utilize Buddy’s House will have a membership, which comes with perks like studio time. Experts will be flown in from around the world to talk to members about songwriting, publishing, intellectual property, engineering, producing and more. “I think there are enough things in New Orleans that show people about being a musician and playing,” he adds. There will also be a historic component, focusing on the lineage of American music Bolden helped innovate, from jazz, to R&B, to soul, to hip-hop. “I didn’t grow up in Central City but I was there three times a week throughout childhood and I think the only thing that separates me from a kid growing up in Central City is access,” says PJ. “The next part is fundraising to get it up so the house doesn’t literally fall over. This is not something I need to do on my own. I’m happy to be the leader and the face of it. I have the full vision. But I welcome all help. I know I’m a busy person, and things may not be happening as fast as they’d like. I just want people to know that the vision is clear and the love is there. Let’s just continue to praise the culture.” Before breaking ground on Buddy’s House, PJ will come back from the Gumbo tour to celebrate the holidays at the House of Blues on November 23, Black Friday. There, he’ll perform material from Christmas with PJ, a holiday album that is the culmination of his spiritual and secular backgrounds. It’s extemporaneous and exploratory, too, much like the performance style he developed in church. There’s a reggae version of “Winter Wonderland.” There’s an original gospel song, a record featuring Yolanda Adams, and an original lullaby written for his daughter, Peyton. The most quintessentially PJ song on it, though, is the bounce version of Donny Hathaway’s 1970 holiday homage, “This Christmas.” That’s right. We’re twerkin’ for Jesus this year, y’all. “For every one of the songs, I was thinking how I was going to present them,” says PJ. “On Twitter, maybe two years ago, somebody said ‘When you do a Christmas album, you have to do a bounce version of ‘This Christmas,’ and it’s stuck with me. When I came back to it, I started to mess around with the bounce beat and it just went perfectly. I went all the way there with the string orchestra and the horns on top of the bounce beat. I don’t think anyone’s gone that far, to have an orchestra over bounce drums. But that’s me, though! That’s the dichotomy of PJ. A brown beat for Jesus’ birthday with a full orchestra on it. Come on!” That song is just the latest in a long line of examples from PJ’s blueprint to success. “I stuck around long enough for it to change from people not accepting it to people respecting it. I’m starting to see that people really respect that I did it my way.” O www.OFFBEAT.com

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MEDITERRANEAN Mona’s Café: 504 Frenchmen St., 949-4115

MEXICAN/CARIBBEAN/SPANISH Barú Bistro & Tapas: 3700 Magazine St., 895-2225 El Gato Negro: 81 French Market Place, 525-9846; 300 Harrison Ave., 488-0107; 800 S Peters St., 309-8804 Juan’s Flying Burrito: 2018 Magazine St., 569-0000

MUSIC ON THE MENU

AMERICAN Poppy’s Time Out Sports Bar & Grill: 1 Poydras St., 247-9265 Port of Call: 838 Esplanade Ave., 523-0120

BARBECUE The Joint: 701 Mazant St., 949-3232

COFFEE HOUSE Café du Monde: 800 Decatur St., 525-4544 Morning Call Coffee Stand: 56 Dreyfous Dr., (504) 300-1157

CREOLE/CAJUN Cochon: 930 Tchoupitoulas St., 588-2123 Cornet: 700 Bourbon St., 523-1485 Galatoire’s: 209 Bourbon St., 525-2021 Gumbo Shop: 630 St. Peter St., 525-1486 New Orleans Creole Cookery: 508 Toulouse St., 524-9632

FINE DINING Commander’s Palace: 1403 Washington Ave., 899-8221 Josephine Estelle: Ace Hotel, 600 Carondelet St., 930-3070 Mr. B’s Bistro: 201 Royal St. 523-2078

FRENCH Café Degas: 3127 Esplanade Ave., 945-5635 La Crepe Nanou: 1410 Robert St., 899-2670

GERMAN Bratz Y'all: 617-B Piety St., 301-3222

Banks Street Bar & Grill: 4401 Banks St., 486-0258 Buffa’s: 1001 Esplanade Ave., 949-0038 Chickie Wah Wah: 2828 Canal St., 304-4714 Gattuso’s: 435 Huey P Long Ave., Gretna, 368-1114 House of Blues: 225 Decatur St., 412-8068 Howlin’ Wolf’s Wolf Den: 907 S. Peters St., 529-5844 Le Bon Temps Roule: 4801 Magazine St., 895-8117 Little Gem Saloon: 445 S. Rampart St., 267-4863 Maison: 508 Frenchmen St., 289-5648 Mid City Lanes Rock ‘N’ Bowl: 4133 S. Carrollton Ave., 482-3133 NOLA Cantina: 437 Esplanade Ave Palm Court: 1204 Decatur St., 525-0200 Rivershack Tavern: 3449 River Rd., 834-4938 Siberia Lounge: 2227 St. Claude Ave., 265-8865 Southport Hall: 200 Monticello Ave., 835-2903 Snug Harbor: 626 Frenchmen St., 949-0696 Three Muses: 536 Frenchmen St., 298-8746

NEIGHBORHOOD JOINTS Cake Café: 2440 Chartres St., 943-0010 Dat Dog: 601 Frenchmen St., 309-3362; 5030 Freret St., 899-6883; 3336 Magazine St., 324-2226 Lucy’s Retired Surfers Bar & Restaurant: 701 Tchoupitoulas St., 523-8995 Parkway Bakery and Tavern: 538 Hagan Ave., 482-3047 Sammy’s Food Services: 3000 Elysian Fields Ave., 948-7361 Tracey’s: 2604 Magazine St., 897-5413 Ye Olde College Inn: 3000 S. Carrollton Ave., 866-3683

PIZZA

Midway Pizza: 4725 Freret St., 322-2815 Pizza Delicious: 617 Piety St., 676-8482 Breaux Mart: 3233 Magazine St., 262-6017; Slice Pizzeria: 1513 St. Charles Ave., 525-7437 2904 Severn Ave. Metarie, 885-5565; Theo’s Pizza: 4218 Magazine St., 894-8554; 9647 Jefferson Hwy. River Ridge, 737-8146; 4024 Canal St., 302-1133; 1212 S Clearview, 315 E Judge Perez, Chalmette, 262-0750; 733-3803 605 Lapalco Blvd., Gretna, 433-0333 Mardi Gras Zone: 2706 Royal St., 947-8787 SEAFOOD Crazy Lobster Bar & Grill: 1 Poydras St. 569-3380 INDIAN Deanie’s Seafood: 841 Iberville St., 581-1316; Nirvana: 4308 Magazine St., 894-9797 1713 Lake Ave. Metairie, 834-1225

GROCERY STORES

JAPANESE/KOREAN/SUSHI/THAI Sukho Thai: 4519 Magazine St., 373-6471; 2200 Royal St., 948-9309 Wasabi: 900 Frenchmen St., 943-9433

LOUISIANA / SOUTHERN Mondo: 900 Harrison Ave., 224-2633 Praline Connection: 542 Frenchmen St., 943-3934

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SOUL Praline Connection: 542 Frenchmen St., 943-3934

VIETNAMESE Namese: 4077 Tulane Ave., 483-8899

WEE HOURS Buffa’s Restaurant & Lounge: 1001 Esplanade Ave., 949-0038

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photo: Michael Dominici

DINING OUT

Rosedale Restaurant Review by Michael Dominici

ew Orleans is an incredibly serendipitous town, and the idea of Rosedale Restaurant came about when Chef Susan Spicer (Bayona, Mondo) happened upon a curious, interesting property—a former Lakeview police station—tucked away a few blocks from City Park Avenue. Even for New Orleans, Rosedale is a unique, eclectic spot. It has the vibe of a fishing camp with a clamshell gravelly parking lot that leads to an elevated roadhouse-style space. Ample natural light pours into the dining room, which immediately draws attention to the hearth of the open-air kitchen that’s flanked by a rustic bar. The bar flows into another sun-kissed dining area that leads to a sprawling outdoor patio. Kitchen aromatics pair nicely with music selections offered, such as Lucinda Williams (who has dined here twice) and local bands. Much of the space has been peppered with reclaimed, repurposed material and smart local accents (such as a huge Hubig pies image in a reclaimed window frame, and many photographs of Chef Spicer’s favorite musicians lining the walls), all of which give Rosedale a well-worn, comfortable vibe that one would expect to find in a more-established neighborhood restaurant. With the world-renowned, James Beard Award–winning Spicer at the helm, Rosedale’s menu is a reflection of Spicer’s commitment to local cuisine as well as her passion for flavors spanning the globe. It’s a reflection of years spent traveling abroad from as far back as she can remember, as well as the international offerings that her mother prepared for family www.OFFBEAT.com

Rosemary Scented BBQ Shrimp suppers. Nearly a dozen “small” selections include a comforting bowl of turtle soup, elevated by the inspired inclusion of spinach dumplings and paired with the traditional sherry and egg mimosa. Likewise, classics such as rosemaryscented barbecue shrimp and the lemony crab and artichoke dip are both excellent examples of Spicer’s deft touch. If a soulful bowl of stone-ground cheddar grits is your thing, Rosedale’s rendition offers add-ons: smothered greens, broccoli, bacon, mushrooms, eggs, barbecue shrimp, and cochon de lait (which is what we opted for, and it did not disappoint). Guacamole and chips are enhanced by the inclusion of grilled green onions and cotija cheese. If the eggplant caponata with croutons isn’t already appealing enough, you can add an unctuous dollop of burrata cheese. Salads at Rosedale include a chopped salad and the warm mushroom salad, which was a big hit at our table—and gone in a matter of seconds! Rosedale’s 10 “big plates” range from a pimento cheese sandwich with potato chips to grilled Korean short ribs with spicy pineapple

salsa, local kale and mint. Half the selections are sandwiches, and they are some of the menu’s highlights. The duck pastrami sandwich with Russian dressing, pickled onions, and rye bread was savory and delicious, and the cochon de lait po-boy with hot mustard, slaw and fried pickles will satisfy your Jazz Fest jones. The smoked tuna muffuletta is simply genius, and is the only one I’ve ever had that contends with the classic version from Central Grocery. Besides the seasonal grilled Gulf fish sandwich, Spicer serves up caramelized fish with dirty rice and mirliton chow chow that brings back sweet dreams of the beloved Uglesich’s. Heartier fare includes the lamb meatballs and spaghetti, bourbon-fried chicken thighs with mac-n-cheese, greens and Tabasco honey. Also on the roster is a generous portion of shrimp creole garnished with fried eggplant and rice. The four sides include Italianstyle broccoli and a baked sweet potato with Steen’s butter. Rosedale’s dessert list is short and sweet, including sorbet and ice cream varieties, a pineapple mango upside down cake and

a killer pecan pie. The cocktail menu strikes a pleasant balance of craft and classic, and many local beers on tap. The wine selection is abbreviated but often features special selections and always offers a variety of options from three-ounce pours to one liter. We loved the reasonably priced Brunn Grüner Veltliner and the Le Charmel Rose from Provence. The service at Rosedale is attentive, unobtrusive and friendly, presided over by coowner Jenni Rainosek Lynch, who is also Spicer’s business partner at Mondo. Recently, Chef Allison Birdsall has been named Executive Chef. Birdsall, a native of Cut Off, Louisiana, has deep local ties, including working for Commander’s Palace and Domenica. Rosedale has become a go-to spot for many in the neighborhood looking for a great local experience which is aided by a happy hour from 3 p.m. until 6 p.m. Rosedale Resturant; 801 Rosedale Drive; New Orleans, LA 70124; (504) 309-9595; Wednesday through Friday 11 a.m.-’til; Saturday and Sunday 10 a.m.-’til. NO VEMBER 2 018

REVIEWS

Reviews

CDs reviewed are available now at 421 Frenchmen Street in the Marigny 504-586-1094 or online at LouisianaMusicFactory.com

When submitting CDs for consideration, please send two copies to OffBeat Reviews, 421 Frenchmen Street, Suite 200, New Orleans, LA 70116

Not ta grand-mère's Cajun music

Michot’s Melody Makers Blood Moon (Sinking City Records) Not since the madmen of Fat Possum Records got Tom Rothrock (engineer of Beck’s early recordings) to remix R.L. Burnside’s Hill Country blues-drone on Come On In has someone so successfully taken a roots music tradition and updated it as Louis Michot and Korey Richey have with Cajun music. Their records with the Lost Bayou Ramblers and now Blood Moon with Michot’s Melody Makers have taken Cajun waltzes and twosteps into the worlds of hip-hop, electronic dance music, and others without losing the essence of what make them unique. This is not tu grand-mere’s Cajun music, but it might be tu mere’s (especially si tu mere est hip). Michot and Richey use effects and mixing to change the sound of the instruments so that they don’t necessarily sound like that to which your ear is accustomed. Notes from the violins hang in space and then slowly fade, or they stab and pierce in a way that lets them cut through the electrics and noise of the world around them. Bass guitars thump and

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spring like a trampoline. On songs like the punk “Allons Tous Boire Un Coup” they race along at a breakneck pace akin to downing a cocktail all in one sip. Another great way they do this appears in “La Lune Est Croche.” Here, the way the drums, fiddle and t-fer are mixed as they repeat, it sounds like the band is sampling Cajun music the way hip-hop artists do. These effects, when combined with the passion of the musicians here, can take songs we all know and let us hear them anew. Michot’s Melody Makers’ version of “Dans Les Pins,” with its haunted soundscape and Michot’s pained howls, gives this oft-covered standard a palpable fear and anguish. It is easily one of the eeriest versions since Nirvana closed out their Unplugged record with the song and gave us insight into Kurt Cobain’s psyche. When the drums come in mixed like they exist in 2018 instead of 1958, they make even the more traditional songs like “Blues de Neg Francais” sound contemporary. And this music is contemporary. Having grown up in this tradition, Michot’s Melody Makers do not make the mistake of treating this and other traditional music as many roots music fetishobsessives do: a fragile, precious time capsule. Their comrades-inmusic to the East, the Preservation Hall Jazz Band, possess the same aesthetic. Both bands show that artistic and commercial success can come from attempting to contemporize old music if you do it with the right mixture of care

and abandon. Cajun music is hardy and strong enough to withstand these types of changes. In fact, it might even turn on listeners who might not get into it when it is

presented as old-timey music. And that would be great for the Cajun nation and all of us who admire the music it created. —David Kunian

Acoustic-based Americana Ever More Nest The Place That You Call Home (Parish Road Music) With this album, local songwriter Kelcy Mae Wilburn fully embraces the Nashville sound—which is to say the “other” Nashville sound, not slick pop country but fully produced, acoustic-based Americana. It’s not a huge step away from her local indie releases, but this one benefits from more polished production (by herself and drummer Neilson Hubbard) and a consistent band sound—guitarist/banjo player Will Kimbrough, himself a big name in the Americana world, makes his presence felt on most tracks. In this content the natural beauty of Wilburn’s voice is pushed forward, and most of these songs have a surface appeal that would fit comfortably into NPR playlists. As usual with her lyrics, however, there’s more going on than meets the eye. Always a literate writer, she manages to work some grabbing images into these graceful tunes. “North Mississippi” opens this way: “Down south in north Mississippi they have tall skinny trees/ That straddle the edges of bridges, resembling your knees.” That’s the least obvious way we’ve heard in a while of setting up a love song. “Major Tom” is not the Bowie tribute you’d expect from the title, but another love song—this one using the “Space Oddity” character’s leap into the void as a metaphor for surrendering to a relationship, an angle that Bowie himself would likely prefer. All isn’t necessarily well in her characters’ worlds: “Fine Right Here” and “Unraveling” (the first seemingly about Alzheimer’s) both catch their protagonists at crisis moments, but each offers a bit of hope at the end. The arrangements likewise have subtle surprises, like the brief fuzz-guitar solo Kimbrough plays on “Gimme That.” It’s worth spending some time with this disc to catch all the details. —Brett Milano www.OFFBEAT.com

REVIEWS

Sabertooth Swing Extinct Possibilities (Independent) There are those in the traditional jazz world who maintain a dogged adherence to historical accuracy, and then there are those who throw tradition out the window. Sabertooth Swing belongs in the latter category. Born out of the city's many thrown-together dance bands, these musicians bring a playful sensibility to selecting the repertoire of their

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debut album, Extinct Possibilities. While you will find some of the standard workhorse tunes here, such as "After You've Gone" and “I Get Ideas," you'll find some pretty unexpected stuff too. They kick things off with a cabaret version of the Kinks’ “Alcohol” followed by a mashup of Georges Brassens’ “Je m’suis fait tout petit” and the Amy Winehouse hit “Back to Black.” Just when you think they can’t get farther from the root of the genre, they throw in the theme from Family Guy. This is not an album for moldy figs. The rest of the songs are closer to tradition, with a New Orleans brass version of the Jamaican ska tune “Wings of a Dove.” In a city with countless young jazz bands popping up, standing out is quite the challenge. It seems like Sabertooth Swing have found their way to make a splash. —Stacey Leigh Bridewell

Gal Holiday Lost & Found (HTRP Music) There’s a slight rebranding here, with the artist formerly known as Gal Holiday and the Honky Tonk Revue now simply billed as Gal Holiday. It’s an artistic shift, and other than the sultry pipes of founding vocalist Vanessa Niemann, it’s an entirely new band. Jimbo Mathus of Squirrel Nut Zippers fame produced the proceedings, bringing in an independent ear and an infusion

of new ideas, besides contributing two originals. It’s also Gal Holiday’s most collaborative effort to date, with the bulk of the songs written or co-written by Niemann and drummer Rose Cangelosi. Other than the peppier reworking of “The Bottle and the Booze” that’s predicated on Matt Slusher’s Duane Eddy–like guitar tones, there’s less honky-tonk twang than on previous efforts. Yet there’s a wider diversity of the material, like swamp popper “Treat You Better,” twisty tuneful rocker “Let’s Run Away” and the Latin-spiced “Come Home.” There are still elements of country, such as Cangelosi’s “Desert Disco,” a cross between sci-fi and a spaghetti western soundtrack, which really is just a space-traveling motif for escaping reality. Equally intriguing is Cangelosi’s “Ain’t Gonna Buy My Ring,” which is essentially a young woman’s lament—a strong, loving woman drawing the line at buying

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REVIEWS her own wedding ring despite fully supporting her partner. The disc’s title could be interpreted as love lost and love found but moreover it’s a statement of the band’s state of being—once lost before regrouping to find its new path that’s now well-illuminated. —Dan Willging

Joyful Sanctified Soul (Rampart Street Music) Paul Simon’s moving “Bridge Over Troubled Water,” a huge hit for him and his creative partner Art Garfunkel in 1970, opens veteran New Orleans gospel group Joyful’s Sanctified Soul. Symbolically and musically it stands as a link between gospel and secular music which is at the heart of Joyful’s purpose and sound. Chandra Grayson, one of the core members of the group that includes Alfred Caston, Albert Mickel and Jan Randolph, vibrantly sings the well-known lyrics followed by guest vocalist Timothy Ashmore. Background vocalists, an organ and Grayson’s and Ashmore’s call and response bring the song to church. Ashmore is back on Caston’s soulful original “I’ve Got a Feelin’,” which is complete with a horn section and a message of “love, joy, peace and understanding.” Curtis Mayfield’s “People Get Ready” fits right in with Joyful’s spirit and outlook as well as all of those looking for the hope that song and trust can bring. Jan Randolph does a wonderful job interpreting this classic that also includes some tasty guitar. The whole Joyful group is in on the final cut, “B.S.U.R.” (translation: “be as you are”), a funky number that reminds folks that if you follow that advice, “then you will find your star inside yourself.” Joyful expresses its messages and musicality on Sanctified Soul, plus the joy that is an essential element of the group’s name. —Geraldine Wyckoff www.OFFBEAT.com

Dave James Used Records (Independent) Dave James’ Used Records is an unusual amalgamation of musical styles that combines acerbic wit and a wry sense of humor. Interspersed throughout are three short instrumental passages that keep you wondering where James is headed next. The engaging and rhythmic “Everybody Has A Tattoo” is a good choice to open the record, and it gives new meaning to the phrase “I’ll show you mine if you show me yours.” There’s a solid bass line driving the bubblegum pop instrumentation that leads to a nice twin guitar solo. “The Saddest Girl in the World” is moody and atmospheric and James does a nice job lyrically of capturing the desolation of the subject matter. “Product” starts off conjuring images of Gram Parsons before James slides into a bouncy good feel that would be a perfect accompaniment to any number of products sold. At this point, James throws a curve ball with “Die Contract,” the first of three instrumental passages. The haunting and psychedelic organ is accompanied by sparse acoustic strumming before dissolving into a brief moment of chaos as it fades into “Mrs. Reynolds.” James and company land on terra firma and deliver a solid song that would fit nicely on any number of records by the Continental Drifters; and unlike the closing refrain, listeners will certainly want to feel this way again. James changes things up with “Sometimes I Worry,” delivering NO VEMBER 2 018

REVIEWS a solid blues-rock song that fans of Dave Jordan will find appealing. Both “Yoga Cult” and “Mongolia” somehow remind me of early Phish. There’s something about the opening vocal passages and the humorous anecdotes contained within that seem to warrant the comparison, but your mileage may vary. Overall Used Records is a solid outing that covers a lot of ground in a short period of time. —Christopher Weddle

floats in electronics while wrapped in its “Electric Blanket.” It’s a suitable way to return to the comforts of earth where, for the most part, these primarily New Orleans artists live and musically augment the universe. —Geraldine Wyckoff

Robert Walter’s 20th Congress Spacesuit (Royal Potato Family) Considering the name of the album, Spacesuit, and the musicians involved—organist/ multi-keyboardist Robert Walter, drummer Simon Lott, guitarist Chris Alford and bassist Victor Little plus percussionist Mike Dillon—one can anticipate progressively stylistic and aggressive music throughout the new release. Sure it has some space cadet moments, though as heard on the first cut, “Nerva and Dumbo,” the result of this combination of talent is that they bring on the funk and are aware of the importance of melody. The band kind of rocks out on the short but inspired “Modifier,” one of two cuts jointly composed by the members of the group. The rest all come from Walter’s sharp pen. Alford’s guitar takes the lead on another funky number, “Chalk Giant,” which moves with a groove similar to Johnny Otis’ “Willie and the Hand Jive.” The guitarist trades bars with Walter’s organ on this strong tune that ends with—perhaps obligatory— spacey electronics. Walter’s tremendous organ is way out front on an album highlight, “Most of All of Us,” which just keeps building, driven by the drums of Simon Lott, who, as always, is amazingly inventive and involved throughout the release. Yeah, you can dance to this powerful selection, though it requires some pretty fancy footwork. To end the journey, Spacesuit

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Leftover Salmon Something Higher (LoS Records) Once the galaxy’s purveyor of “Polyethnic Cajun Slamgrass,” the Colorado-based Leftover Salmon has evolved light years beyond its 1989 bluegrass-rooted inception to become one of the most spirited, jovial bands of the jam band nation. “Let in a Little Light” and “Winter’s Gone” are vibrant reminders of Leftover’s super pickin’ beginnings but this Steve Berlin–produced affair is more about the present and future than anything else. The group’s six versatile songwriters composed a wide breadth of material ranging from the euphoric “Places,” which sparkles with Erik Deutsch’s melodic piano lines, to the horn-struttin’ “Show Me Something Higher” to the hilarious Luddite anthem “Analog.” Vince Herman’s killer protest song “House of Cards” recounts today’s messy political state with a surrounding, surreal ambience as if to ask, is this strange trip really happening? It must be; which possibly explains the cosmic “Astral Traveler” where you feel like you’re viewing a bewildered Earth from another planet. Its densely layered, spacey arrangement is best experienced at night after all other Earthlings have succumbed to their nocturnal hibernation. —Dan Willging www.OFFBEAT.com

REVIEWS

Homage to Bill Russell Ray Smith, Mike Pointon Bill Russell and the New Orleans Jazz Revival (Equinox Publishing)

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How can anyone review this masterpiece? Based on interviews conducted in 1990 by Ray Smith and Mike Pointon, it was originally intended for a BBC radio series, but with the encouragement of Ellen Smith-Asjes, has evolved into this book. These interviews of Russell are transcribed directly from the recordings, inevitably resulting in occasional repetition in his anecdotes, but the overall effect allows the reader to almost hear the man himself talking. All the potential publishers who were approached initially wanted to edit this, but the authors declined, resulting in a delay of some 25 years in its publication. An homage to Bill Russell, the book builds a picture of this complex man by interspersing other interviews, recollections, articles, program notes and photographs, and adding reminiscences by many of us who knew him or benefitted directly from his selfless efforts on our behalf, including George Avakian, his brother William Wagner, Frederic Ramsey, Jr., Mahalia Jackson, Doc Souchon, Lars Edegran and Dick Allen. Russell was drawn to the percussive and rhythmic aspects of jazz, notably the boogie-woogie of Jimmy Yancey and Albert Ammons, and the jazz of Louis Armstrong, Jelly Roll Morton, Johnny and Baby Dodds, and before the jazz of Bunk Johnson. The more he heard the drumming of Baby Dodds, the more he realized that what Baby could do on a drum set was more vital than anything he had written for percussion. Giving up composing, he devoted the rest of his life to recording and helping New Orleans musicians, especially the trumpeter Bunk Johnson. But his contributions did not stop there. For when Bunk Johnson died in 1949, Russell, now in Chicago, assisted the great gospel singer Mahalia Jackson in the beginning of her career. However, in 1956, Russell finally moved to New Orleans where he opened a record shop in the French Quarter. This led, in 1958, to the invitation by Dick Allen and Dr. William Hogan (the chair of the History Department) to be the first curator of the Tulane Jazz Archive, with a grant from the Ford Foundation to conduct interviews with the surviving New Orleans musicians. Russell was curator for the first four years, after which Dick Allen assumed the post. The archive was later renamed the William Ransom Hogan Jazz Archive. Bill Russell is especially revered among fans of New Orleans jazz, for he contributed so much to the growth of the worldwide interest in this music, and indirectly to the city itself. The present continuing surge of interest in New Orleans can be partly attributed to people like Bill Russell who, early on, recognized something unusual and unique in the city and its peopleâ&#x20AC;&#x201D;the city where jazz began. â&#x20AC;&#x201D;Clive Wilson www.OFFBEAT.com

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Find complete listings at offbeat.com—when you’re out, use offbeat.com/mobile for full listings on any cell phone.

Listings

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These listings are abbreviated. For complete daily listings, go to offbeat.com. These listings were verified at the time of publication, but are of course subject to change. To get your event listed, go to offbeat.com/add-new-listings or send an email to listings@offbeat.com.

AF African AM Americana BL Blues BU Bluegrass BO Bounce BB Brass Band BQ Burlesque KJ Cajun CL Classical CR Classic Rock CO Comedy CW Country CB Cover Band DN Dance DX Dixieland DB Dubstep EL Electro FO Folk FK Funk GS Gospel GY Gypsy HH Hip-Hop HS House IN Indian Classical ID Indie Rock IL Industrial IR Irish JB Jam Band

MJ Jazz Contemporary TJ Jazz Traditional JV Jazz Variety KR Karaoke KZ Klezmer LT Latin MG Mardi Gras Indian ME Metal RB Modern R&B PO Pop PK Punk RE Reggae RC Rockabilly RK Rock RR Roots Rock SS Singer/ Songwriter SK Ska PI Solo Piano SO Soul SW Spoken Word SP Swamp Pop SI Swing VR Variety ZY Zydeco

FRIDAY OCTOBER 26

Buffa’s: Dayna Kurtz (VR) 5p, Dr. Sick and the Late Greats (VR) 9p Café Beignet (Musical Legends Park): Steamboat Willie Jazz Band (TJ) 10a Carver Theater: Jazz in the Park Presents Rose Royce (VR) 7p Crazy Lobster: Ken Swartz and the Palace of Sin (VR) 5p Creole Cookery: the Cookery Three (JV) 6p d.b.a.: Aurora Nealand and the Royal Roses (JV) 6p, DJ Quickie Mart with Ricky B (VR) 2a Fontaine Palace: Afro Beat Night with DjoJay and Kodjo Bensa (AF) 9p Funky Pirate: Mark and the Pentones (BL) 4p, Blues Masters (BL) 8:30p Gattuso’s: Andy Hymel and the Profiles (VR) 7p Jazz Playhouse: Cyril Neville and Swamp Funk (FK) 7:30p, Trixie Minx’s Burlesque Ballroom feat. Romy Kaye and the Mercy Buckets (BQ) 11p Kerry Irish Pub: Patrick Cooper (FO) 5p, Hurricane Refugees (FO) 9p Little Gem Saloon: John Mooney and Marc Stone with Mike Dillon (BL) 7:30p Maple Leaf: Flow Tribe (FK) 11p New Orleans Jazz Museum (Old U.S. Mint): Christian Bold (VR) 2p Nunemaker Auditorium (Loyola University): That’s Not Tango: Astor Piazzolla, A Life In Music (LT) 7:30p Palm Court Jazz Café: Kevin Louis and Palm Court Jazz Band (JV) 8p Snug Harbor: Ellis Marsalis Quintet (JV) 8 & 10p Starlight: DJ Derrick Smoker presents “Grrove City” (FK) 5p, Carol Deminksi Trio (JV) 7p,

N O V E M B E R 2 0 18

Lost Then Found presents Our House (EL) 11:59p Three Keys (Ace Hotel): Raj Smoove (HH) 10p Three Muses: Matt Johnson (JV) 5:30p, Doro Wat Jazz Band (JV) 9p Tipitina’s: the Polish Ambassador and the Diplomatic Scandal, Mikey Pauker (VR) 11p Tropical Isle Original: the Hangovers (RK) 5:15p, Late As Usual (RK) 9:15p

SATURDAY OCTOBER 27

Buffa’s: Marc Stone (BL) 6p, Marina Orchestra (VR) 9p d.b.a.: New Orleans Cottonmouth Kings (JV) 7p, Soul Rebels (BB) 11p Fontaine Palace: Muevelo (LT) 10p Gasa Gasa: Mike Dillon, James Singleton, Jonathan Freilich, Brad Walker (MJ) 9p Gattuso’s: Da Rockits Halloween Show (VR) 7p Jazz and Heritage Center: George French Band (JV) 8p Kerry Irish Pub: Beth Patterson (FO) 5p, Paintbox with Dave James and Tim Robertson (FO) 9p Maple Leaf: the Iceman Special (FK) 10p Mardi Gras World: Hell’s Gala 2018:10-Year Anniversary feat. Illenium (EL) 10p Nunemaker Auditorium (Loyola University): That’s Not Tango: Astor Piazzolla, A Life In Music (LT) 7:30p One Eyed Jacks: Lost Bayou Ramblers, Givers (VR) 9p Palm Court Jazz Café: Will Smith and Palm Court Jazz Band (JV) 8p Snug Harbor: Larry Sieberth with Yolanda Robinson (JV) 8 & 10p Starlight: Ven Pa CA Flamenco (LT) 5p, Shawan Rice (SO) 7p, Davis Rogan (PI) 10:30p Three Keys (Ace Hotel): Where Y’acht (RK) 9p Three Muses: Chris Christy (JV) 5p, Debbie Davis (JV) 6p Tipitina’s: DJ RQ Away, Cavalier, Ray Wimley (VR) 11p Tropical Isle Bourbon: Rhythm and Rain (RK) 5p, Debi and the Deacons (RK) 9p

SUNDAY OCTOBER 28

Buffa’s: Some Like It Hot (TJ) 11a, Madeline Ford Trio (JV) 4p, Steve Pistorius Quartet (JV) 7p d.b.a.: Palmetto Bug Stompers (JV) 6p, Dave Catching’s Ranch de la Lunatics (RK) 11p Hi-Ho Lounge: BateBunda (AF) 10p Howlin’ Wolf (the Den): Hot 8 Brass Band (BB) 10p Kerry Irish Pub: Will Dickerson (FO) 8p Maple Leaf: Joe Krown Trio feat. Walter “Wolfman” Washington (JV) 10p Palm Court Jazz Café: Mark Braud and Palm Court Jazz Band (JV) 8p Snug Harbor: Christien Bold and Soul Swing (JV) 8 & 10p Three Keys (Ace Hotel): Marc Stone Band (BL) 8p Tropical Isle Bourbon: Rhythm and Rain (RK) 5p, Debi and the Deacons (RK) 9p

MONDAY OCTOBER 29

Buffa’s: A2D2 with Arsene DeLay and Antoine Diel (VR) 6p d.b.a.: Michot’s Melody Makers (KJ) 10p Kerry Irish Pub: Beth Patterson (FO) 8:30p Lafitte’s Blacksmith Shop: Lucky Lee (SS) 9p Maple Leaf: Trifunkta (FK) 10p Snug Harbor: Charmaine Neville Band (JV) 8 & 10p Three Muses: Davis Rogan (JV) 5p, Gal Holiday and the Honky Tonk Revue (CW) 8p Tropical Isle Bayou Club: Cajun Drifters (KJ) 7p

TUESDAY OCTOBER 30

Buffa’s: You Got This Presents Taco Tuesdays

(VR) 5p, Charlie Wooten Project (VR) 8p d.b.a.: Dinosaurchestra (JV) 7p,Treme Brass Band (BB) 10p Howlin’ Wolf (the Den): Comedy Beast (CO) 9p Kerry Irish Pub: Jason Bishop (FO) 8:30p Maple Leaf: Rebirth Brass Band (FK) 10p Snug Harbor: Stanton Moore Trio (JV) 8 & 10p Three Muses: Sam Cammarata (JV) 5p, Joshua Gouzy Quartet (JV) 8p Tipitina’s: Blac Rabbit (VR) 9p Tropical Isle Bourbon: Wild Card (RK) 5p, Jezebels Chill’n (RK) 9p Tropical Isle Original: the Hangovers (RK) 5:15p, F.A.S.T. (RK) 9:15p

WEDNESDAY OCTOBER 31

Buffa’s: Open Mic Night with Nattie Sanchez (SS) 7p d.b.a.: Tin Men (RK) 7p, Walter “Wolfman” Washington and the Roadmasters (BL) 10p Howlin’ Wolf (the Den): Kurt Travis, Brent Walsh, Makari (RK) 8p, Halloween Night with Valerie Sassyfras feat. T-Rex and the Sasshay Dancers, And Then Came Humans (VR) 10p Kerry Irish Pub: Van Hudson (FO) 8:30p Maple Leaf: Johnny Sketch and the Dirty Notes (RR) 10p Snug Harbor: Johnny Sansone’s Blues Party (BL) 8 & 10p Superdome: Ed Sheeran, Snow Patrol, Lauv (SS) 7p Three Muses: Leslie Martin (JV) 5p, Salvatore Geloso (JV) 8p Tipitina’s: Galactic, New Breed Brass Band (FK) 10p Tropical Isle Bayou Club: the Troubadour (KJ) 7p

THURSDAY NOVEMBER 1

Buffa’s: Miles Lyons, Jerome Caardynaal and others (JV) 5p, Tom McDermott and Aurora Nealand (JV) 8p d.b.a.: Jon Cleary (PI) 7p, Funk Monkey (FK) 10p House of Blues: Danity Kane, Dawn, Dumblonde (HH) 7p Howlin’ Wolf (the Den): Comedy Gumbeaux (CO) 8:30p Kerry Irish Pub: Will Dickerson (FO) 8:30p Snug Harbor: Jason Marsalis and the 21st Century Trad Band (JV) 8 & 10p Starlight: Oscar Rossignoli (PI) 5p, Adrienne Edson, Dominique LeJeune and Joanna Tomassoni (SS) 8:30p Three Keys (Ace Hotel): Roland Guerin Band (BL) 9p Three Muses: Tom McDermott (JV) 5p, Mia Borders (JV) 8p Tropical Isle Original: the Hangovers (RK) 5:15p, Late As Usual (RK) 9:15p

FRIDAY NOVEMBER 2

Buffa’s: Davis Rogan (VR) 6p, Sybill Shanell (VR) 9p d.b.a.: Swinging Gypsies (JV) 6p, Sweet Crude (ID) 10p Gattuso’s: the Breland Brothers (VR) 7p House of Blues (the Parish): Masego, Vanjess (JV) 6p House of Blues: Blue October, Kitten (RK) 7p Howlin’ Wolf (the Den): Flying Coach, Debris, and Radio Rain (RK) 10p Kerry Irish Pub: Patrick Cooper (FO) 5p, Beth Patterson (FO) 9p Maple Leaf: Jon Cleary and his High-Class ThreePiece Symphony Orchestra (FK) 8p, Special Forces with Brian Stoltz, Russell Batiste and Daryl Johnson (FK) 11p Palm Court Jazz Café: Kevin Louis with Palm Court Jazz Band (TJ) 8p Saenger Theatre: Andrew Lloyd Webber’s School of Rock the Musical (VR) 8p

Smoothie King Center: Keith Urban, Kelsea Ballerini (CW) 7:30p Snug Harbor: Ellis Marsalis Quintet (JV) 8 & 10p Starlight: DJ Derrick Smoker presents Groove City (FK) 5p, Bobbi Rae (SO) 8:30p, Lost Then Found presents Our House (EL) 11:59p Three Keys (Ace Hotel): Josh Hoyer and Soul Colossal (FK) 9p, Ally Bea (HH) 11p Three Muses: Royal Roses (JV) 5:30p, Dan Cutler and Mike Kerwin (JV) 9p Tropical Isle Bayou Club: Faubourg Ramblers (KJ) 5p, T’Canaille (KJ) 9p

SATURDAY NOVEMBER 3

Buffa’s: Doyle Cooper and friends (JV) 6p, Brittany Purdy (VR) 9p d.b.a.: Tuba Skinny (JV) 7p, Little Freddie King (BL) 11p House of Blues (the Parish): Devin the Dude (HH) 8p House of Blues: Hippo Campus, the Districts (RK) 7p Howlin’ Wolf: My Best Friend: the Game Show (CO) 9p Kerry Irish Pub: Mike Kerwin and Geoff Coats (FO) 5p, Kennedy Kuntz and Vincent Marini (FO) 9p Mahalia Jackson Theater: the Music of Led Zeppelin with the Louisiana Philharmonic Orchestra and Randy Jackson (RK) 7:30p Maple Leaf: Watson’s Theory (FK) 8p, Jon Cleary and his High-Class Three-Piece Symphony Orchestra (FK) 11p Snug Harbor: Herlin Riley Quartet (JV) 8 & 10p Three Keys (Ace Hotel): DJ Soul Sister (FK) 11p Tropical Isle Original: the Hangovers (RK) 5:15p, Late As Usual (RK) 9:15p

SUNDAY NOVEMBER 4

Buffa’s: Some Like It Hot! (TJ) 11a, Pfister Sisters (JV) 5p, Steve Pistorius Quartet (JV) 7p d.b.a.: Palmetto Bug Stompers (JV) 6p, the Iguanas (RR) 10p House of Blues (the Parish): Major (PO) 9p House of Blues: Gospel Brunch (GS) 10a Maple Leaf: Bert Cotton Trio (JV) 9p Saenger Theatre: Andrew Lloyd Webber’s School of Rock the Musical (VR) 1p & 6:30p Snug Harbor: Josh Paxton Quartet Tribute to Kenny Kirkland (JV) 8 & 10p Three Keys (Ace Hotel): Ernie Vincent Band with Marc Stone (BL) 8p Tropical Isle Original: the Hangovers (RK) 5:15p, Late As Usual (RK) 9:15p

MONDAY NOVEMBER 5

Banks Street Bar: Dibenedetto Trio (VR) 8p, MidCity Jam (VR) 10p d.b.a.: John Boutte (JV) 7p Maple Leaf: George Porter Jr. Trio feat. Michael Lemmler and Terrence Houston (FK) 10p Snug Harbor: Charmaine Neville Band (JV) 8 & 10p Starlight: Brad Webb (MJ) 5p, Willie Green Project (BL) 8p, Mi Casa with DJ Anthony Tony (VR) 11:59p Three Keys (Ace Hotel): Drinks and Diversions (VR) 7p Three Muses: Monty Banks (JV) 5p, Washboard Rodeo (JV) 8p Tropical Isle Bourbon: Rhythm and Rain (RK) 5p, F.A.S.T. (RK) 9p Tropical Isle Original: Graham Robinson Band (RK) 5:15p, Trop Rock Express (RK) 9:15p

TUESDAY NOVEMBER 6

d.b.a.: Dinosaurchestra (JV) 7p, Treme Brass Band (BB) 10p Ellis Marsalis Center for Music: Margie Perez (LT) 6:30p

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LIVE LOCAL MUSIC Kerry Irish Pub: Jason Bishop (FO) 8:30p Maple Leaf: Rebirth Brass Band (FK) 11p Saenger Theatre: Simple Minds (RK) 7:30p Snug Harbor: Stanton Moore Trio (JV) 8 & 10p Starlight: Tom McDermott (PI) 5p, Kei Slaughter and Joy Clark (SS) 8:30p, Joanna Tomassoni (FO) 10p Three Keys (Ace Hotel): Crowning Achievement (CO) 9p Three Muses: Arsene DeLay (JV) 5p, Shake ‘Em Up Jazz Band (JV) 8p Tropical Isle Bourbon: Wild Card (RK) 5p, Jezebels Chill’n (RK) 9p Tropical Isle Original: the Hangovers (RK) 5:15p, F.A.S.T. (RK) 9:15p

WEDNESDAY NOVEMBER 7 Buffa’s: Open Mic Night with Nattie Sanchez (SS) 7p Café Beignet (Musical Legends Park): Steamboat Willie Jazz Band (TJ) 10a d.b.a.: Tin Men (BL) 7p, Walter “Wolfman” Washington and the Roadmasters (BL) 10p Howlin’ Wolf (the Porch): Project Pat (HH) 9p Kerry Irish Pub: Kevin Specht and Tom Marron (FO) 8:30p Maple Leaf: Nola Reggae with Renard Poche (RE) 9p Palm Court Jazz Café: Lars Edegran and Topsy Chapman with Palm Court Jazz Band (TJ) 8p Snug Harbor: Uptown Jazz Orchestra with Delfeayo Marsalis (JV) 8 & 10p Starlight: Joe Welnick (PI) 5p, La Mancha (KZ) 8p, Hot Jazz Jam with Nahum Zdybel (JV) 11p Three Keys (Ace Hotel): Colin Davis and Night People (FK) 9p Three Muses: Leslie Martin (JV) 5p, Hot Club of New Orleans (JV) 8p Tropical Isle Original: Debi and the Deacons (RK) 5:15p, Late As Usual (RK) 9:15p

THURSDAY NOVEMBER 8

Buffa’s: Gumbo Cabaret (JV) 5p, Tom McDermott and Aurora Nealand (JV) 8p d.b.a.: Jon Cleary (PI) 7p, Deltaphonic (FK) 10p House of Blues (the Parish): Bloc Youngsta (HH) 7p Howlin’ Wolf (the Den): Comedy Gumbeaux (CO) 8:30p Howlin’ Wolf (the Porch): Greyhaven, Hand Out, Goura, Empyrean (RK) 9p Joy Theater: Slightly Stoopid, Hirie (RE) 8p Kerry Irish Pub: the One Tailed Three (FO) 8:30p Maple Leaf: Johnny Vidacovich, Joe Ashlar and June Yamagishi (JV) 11p Palm Court Jazz Café: Mark Braud and Crescent City Joymakers (TJ) 8p Snug Harbor: James Singleton Quartet (JV) 8 & 10p Three Keys (Ace Hotel): Little Cosmicana (ID) 9p Three Muses: Tom McDermott (JV) 5p Tropical Isle Bourbon: Wild Card (RK) 5p, Debi and the Deacons (RK) 9p

FRIDAY NOVEMBER 9

Buffa’s: Freddie Blue and the Friendship Circle (VR) 6p, Swinging out with Miles Lyons (JV) 9p d.b.a.: Hot Club of New Orleans (JV) 6p, Cyril Neville and Swamp Funk (FK) 10p Gattuso’s: Will Iseman (VR) 7p House of Blues: Winger, Lillian Axe (RK) 8p Howlin’ Wolf (the Porch): Coast to Coast Live Interactive Showcase (HH) 10p Kerry Irish Pub: Chip Wilson (FO) 5p, Lynn Drury (FO) 9p Maple Leaf: Jon Cleary and his High-Class Three-Piece Symphony Orchestra (FK) 8p, Morning 40 Federation (FK) 11p Nunemaker Auditorium (Loyola Univeristy): Monk’s Dream: Loyola Jazz Faculty Perform the Music of Thelonious Monk (JV) 7:30p Saturn Bar: Valparaiso Men’s Chorus (FO) 11p Snug Harbor: Quiana Lynell (JV) 8 & 10p Three Keys (Ace Hotel): DJ Nice Rack and Unicorn Fukr (VR) 11p Three Muses: Matt Johnson (JV) 5:30p, Doro Wat Jazz Band (JV) 9p Tropical Isle Bayou Club: Faubourg Ramblers (KJ) 5p, T’Canaille (KJ) 9p

SATURDAY NOVEMBER 10

Art Garage: En Bonne Sante Benefit Celebrating

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Mahalia Jackson and Aretha Franklin feat. Tonya Boyd Cannon, David Torkanowsky, James Singleton, Jamison Ross (JV) 8p Buffa’s: Our Band (VR) 5p, Camille Baudoin and Papa Mali (VR) 7p d.b.a.: Tuba Skinny (JV) 7p, Billy Strings (VR) 11p Gattuso’s: Andy Hymel and the All-Stars (VR) 2p, Mia Kiley Acoustic Duo (VR) 7p Howlin’ Wolf (the Den): Eric Schwartz (CO) 8p Howlin’ Wolf: LVVRS, Typical Stereo, Hollow City, yhe Color You, Cerebral Drama, the Fixers (RK) 8p Kerry Irish Pub: Beth Patterson (FO) 5p, Roux the Day (FO) 9p Maple Leaf: Mikey B3 (FK) 8p, Jennifer Hartswick and Nick Cassarino (FK) 11p New Orleans Jazz Market: the Roots of Music Fundraiser feat. Ani DiFranco and and Corey Henry (VR) 7p Palm Court Jazz Café: Will Smith and Palm Court Jazz Band (TJ) 8p Snug Harbor: Dr. Michael White and Liberty Jazz Band (JV) 8 & 10p Starlight: Shaye Cohn (PI) 2p, Ven Pa CA Flamenco (LT) 5p, Shawan Rice (SO) 7p, Darelillies (RK) 10p Three Keys (Ace Hotel): NOJO 7 (JV) 9p Three Muses: Chris Christy (JV) 5p, Debbie Davis (JV) 6p, Shotgun Jazz Band (JV) 9p Tropical Isle Original: the Hangovers (RK) 5:15p, Late As Usual (RK) 9:15p

SUNDAY NOVEMBER 11

Buffa’s: Some Like It Hot! (TJ) 11a, Little Coquette (JV) 4p, Steve Pistorius Quartet (JV) 7p d.b.a.: Palmetto Bugs Stompers (SI) 6p, Panorama Brass Band (BB) 10p Howlin’ Wolf (the Den): Hot 8 Brass Band (BB) 10p Kerry Irish Pub: Beth Patterson (FO) 8p Maple Leaf: Po-Boy Fest feat. Looka Here, Sam Price and the True Believers, Nebula Rosa and Lamont Landers Band (BL) 9p Snug Harbor: Thais Clark and the Jazzsters (JV) 8 & 10p Starlight: Gypsy Stew (FO) 3p, Gabrielle Cavassa Jazz Session (JV) 10p Three Keys (Ace Hotel): Ernie Vincent Band with Marc Stone (BL) 8p Three Muses: Raphael et Pascal (JV) 5p, the Clementines (JV) 8p Tropical Isle Bourbon: Rhythm and Rain (RK) 5p, Debi and the Deacons (RK) 9p

MONDAY NOVEMBER 12

Banks Street Bar: Dibenedetto Trio (VR) 8p, MidCity Jam (VR) 10p d.b.a.: John Boutte (JV) 7p Kerry Irish Pub: Patrick Cooper (FO) 8:30p Maple Leaf: George Porter Jr. Trio feat. Michael Lemmler and Terrence Houston (FK) 10p Snug Harbor: Charmaine Neville Band (JV) 8 & 10p Starlight: Brad Webb (MJ) 5p, Shindig SingerSongwriter Series hosted by Amanda Walker and Keith Burnstein (SS) 8p Three Keys (Ace Hotel): Too Trill Trivia (VR) 6p Three Muses: Bart Ramsey (JV) 5p, Joe Cabral Duo (JV) 8p Tropical Isle Bourbon: Rhythm and Rain (RK) 5p, F.A.S.T. (RK) 9p Tropical Isle Original: Graham Robinson Band (RK) 5:15p, Trop Rock Express (RK) 9:15p

TUESDAY NOVEMBER 13

d.b.a.: Dinosaurchestra (JV) 7p, Treme Brass Band (BB) 9p House of Blues (the Parish): Dom Kennedy (HH) 7p Howlin’ Wolf (the Den): Comedy Beast (CO) 8:30p Kerry Irish Pub: Two Sheets to the Wind (FO) 8:30p Maple Leaf: Rebirth Brass Band (FK) 11p Snug Harbor: Stanton Moore Trio (JV) 8 & 10p Starlight: Joe Welnick (PI) 6p, Asher Danziger and Bruisy Peets (FO) 9p Three Keys (Ace Hotel): Think Less, Hear More: the God Inside My Ear (VR) 8p Three Muses: Sam Cammarata (JV) 5p, Josh

Gouzy (JV) 8p Tropical Isle Bayou Club: Cajun Drifters (KJ) 7p

WEDNESDAY NOVEMBER 14

Buffa’s: Open Mic Night with Nattie Sanchez (SS) 7p d.b.a.: Tin Men (RK) 7p, Walter “Wolfman” Washington and the Roadmasters (BL) 10p House of Blues (the Parish): Sparta (RK) 8p Howlin’ Wolf (the Den): For the Love of Lower Nine (VR) 6p Kerry Irish Pub: Beth Patterson (FO) 8:30p Maple Leaf: Mia Borders (RR) 9p Palm Court Jazz Café: Lars Edegran and Topsy Chapman with Palm Court Jazz Band (TJ) 8p Snug Harbor: Uptown Jazz Orchestra with Terrance Taplin (JV) 8 & 10p Starlight: Shea Pierre (PI) 5p, Tuba Skinny (JV) 8p, Hot Jazz Jam with Nahum Zdybel (JV) 10:30p Three Keys (Ace Hotel): Maggie Belle Band (SO) 9p Three Muses: Leslie Martin (JV) 5p, Hot Club of New Orleans (JV) 8p Tipitina’s: Skatalites (VR) 9p Tropical Isle Original: Debi and the Deacons (RK) 5:15p, Late As Usual (RK) 9:15p

THURSDAY NOVEMBER 15

Buffa’s: Phil The Tremelo King (JV) 6p, Tom McDermott and Aurora Nealand (JV) 9p d.b.a.: Jon Cleary (PI) 7p, Little Freddie King (BL) 10p Howlin’ Wolf (the Den): Comedy Gumbeaux (CO) 8:30p Howlin’ Wolf: Tacos and Art Showcase (VR) 7p Kerry Irish Pub: Dave Hickey (FO) 8:30p Little Gem Saloon: Ingrid Lucia (JV) 7:30p Maple Leaf: Tom Worrell (PI) 8p, Johnny Vidacovich, Benny Bloom and Mike Dillon (JV) 11p Ogden Museum of Southern Art: Shawn Williams (CW) 6p Palm Court Jazz Café: Leroy Jones and Katja Toivola with Crescent City Joymakers (TJ) 8p Snug Harbor: Jeremy Pelt Quintet (JV) 8 & 10p Starlight: Oscar Rossignoli (PI) 5p, Silver Swan Ragtime Interpreters feat. Rebeckah Gordon-Kirk (JV) 8:30p Three Keys (Ace Hotel): Hungry For Music Benefit (VR) 9p Three Muses: Tom McDermott (JV) 5p, Arsene DeLay (JV) 8p Tipitina’s: Magnolia Bayou, Chad Wesley (VR) 9p Tropical Isle Bayou Club: Cajun Drifters (KJ) 5p, Faubourg Ramblers (KJ) 9p

FRIDAY NOVEMBER 16

Buffa’s: Keith Burnstein Songwriter Circle (VR) 6p; Margie Perez (LT) 9p d.b.a.: Smoking Time Jazz Club (JV) 6p, Honey Island Swamp Band (RR) 10p Gattuso’s: Cypress (VR) 7p House of Blues: Machine Head (ME) 7p Howlin’ Wolf (the Den): Space Kadet (FK) 10p Howlin’ Wolf: Naughty Professor with Paul Meany (FK) 10p Kerry Irish Pub: Tim Robertson (FO) 5p, Van Hudson (FO) 9p Maple Leaf: Jon Cleary and his High-Class Three-Piece Symphony Orchestra (FK) 8p, Mr. Blotto Live Recording (RR) 11p Snug Harbor: Astral Project (JV) 8 & 10p Three Keys (Ace Hotel): Big Easy Brawlers (BB) 9p Three Muses: Royal Roses (JV) 5:30p, Doro Wat Jazz Band (JV) 9p Tipitina’s: Alanis Morissette Tribute (SS) 10p Tropical Isle Bourbon: Wild Card (RK) 5p, Debi and the Deacons (RK) 9p

SATURDAY NOVEMBER 17

Armstrong Park: Treme Creole Gumbo Festival (BB) 11a Buffa’s: the Royal Rounders (JV) 6p, Asylum Chorus (VR) 9p Central City BBQ: Wing Wars feat. Marc Stone Band, Sexual Thunder, Water Seed, Big Sam’s Funky Nation (VR) 3p

d.b.a.: Tuba Skinny (JV) 7p, Soul Rebels (BB) 11p Gattuso’s: Andy Hymel and the Profiles (VR) 7p House of Blues (the Parish): Just Fine: Mary J. Blige Tribute (RB) 8p House of Blues: 30H!3 (EL) 8p Howlin’ Wolf (the Den): Terry McDermott and Justin Molaison (SS) 10p Howlin’ Wolf: Naughty Professor with Shaun Martin (FK) 10p Kerry Irish Pub: Beth Patterson (FO) 5p, Hurricane Refugees (FO) 9p Maple Leaf: Mr. Blotto Live Recording (RR) 8p, Johnny Sketch and the Dirty Notes (FK) 11p New Orleans Jazz Museum (Old U.S. Mint): Fete des Fromages Cheese Festival (VR) 11a Snug Harbor: Germaine Bazzle and Larry Sieberth Quartet (JV) 8 & 10p Three Keys (Ace Hotel): Muevelo and Mambo Orleans (LT) 9p Three Muses: Chris Christy (JV) 5p, Esther Rose (JV) 6p, Shotgun Jazz Band (JV) 9p Tipitina’s: Big Head Todd, Los Colognes (VR) 8p Tropical Isle Original: the Hangovers (RK) 5:15p, Late As Usual (RK) 9:15p

SUNDAY NOVEMBER 18

Armstrong Park: Treme Creole Gumbo Festival (BB) 11a Buffa’s: Some Like It Hot! (TJ) 11a, Nattie Sanchez Songwriter Circle (SS) 4p, Steve Pistorius Quartet (JV) 7p d.b.a.: Palmetto Bugs Stompers (SI) 6p, Strange Roux (VR) 10p House of Blues (the Parish): Lary Over (HH) 7p House of Blues: Gospel Brunch (GS) 10a, SOJA (RE) 7p Howlin’ Wolf (the Den): Hot 8 Brass Band (BB) 10p Kerry Irish Pub: Traditional Irish Session (FO) 5p, Patrick Cooper (FO) 8p Maple Leaf: Joe Krown feat. Walter “Wolfman” Washington (BL) 9p Palm Court Jazz Café: Mark Braud with Sunday Night Swingsters (TJ) 8p Snug Harbor: Cindy Scott Quartet (JV) 8 & 10p Starlight: Gypsy Stew (FO) 3p, Dile Que NOLA (LT) 7p, Gabrielle Cavassa Jazz Session (JV) 10p Three Keys (Ace Hotel): Ernie Vincent Band with Marc Stone (BL) 8p Three Muses: Raphael et Pascal (JV) 5p, the Clementines (JV) 8p Tropical Isle Original: the Hangovers (RK) 5:15p, Late As Usual (RK) 9:15p

MONDAY NOVEMBER 19

d.b.a.: John Boutte (JV) 7p Kerry Irish Pub: Beth Patterson (FO) 8:30p Maple Leaf: George Porter Jr. Trio feat. Michael Lemmler and Terrence Houston (FK) 10p Snug Harbor: Charmaine Neville Band (JV) 8 & 10p Starlight: Brad Webb (MJ) 5p, Shindig SingerSongwriter Series hosted by Amanda Walker and Keith Burnstein (SS) 8p Three Keys (Ace Hotel): Movement Mondays (VR) 5p Three Muses: Monty Banks (JV) 5p Tipitina’s: Nicki Bluhm, Gill Landry (VR) 8:30p Tropical Isle Original: Graham Robinson Band (RK) 5:15p, Trop Rock Express (RK) 9:15p

TUESDAY NOVEMBER 20

d.b.a.: Dinosaurchestra (JV) 7p, Treme Brass Band (BB) 10p House of Blues: the Internet, Moonchild (HH) 7p Howlin’ Wolf (the Den): Comedy Beast (CO) 8:30p Kerry Irish Pub: Jason Bishop (FO) 8:30p Maple Leaf: Keith Stone with Red Gravy (RR) 8p, Rebirth Brass Band (FK) 11p Snug Harbor: Stanton Moore Trio (JV) 8 & 10p Starlight: Tom McDermott (PI) 5p, Asher Danziger and Luke Brechtelsbauer (FO) 9p Three Keys (Ace Hotel): Night Janitor (VR) 6p Three Muses: Mia Borders (JV) 8p Tropical Isle Bayou Club: Cajun Drifters (KJ) 7p

WEDNESDAY NOVEMBER 21

Buffa’s: Open Mic Night with Nattie Sanchez (SS) 7p

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LIVE LOCAL MUSIC d.b.a.: Tin Men (RK) 7p, Walter “Wolfman” Washington and the Roadmasters (BL) 10p Kerry Irish Pub: Patrick Cooper (FO) 8:30p Maple Leaf: Mia Borders (RR) 9p Snug Harbor: Uptown Jazz Orchestra with Delfeayo Marsalis (JV) 8 & 10p Three Muses: Leslie Martin (JV) 5p Tipitina’s: TIPSGiving feat. Noisewater, Darcy Malone and the Tangle, the Fortifiers (VR) 9p Tropical Isle Bourbon: Jezebels Chill’n (RK) 5p, Debi and the Deacons (RK) 9p Tropical Isle Original: Debi and the Deacons (RK) 5:15p, Late As Usual (RK) 9:15p

THURSDAY NOVEMBER 22

Banks Street Bar: Pucusano and Company (VR) 9p Howlin’ Wolf (the Den): Comedy Gumbeaux (CO) 8:30p Howlin’ Wolf: Thanksgiving Throwdown with Rebirth Brass Band (BB) 10p Jazz Playhouse: Brass-A-Holics (BB) 8:30p Maple Leaf: Johnny Vidacovich, Brian Stoltz and Roland Guerin (JV) 11p Saturn Bar: Alex McMurray and his Band (RK) 8p Three Keys (Ace Hotel): E-Clazz vs. DJ GrooveKidd (HH) 10p Tropical Isle Bayou Club: Cajun Drifters (KJ) 5p, Faubourg Ramblers (KJ) 9p Tropical Isle Bourbon: Wild Card (RK) 5p, Debi and the Deacons (RK) 9p Tropical Isle Original: the Hangovers (RK) 5:15p, Late As Usual (RK) 9:15p

FRIDAY NOVEMBER 23

Buffa’s: Meryl Zimmerman (JV) 5p, Larry Scala Swing Five (JV) 9p d.b.a.: Aurora Nealand and the Royal Roses (JV) 6p, Marc Stone’s All-Star Band (BL) 10p Gattuso’s: Gris-Gris (VR) 7p House of Blues (the Parish): La Dispute (RK) 8p House of Blues: PJ Morton, Grace Weber (FK) 7:30p Howlin’ Wolf (the Den): Black Market Suitor, Defender, Pale Shelter (RK) 9p Jazz Playhouse: Mario Abney (JV) 7:30p Joy Theater: the Last Waltz: Benefit for New Orleans Musicians Clinic (VR) 8p Maple Leaf: Jon Cleary and his High-Class Three-Piece Symphony Orchestra (FK) 8p, 101 Days Til Mardi Gras with 101 Runners (MG) 11p Palm Court Jazz Café: Kevin Louis with Palm Court Jazz Band (TJ) 8p Saenger Theatre: Nine Inch Nails (RK) 7p Snug Harbor: Ellis Marsalis Quintet (JV) 8 & 10p Starlight: DJ Derrick Smoker presents “Grrove City” (FK) 5p, Bywater Skanks (FK) 8:30p, Lost Then Found presents Our House (EL) 11:59p Three Keys (Ace Hotel): Soul Rebels (FK) 9p, Raj Smoove (HH) 11p Three Muses: Matt Johnson (JV) 5:30p, Doro Wat Jazz Band (JV) 9p Tipitina’s: Paris Avenue (VR) 10p Tropical Isle Original: the Hangovers (RK) 5:15p, Late As Usual (RK) 9:15p

SATURDAY NOVEMBER 24

Buffa’s: Marc Stone (BL) 6p, Marina Orchestra (JV) 9p d.b.a.: Tuba Skinny (JV) 7p, MainLine (BB) 11p Gattuso’s: Harvey Jesus and Fire (VR) 7p House of Blues: Cookies ‘n Cream (EL) 10p Howlin’ Wolf (the Den): Indie Classic Hip Hop Showcase (HH) 10p Jazz and Heritage Center: Jeffery Miller and John Michael Bradford (JV) 8 & 9:30p Maple Leaf: Benny Bloom and the Late Bloomers (FK) 8p, Turkey Jam with the New Orleans Suspects (FK) 11p Palm Court Jazz Café: Will Smith and Palm Court Jazz Band (TJ) 8p Saenger Theatre: Nine Inch Nails (RK) 7p Snug Harbor: Ike Stubblefield Organ Trio (JV)

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8 & 10p Starlight: Neal Todten (PI) 2:30p, Ven Pa CA Flamenco (LT) 5p, Shawan Rice (SO) 7p, Julie Odell and Alejandro Skalany (RK) 10p Three Muses: Chris Christy (JV) 5p, Debbie Davis (JV) 6p, Russell Welch Trio (JV) 9p Tropical Isle Bayou Club: the Troubadour (KJ) 1p, Faubourg Ramblers (KJ) 5p, T’Canaille (KJ) 9p

SUNDAY NOVEMBER 25

Buffa’s: Some Like It Hot! (TJ) 11a, Coney Island Pete and Old Gold (VR) 4p, Steve Pistorius Quartet (JV) 7p d.b.a.: Palmetto Bugs Stompers (SI) 6p, Watson’s Theory (FK) 10p House of Blues: Gospel Brunch (GS) 10a, Silverstein (ME) 6p Howlin’ Wolf (the Den): Hot 8 Brass Band (BB) 10p Jazz Playhouse: Germaine Bazzle (JV) 8p Kerry Irish Pub: Patrick Cooper (FO) 8p Maple Leaf: Joe Krown feat. Walter “Wolfman” Washington (BL) 9p Palm Court Jazz Café: Gerald French and Sunday Night Swingsters (TJ) 8p Saenger Theatre: Nine Inch Nails (RK) 7p Siberia: Sam Doores presents For the Sake of the Song (SS) 9p Snug Harbor: Benny Bloom All-Stars with Nir Felder and Lee Fish (JV) 8 & 10p Starlight: Tango hosted by Valorie Hart (LT) 7p, Gabrielle Cavassa Jazz Session (JV) 10p Three Keys (Ace Hotel): Ernie Vincent Band with Marc Stone (BL) 8p Three Muses: Raphael et Pascal (JV) 5p, the Clementines (JV) 8p Tipitina’s: Neville Family Groove feat. Ivan Neville, Cyril Neville, Ian Neville, Jason Neville, Charmaine Neville Band, Omari Neville and the Fuel (VR) 9p Tropical Isle Bayou Club: Roland Cheramie and friends (KJ) 5p, Faubourg Ramblers (KJ) 9p Tropical Isle Original: the Hangovers (RK) 5:15p, Late As Usual (RK) 9:15p

MONDAY NOVEMBER 26

Banks Street Bar: Dibenedetto Trio (VR) 8p, MidCity Jam (VR) 10p d.b.a.: John Boutte (JV) 7p Funky Pirate: Willie Lockett Band (BL) 8p Hi-Ho Lounge: Bluegrass Pickin’ Party (BU) 8p, Americana Music Series (FO) 10p House of Blues: the Wonder Years, Have Mercy, Oso Oso, Shortly (RK) 7p Jazz Playhouse: Gerald French and the Original Tuxedo Jazz Band (JV) 8p Kerry Irish Pub: Two Sheets to the Wind (FO) 8:30p Maison: Chicken and Waffles, Aurora Nealand and the Royal Roses, Sierra Green and the Soul Machine (JV) 4p Maple Leaf: George Porter Jr. Trio feat. Michael Lemmler and Terrence Houston (FK) 10p Snug Harbor: Charmaine Neville Band (JV) 8 & 10p Starlight: Brad Webb (MJ) 5p, Shindig SingerSongwriter Series hosted by Amanda Walker and Keith Burnstein (SS) 8p Three Muses: Bart Ramsey (JV) 5p Tropical Isle Bayou Club: Cajun Drifters (KJ) 7p

TUESDAY NOVEMBER 27

d.b.a.: Dinosaurchestra (JV) 7p, Treme Brass Band (BB) 10p House of Blues (the Parish): Wild Child (PO) 7p Howlin’ Wolf (the Den): Comedy Beast (CO) 8:30p Jazz Playhouse: James Rivers Movement (JV) 8p Kerry Irish Pub: Jason Bishop (FO) 8:30p Little Gem Saloon: Ronald Markham Presents Contempo (JV) 7:30p Maison: Baby Giants Jazz Band, Gregory Agid Quartet, Gene’s Music Machine (VR) 4p Maple Leaf: Rebirth Brass Band (FK) 11p Snug Harbor: Kyle Roussel Quartet (JV) 8 & 10p Starlight: Joe Welnick (PI) 6p, Asher Danziger and Adrienne Edson (PI) 8p Three Muses: Sam Cammarata (JV) 5p, Josh

Gouzy (JV) 8p Tropical Isle Bourbon: Wild Card (RK) 5p, Jezebels Chill’n (RK) 9p Tropical Isle Original: the Hangovers (RK) 5:15p, F.A.S.T. (RK) 9:15p

WEDNESDAY NOVEMBER 28

Buffa’s: Open Mic Night with Nattie Sanchez (SS) 7p d.b.a.: Tin Men (RK) 7p, Walter “Wolfman” Washington and the Roadmasters (BL) 10p Hi-Ho Lounge: Delta Revues (BL) 6p, Soul2Soul: Female Singer-Songwriter Showcase (SS) 8p Jazz Playhouse: Michael Watson and the Alchemy (JV) 8p Kerry Irish Pub: Will Dickerson (FO) 8:30p Little Gem Saloon: Anais St. John (JV) 7:30p Little Tropical Isle: Mark Parsons (RK) 5p, Reed Lightfoot (RK) 9p Maple Leaf: Mia Borders (RR) 9p Palm Court Jazz Café: Lars Edegran and Topsy Chapman with Palm Court Jazz Band (TJ) 8p Siberia: Rory Danger and the Danger Dangers (RK) 6p Snug Harbor: Uptown Jazz Orchestra with Delfeayo Marsalis (JV) 8 & 10p Starlight: Anuraag Pendyal (PI) 5p, Tuba Skinny (JV) 8p, Hot Jazz Jam with Nahum Zdybel (JV) 11p Three Keys (Ace Hotel): Shea Pierre and Commentary (JV) 9p Three Muses: Schatzy (JV) 8p Tropical Isle Bayou Club: the Troubadour (KJ) 7p

THURSDAY NOVEMBER 29

Banks Street Bar: Pucusano and Company (VR) 9p Buffa’s: Doyle Cooper and Ryan Hansler (JV) 6p, Tom McDermott and Aurora Nealand (JV) 9p d.b.a.: Fufu All-Stars (VR) 11p Gasa Gasa: Brother Dege (FO) 9p Hi-Ho Lounge: theDopestMatrix, ColdLe’Roy TGC (HH) 9p House of Blues: Minus the Bear (RK) 7p Jazz Playhouse: Brass-A-Holics (BB) 8:30p Kerry Irish Pub: Chip Wilson (FO) 8:30p Le Bon Temps Roule: Soul Rebels (FK) 11p Little Gem Saloon: Ingrid Lucia (JV) 7:30p Maison: the Function, Good For Nothin’ Band, Dysfunktional Bone (VR) 4p Maple Leaf: Joe Krown (PI) 8p, Johnny Vidacovich, James Singleton and Steve Masakowski (JV) 11p One Eyed Jacks: Patterson Hood (VR) 7p Palm Court Jazz Café: Tim Laughlin and Crescent City Joymakers (TJ) 8p Saturn Bar: Alex McMurray and his Band (RK) 8p Snug Harbor: Jason Marsalis and the 21st Century Trad Band (JV) 8 & 10p Starlight: Keith Burnstein (PI) 5p, Lulu and te Broadsides feat. Dayna Kurtz and James Singleton (RB) 8:30p Three Keys (Ace Hotel): theAsylum Chorus (SO) 9p Three Muses: Tom McDermott (JV) 5p, St. Louis Slim (JV) 8p Tipitina’s: Jade Cicada, Detox Unit (VR) 9p Tropical Isle Bayou Club: Cajun Drifters (KJ) 5p, Faubourg Ramblers (KJ) 9p Tropical Isle Bourbon: Wild Card (RK) 5p, Debi and the Deacons (RK) 9p

FRIDAY NOVEMBER 30

Buffa’s: Soul O’ Sam (JV) 5p, Greg Schatz (VR) 9p d.b.a.: Tuba Skinny (JV) 7p, Dwayne Dopsie and the Zydeco Hellraisers (ZY) 11p Dew Drop Social and Benevolent Hall: Robin Barnes (JV) 6:30p Fontaine Palace: Frenchie Moe (BL) 8p Gasa Gasa: Have a Cigar: A Pink Floyd Tribute feat. the Tanglers and Mikey B3 (CR) 10p Hi-Ho Lounge: Davis Rogan’s All That 23rd Anniversary Show (FK) 9p House of Blues: Strangelove: Depeche Mode Tribute (RK) 8p Howlin’ Wolf (the Porch): Turnstile, Angel Du$t,

Vein (RK) 8p Jazz Playhouse: Shannon Powell (JV) 7:30p, Trixie Minx’s Burlesque Ballroom feat. Romy Kaye (BQ) 11p Kerry Irish Pub: Patrick Cooper (FO) 5p, Halfway to Bob Dylan’s Birthday Tribute with Foot and friends (FO) 9p Maple Leaf: Trifuncta (FK) 8p, George Porter Jr. Trio feat. Michael Lemmler and Terrence Houston (FK) 11p New Orleans Jazz Market: New Orleans Jazz Orchestra Presents A Tribute to Aretha Franklin (JV) 7:30p One Eyed Jacks: DJ Soul Sister presents Soulful Takeover (FK) 10p Palm Court Jazz Café: Kevin Louis with Palm Court Jazz Band (TJ) 8p Snug Harbor: Ellis Marsalis Quintet (JV) 8 & 10p Starlight: DJ Derrick Smoker presents “Grrove City” (FK) 5p, Michael Watson and the Alchemy (JV) 8:30p, Lost Then Found presents Our House (EL) 11:59p Three Muses: Gal Holiday and the Honky Tonk Revue (JV) 5:30p, Doro Wat Jazz Band (JV) 9p Tipitina’s: Cyril Neville’s Swamp Funk (FK) 10p Tropical Isle Bourbon: Wild Card (RK) 5p, Debi and the Deacons (RK) 9p

FESTIVALS Oct. 26-28 The Voodoo Music + Arts Experience in New Orleans City Park features live music, an arts market, food and drink vendors, and art installations. VoodooFestival.com Nov. 2-4 The inaugural New Orleans Accordion Festival. French Market and the New Orleans Jazz Museum. Nola-Accordion-Festival.com Nov. 9-10 The Sugar Magnolia Festival in Kiln, Mississippi, includes live music, camping, a craft beer garden and regional cuisine. SugarMagnoliaFest.com Nov. 9-11 The Bayou Road Balloon Festival in Chalmette features hot air balloons, live music and food vendors. BayouRoadBalloonFestival. com Nov. 11 The annual Oak Street Po-Boy Festival. PoboyFest.com Nov. 17 The first annual NOLA Wing Wars festival at Central City BBQ features live music and chicken wings from more than 20 restaurants. NolaWingWars.com Nov. 17-18 The Treme Creole Gumbo Festival at Armstrong Park. JazzAndHeritage.org/Treme-Gumbo

SPECIAL EVENTS Nov. 8 The opening reception for “Drumsville!: Evolution of the New Orleans Beat” from 6 p.m. to 8 p.m. at the New Orleans Jazz Museum. NolaJazzMuseum.org Nov. 14 WYES celebrates a Season of Good Tastes with a paired dinner fundraiser at Tommy’s Cuisine. WYES.org Nov. 18 The NOLA Stache Dash one-mile run and tailgate benefits the New Orleans Musicians Clinic. NewOrleansMusiciansClinic.org

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BACKTALK

Simple Minds

talks back

PHOTO: joseph a. rosen, courtesy of the artist

cotland’s Simple Minds are famous in America for their number one hit, 1985’s “Don’t You (Forget About Me).” But that song, featured in the John Hughes film The Breakfast Club, is a small piece of Simple Minds. Six of the band’s albums, for instance, reached number one in the United Kingdom. Simple Minds albums also topped charts across the globe, including Germany, Italy, France, Spain, Australia and New Zealand. In February, Simple Minds released Walk Between Worlds, the band’s seventeenth studio album. In the U.K., The Sunday Times named it the best Simple Minds music in decades. The Daily Mail cited the album’s “unwavering energy” and “gallivanting grandeur.” In the U.S., Paste noted that singer Jim Kerr’s “fearlessness permeates this album.” Walk Between Worlds, the Paste review continued, is “a wonderful collection of dramatic, thoughtful songs that contains messages that can serve both personal and universal concerns.” Simple Minds co-founders Kerr and guitarist Charlie Burchill grew up in Glasgow. When Burchill’s elder brother wasn’t around, they listened to his record collection on the sly. After Kerr and Burchill were old enough to work afterschool and Saturday jobs, they spent their money on concert tickets. Their early concert experiences included David Bowie, Roxy Music, Lou Reed, Bob Marley, Led Zeppelin, the Who and the Peter Gabriel– era Genesis. In 1977, Kerr and Burchill launched Johnny & the Self-Abusers, a punk outfit that quickly crashed and burned. Influenced by Magazine, an early post-punk band from Manchester that combined artistry and theatricality with punk verve, Kerr and Burchill formed Simple Minds in 1978. Next year will be the 40th anniversary of their album debut, Life in a Day. Between 1979 and 1984, the prolific Simple Minds released six albums. After 1985’s “Don’t You (Forget About Me”), the band rivaled U2 in popularity. But Simple Minds didn’t sustain stadium-level success in the 1990s. A revival of Simple Minds, however, happened in the twenty-first www.OFFBEAT.com

Simple Minds' Jim Kerr, kneeling. century. Simple Minds are currently on a 30-plusdate tour of the U.S. that includes the Saenger Theatre in New Orleans on November 6. The morning after the trek’s first show, Kerr spoke to OffBeat. How do feel about playing an extended North American tour for the first time in many years? My apology for the gap is one of the first things I say on stage. The reasons for it are manifold. We’re always excited about playing live and touring, but it makes it doubly so to finally get a chance to go extensively, as this tour in North America is going. It’s something we weren’t sure we were ever going to do again. So, it’s great that we’re here, because we always wanted to be here again. By John Wirt

Why do you think your popularity in the U.S. didn’t always parallel your success in the U.K. and other countries? It was always a little out of kilter in America. We released five albums before we even got a deal here. Those first years of the band, we were knocking albums out every nine months. But in America we were knocking our heads, touring and touring. We were building a good foundation here, at colleges and all that stuff, but we weren’t getting any mainstream action. But then came “Don’t You (Forget About Me).” It blew up with the combination of the John Hughes movie and the song, MTV and Live Aid. Suddenly MTV put us into N O VEMBER 2 018

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“We didn’t want to come in some ’80s package thing. We didn’t want to come diminished. We said, ‘We’ll hold our ground.’ We might get a chance again one day to bring a good, good show and all that. And lo and behold here we are.” every household. You wouldn’t have got us complaining about that. But if ever it was a wrong time, it was a wrong time for us. Because we had been working six or seven years and we were almost dead on our feet. So, it meant that the next album took a few years in the making. You’re speaking of 1989’s Street Fighting Years? The record company hated it. They wanted “Don’t You (Forget About Me)” part two, I guess. And who could blame them? But we had moved on from that sound. We were writing songs about the big issues. Now you would say Street Fighting Years is a political album. It didn’t really get promotion here, so we didn’t come to America. And then in the ’90s, in some sense, the band’s wheels came off. We never gave up, but some of the key members left. And before we knew it a long time had passed. And with that so had our star power. You didn’t want to tour the U.S. in a smaller sort of way? We didn’t want to come in some ’80s package thing. We didn’t want to come diminished. We said, ‘We’ll hold our ground.’ We might get a chance again one day to bring a good, good show and all that. And lo and behold here we are.

asked ourselves, ‘All right. What are we in this for?’ We’re in it for the sake of it. For making music and for playing live. And we’re gonna do it for the good, the bad, the ugly. And it’s gone from strength to strength. Is the friendship you and Charlie share at the heart of Simple Minds? I’m so used to saying ‘we’ for almost everything now. Charlie and I are not only songwriting partners and the founder members of Simple Minds. We go back to the age of 8. And we still retain that friendship. Although it’s usually my big head that gets in the papers, Charlie is very much a part of this. What were some of the early musical experiences you shared with Charlie? When we were teens, we were very lucky because Charlie’s elder brother, James, had the record collection. He was the cool guy. We weren’t allowed to touch his records, but of course we would. And then you and Charlie began to attend concerts? Once that started, well, our passion was really ignited. And that led to us picking up instruments ourselves and trying to work out how to write songs and all that stuff. And that’s how the band started.

But you weren’t ready to let Simple Minds go? First of all, we had to decide if we were up for it ourselves. I mean, we’re greedy soand-sos. Not only did we want all of this, we wanted a life outside of this. So, time had to made for children and all the stuff that gives everyone balance.

That’s when you formed the punk band Johnny & the Self-Abusers? The only good things about Johnny & the Self-Abusers were the name and that we released only one single and we split up the same day the single was released. You can’t get more nihilistic than that. It was more a satire than a serious thing, but we still reckon Johnny & the Self-Abusers, despite all the fooling around, was the catalyst. The impetus, the energy of punk, the madness of punk made us get up and plug in and jump up and down. Somewhere within the joy of doing that we thought, ‘Wouldn’t it be great if we did this for real.’ And that led to Simple Minds.

You eventually decided you wanted to be more active in music? Coming back, we had to roll up our sleeves. I would say, in the past 15 years, we

Magazine, a band in Manchester that featured Howard Devoto, a former member of the Buzzcocks, was a major inspiration for Simple Minds.

Did your popularity in the U.K. and Europe decline as well? There were dips. The ’90s, we really didn’t do much. Like Paul Simon says, every generation throws its heroes up the pop charts.

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They’d added a musicality to the punky attitude. We thought, ‘That’s where it’s at.’ Magazine was the sort of North Star we followed when we put our band together. We could identify with Magazine. People like Jim Morrison and David Bowie, we identified with their music, but they were from another planet. Magazine, like us, manifested out of the punk scene. Did it take some time for Simple Minds to find the band’s sound? I would love to be one of these bands that just arrived with a glorious debut. And there it is, it’s all formed. The Smiths were like that, even Patti Smith was like that. Nothing sounded like that ever before. But that wasn’t to be in our case. We had to really work our influences, shape our influences. We used them as soil from which to grow something of ourselves. People started referring to the Simple Minds sound around New Gold Dream (81-82-83-84) album. The title is kind of perfect because that’s when the alchemy of our influences and own imagination came together and we emerged with our own vision. Your musical partnership with Charlie reminds me of John Lennon and Paul McCartney from Liverpool, Johnny Marr and Morrissey from Manchester and other British bands. It was a kind of working class, blue-collar thing. Some of the more arty bands met at art school and university, but in the cases that you mentioned, rock bands usually grew up around a singer–frontman who hooks up with a guitar player. Morrissey and Marr in the Smiths and it goes on. But quite often they end up hating each other. How have you and Charlie managed to stay friends and collaborators for 40 years? I guess we both have this, as yet, unending passion for it. Sometimes the passion hits the rocks. But in general, this is not even a career anymore—it’s what we’ve done with our lives. Although it took me the longest time to understand it, I’ve come to realize there are sprinters and there are marathon men. We’re in the latter category. O www.OFFBEAT.com