OFFBEAT MAGAZINE DECEMBER 2019

The Ultimate Holiday Playlist Poguetry Andre Lovett Jimmy “Duck” Holmes The Day it Snows on Christmas with Loose Cattle Midnight NoodlE THE ELYSIAN BAR

THEY’RE BACK: READY, WILLING and ABLE

NEW ORLEANS MUSIC, FOOD, CULTURE—DECEMBER 2019

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

CONTENTS TA B L E

p. 12

O F

p. 20

p. 53

16 Heartbreak and Cocaine

6 Letters 7 Mojo Mouth 8 Fresh

Andre Lovett and his bandmates have a sound that’s not easily pinned down.

Harold Battiste and Cher; My Music with drummer Jarrel Allen; Debbie Davis’ “Oh Crap, It’s Christmas!;” An early musical tribute to LSU football champs; Bar Marilou and more.

18 Christmas Gumbo

The ultimate New Orleans holiday playlist.

20 Ready,Willing and Able

Adonis Rose and the New Orleans Jazz Orchestra Swing Back onto the Scene.

12 Moo! A Very Loose Cattle Christmas 24 OffBeat Eats Michael Cerveris and Loose Cattle 25 Restaurant Review celebrate “The Day it Snows on Christmas.”

14 Dual Consciousness

The Pogues plus Lost Bayou Ramblers equal Poguetry.

Michael Dominici reviews The Elysian Bar.

26 Food and Lagniappe

BLAST FROM THE PAST December 1997

Allen Toussaint Decks the (Rock and Roll) Hall of Fame

By Scott Jordan

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28 Reviews

Dave Jordan, Jon Batiste, Samantha Fish, The Tangiers Combo, Leyla McCalla, Warren Storm, Charlie Dennard, Byron Asher, Hanna Mignano Quartet, Lost Bayou Ramblers, Feufollet, Dr. John & the WDR Big Band, Jazz at Lincoln Center Orchestra with Wynton Marsalis, Charlie and the Tropicales and more.

45 Listings 53 Backtalk with Jimmy “Duck” Holmes.

Midnight Noodle is much more than just a meal.

Toussaint remembers, “For the guys and gals that I was working with and recording with, like Ernie K-Doe and Benny Spellman and Willie Harper, Art Neville, Aaron Neville, Calvin LeBlanc… my parent’s living room was everyone’s second home. That’s where we spent all the time coming up with songs, and whoever was singing the lead, everyone else in the room would sing back-up behind them that day.”

(To read more this issue can be purchased at http://www.offbeat.com/shop/back-issues/1997/offbeat-magazine-december-1997/)

DECEMBER 2019

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letters “You do know that without politics, a lot of music, if not most, would be pretty boring. Writing about the thoughts, emotions, and reactions of political visionaries, which so many musicians are, is indispensable in the recording of who we are as a people.”—Kelli Alves, Austin,Texas

Louisiana Music, Food & Culture

DECEMBER 2019 Volume 32, Number 13 Publisher and Editor-in-Chief

Jan V. Ramsey, janramsey@offbeat.com of music, if not most, would be pretty boring.

Managing Editor This letter is in response to Jan Ramsey’s Writing about the thoughts, emotions, and Joseph L. Irrera, josephirrera@offbeat.com blog “Not Dead Yet—Distribution Snafu Affects reactions of political visionaries, which so many Web Editor Retailers and Bands.”—ED musicians are, is indispensable in the recording of Amanda “Bonita” Mester, amanda@offbeat.com Major labels have usurped distribution.The who we are as a people.

Consulting Editor pressing plants are overwhelmed with their Just ask John Lennon, Chance the Rapper, John Swenson priority orders. In the mix are regional chains Manu Chao, Lorde, P. Diddy, Bob Marley and Layout and design and major independent record stores who are Bob Dylan, just to name a few.

Eric Gernhauser getting priority.You also have stores loaning their I mean, damn, do you even listen to the Listings Editor name to fulfillment centers making buyers think lyrics of songs? Here—start with this one: Katie Walenter, listings@offbeat.com they are dealing with the store.The fulfillment https://www.youtube.com/watch?v=v7ZzlCP7oAw Contributors centers are taking orders they can’t fill. Recent Stacey Leigh Bridewell, Emily Carmichael, —Kelli Alves, Austin, Texas Michael Dominici, Robert Fontenot, examples are Black Keys [Let’s Rock] Indie Bill Forman, Ken Franckling, Jeff Hannusch, Exclusive and Bob Dylan’s Super Deluxe Rolling Paul Sanchez Jay Mazza, Cree McCree, Tom McDermott, Thunder box set. I am very concerned about These letters are in response to John Swenson’s Amanda “Bonita” Mester, Brett, Milano, the misuse of the term “limited edition.” Is it feature (November 2019) “Ghost Stories: New Paul Sanchez, John Swenson, Christopher Weddle, Dan Willging, really? Often the number of pressings is not Orleans Musician Paul Sanchez Tells His Tale.”—ED John Wirt, Geraldine Wyckoff defined.This allows an infinite number to be Mr. Sanchez’ music brings so much Cover PHOTO sold. Record Store Day is a huge influencer.Yet, happiness to so many of us. Hoping he stays Noé Cugny the playing field will not be level. A true indie, strong and healthy and that maybe he plays a Videographer/Web Specialist T-Bones Records in Hattiesburg often will not little music, too.

Noé Cugny, noecugny@offbeat.com get the most exclusive titles. Maybe one copy —Susan Nunez Belsom, Monroe, Louisiana Advertising Sales/ of some.Yet, Amoeba will get dozens.They got Promotion and Event coordinator all 500 of the alternative cover for Once Upon a Camille A. Ramsey, camille@offbeat.com My wife and I live on the Northshore.

Time in Hollywood. Fifty went to the UK. Nobody Jimbo [Walsh] was doing a weekly series of Advertising Design PressWorks, 504-944-4300 else got them. Labels are licensing and pressing shows at the Wah [Chickie Wah Wah] on Interns rights to dozens of companies and major and Wednesday. Were in town early and headed Jay Chris, Nick Coleman, Michael Frank, indie artists’ titles are getting multiple pressings, to the Wah for happy hour to wait for Jimbo’s Lauren Hicks, Gabriella Killett cutting out smaller artists. If you want an idea show. Mark Carroll and Carmela Rappazzo Distribution of how warped the playing field is, look at eBay do the Wednesday Happy Hour show. We Patti Carrigan, Doug Jackson and the number of titles flipped.Tyler Childers’ were happily surprised at how much fun we indie exclusive of 1000.Your store [the Louisiana had and how nice people Mark and Carmela Music Factory] didn’t get it because priority are. We went back for the show on the stores and maybe insiders did.This mess has next Wednesday and Paul [Sanchez] was OffBeat (ISSN# 1090-0810) is published monthly helped the vintage market. I am buying more performing with them. It is my understanding in New Orleans by OffBeat, Inc., vintage than limited edition now. Owning an that this was the first time he had performed 421 Frenchmen St., Suite 200, New Orleans, LA 70116 (504) 944-4300 • fax (504) 944-4306 original pressing is better than an anniversary live after his surgery. We were blown away. e-mail: offbeat@offbeat.com, pressing. I do like new artists’ first releases and Paul was with Mark and Carmela again last web site: www.offbeat.com test pressings. For instance, a band coming to night. He is an incredible songwriter and New Orleans will have an exclusive of only 25 has such a strong voice that he could sing cassettes. I love those. opera if he chose. “She Never Sang to Me in —Pat Kauchick, Enterprise, Alabama Spanish” is so sad. The world will lose much if Paul no longer chooses to perform. Everyone /offbeatmagazine Political Songs should attend the Wednesday happy hour at Copyright © 2019, OffBeat, Inc. No part of this publication may be reproduced without the consent of the publisher. OffBeat is a This letter is in response to Amanda Mester’s the Wah. You never know who will perform registered trademark of OffBeat, Inc. First class subscriptions to news post “Rapper Dee-1 To Interview Governor with Mark and Carmela. By the way: Happy OffBeat in the U.S. are available for $65 per year ($70 Canada, $140 foreign airmail). Back issues are available for $10, except for the Jazz John Bel Edwards.”—ED Birthday a day late, Paul.

Fest Bible for $15 (for foreign delivery add $5) Submission of photos and articles on Louisiana artists are welcomed, but unfortunately You do know that without politics, a lot —Dan McGehee, Ponchatoula, Louisiana material cannot be returned.

Overwhelmed?

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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O F F B E AT. C O M

Do We Really Want Shiny and Soulless? I

’m sitting on my perch on Frenchmen and Decatur, preparing to send this issue to our printer, all the while listening to Keith Abel, who conducts New Orleans tours. He gathers his people at our corner and tells eager-to-learn visitors about the city, and particularly about our music. He regularly lauds the Louisiana Music Factory (and OffBeat, bless him!) as beacons of music culture.

And the tourists drink it all in.

The attraction of New Orleans as a city isn’t derived from our tech industry, or how many shiny new condo buildings we’ve built over the past ten years, or our new airport (not saying we didn’t need one, especially one with connections to Europe). People find their way to New Orleans because it’s a special place; it’s not like other cities, Dallas or Atlanta or Houston. All of those cities are shiny, new and prosperous, and they all have NFL teams—the mark of a “real city” (she said, facetiously).

New Orleans is not shiny and new. It’s old and funky. But it’s also real and authentic. For the most part, though, the city has sold its collective soul to the tourism industry because we have so much to offer—not only for our citizens—but to the outside world: warmth, resilience, great food, deep roots, historic traditions, joie de vivre, and of course, music and culture. You can’t get the real thing anywhere else in the world, not at ersatz Disney or Vegas. We’re unique and we have to make a firm decision and take steps to stay that way, or our

OF F B E AT.C OM

mojomouth

A Note From Publisher J an Ramsey

unique appeal will evaporate.

It’s that simple and that paradoxical: the things that make New Orleans wonderful and unique aren’t necessarily conducive to creating a shiny and new and rich (?) version.

The city has been really successful in bumping up its high-tech industries and attracting new businesses and entrepreneurs to New Orleans; new young people move here because the city is “hip” and a cheap place to live relative to the west and east coasts. We all know, of course, that living in New Orleans is getting more expensive by the day, with short-term rentals and AirBnBs literally taking over neighborhoods—which then lose their authentic character and residents because they can’t afford to live there anymore. As a former resident of Central City, I can attest to that from first-hand experience.

While business development agencies boast that they created something shiny and new here, and have brought in companies that create jobs, there isn’t a concomitant effort in place to help to preserve, nurture and develop the culture of the city. That’s a real problem: culture isn’t a money-maker, and those development agencies can’t brag that they’ve created jobs in the “cultural sector.”

Culture-bearers in this country are usually non-affluent people who are more invested in creating a fulfilling life, preserving and nurturing intellectual achievements, artistic endeavors, and traditions.

What’s missing here is a balance of hustling for the new money and nurturing the culture. I’m afraid if we don’t create a balance between the two, New Orleans will just become like everywhere else: shiny and new with no soul. O

DECEMBER 2019

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NEW & NOTEWORTHY

H a r o l d Bat t i s t e a n d C h e r

I Got You Babe

a pedestal. He had dropped out of high school and had never even thought about music lessons.”

In 1964, Battiste arranged “The Letter,” a song originally released in 1958 by Don & Dewey, for Bono and his new singing partner, Cherilyn Sarkisian. After that unsuccessful single, credited to Caesar & Cleo, Battiste arranged the duo’s first release as Sonny and Cher, “Baby Don’t Go.” The subsequent “I Got You Babe” became a national number one hit in 1965 and the duo’s theme song.

Although Bono wrote “I Got You Babe,” Battiste filtered it through his musically hip sensibilities. He changed the original waltz tempo to a brighter 6/8 time signature and replaced the brass instrumentation Bono originally conceived for the song’s oompahpah-style riff with two woodwind instruments, bassoon and oboe.

“The distinctive sound is what

Harold Battiste with Sonny and Cher

hooked people,” said Karen Celestan, Battiste’s Unfinished Blues co-writer. “That was Dr. Batt’s gift to them.”

Battiste also arranged Cher’s biggest solo hit of the 1960s, “Bang Bang (My Baby Shot Me Down)” as well as Sonny and Cher’s 1967 top 10 hit, “The Beat Goes On.” The latter song, Celestan said, “has this funky New Orleans type of beat. And that ‘la-de-da, de-de, la-de-da, de-da,’ that’s a New Orleans kind of thing. Dr. Batt brought all of that to them.”

For Battiste, working with the ’60s’ hottest pop duo—and

dealing with their musical limitations—was a mixed blessing.

Although the income helped him support his family, he said, “in my soul, I was a jazz musician, or soul, R&B or blues even.”

If not for Battiste, Celestan speculated, the duo’s success might not have happened so quickly—or perhaps not at all. “Dr. Batt arranged the hits that put Sonny and Cher in the pop canon of that era,” she said.

Cher and Nile Rodgers and CHIC will perform December 13 at the Smoothie King Center.

—John Wirt

Photo cOURTESY OF The Historic New Orleans Collection

When Cher brings her Here We Go Again Tour to New Orleans on December 13, she’ll be in the hometown of the musician who helped make her 55 years of stardom possible. Harold Battiste Jr. arranged Sonny and Cher’s biggest hits of the 1960s. In the ’60s and ’70s, Battiste put his jazz career aside while he worked as the duo’s musical director and conductor.

Battiste met Sonny Bono in Los Angeles in 1956, when they were both working for Specialty Records. In his memoir, Unfinished Blues: Memories of a New Orleans Music Man, Battiste describes Bono as “a confident charmer and deceptively smart.

As we began to work together and he became aware of my background—my education, my experience as a teacher, and my skills as a jazz musician, arranger and composer—he placed me on

Drummer Jarrel Allen

“I was born in New Orleans, grew up in the 9th Ward, some in the Lower 9th Ward in my early life but after Katrina and the flood I grew up in The Musicians Village in what they call now the Upper 9th Ward, I’m 19 years old.

I can’t even remember when I started playing music, I must’ve been at least two years old, super young. My momma always told me I’d always pull the pots out and beat on ’em when I was younger.

I guess that’s when it started. And with dad, [Shamarr Allen], there was never a time when I didn’t hear music in the house.

I was so young the first time I got on stage—I don’t know for sure—but it was probably with my dad playing with The Hot 8 when I was like six or seven.

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When I was in third grade I was rapping. I recorded “I’m A Holla Back” about my teachers in school that dad put on one of his records. [Box Who In?].

I went to NOCCA and being around all those people made me really wanna, you know, be on their level ’cause everybody was ahead of me, so I just felt the need to push myself further. I started out on trumpet, but by the time I got to NOCCA I was on drums.

I had a lot of catching up to do ’cause before then I wasn’t really around anybody who played a drum set—it was always a brass band-type situation. I got my first paying gig with Kinfolk Brass Band when I was sixteen and just kept working so I never could see what it really was about.

After high school I started going to Loyola, which was cool; it was an experience. I didn’t really like it though, so I stopped going and transferred to Delgado where I’m studying recording and taking classes to go to UNO. I started interning at NOLA Recording Studio with Mike Harvey to become an engineer— been doing that for a year.

I been playing with Delfeayo Marsalis, a lot of brass band stuff.

I play with Brice Miller; people I used to go to school with at NOCCA and Loyola call me for gigs and I stay busy.

What I really want to do is engineering, that’s my main thing.

But I still want to play; I don’t want to leave it behind completely. I feel like engineering’s where I fit in the most, even more than playing. To me I feel like I could contribute to music more as an engineer. It may sound weird. but that’s how I feel about it.”

—Paul Sanchez

O F F B E AT. C O M

Photo by Gregory Agid

My Music

C h r i s t m a s Lo v e

Photo BY ZACK SMITH

Debbie Davis’ show keeps her from getting cynical.

Christmas can be a time for kicking up and celebrating, for gathering friends together, for taking solace after a tough year, or even for tearing up a little.

Debbie Davis plans to do a little of all the above when she brings the fifth edition of “Oh Crap, It’s Christmas!”—her annual all-star seasonal show—to Café Istanbul on December 15. But mostly, she’ll be gathering some well-known friends together and singing a night’s worth of less-obvious Christmas classics.

The project was born when she and partner Matt Perrine did an album of that name in 2014; from the start the idea was to do Christmas music with some heart, but without the cheap sentiment.

That applies to the songs on tap and to the underlying mood.

“Christmas is a complicated time for a lot of people,” she says. “The times we live in are certainly terrifying. So Christmas has a lot of gravitas, but it’s also a simpler thing: It’s a chance to be a better version of yourself, to think of others a little more. Sometimes I feel like I’m saving Christmas with this show, and sometimes I feel like Christmas is saving me.” And this year? “I’ll get back to you on that one.”

This year you can expect some different songs—Davis says she has a second Christmas album on hand if anybody cares to sponsor it—and a mix of old and new cast members. Returning are Susan Cowsill, guitarist Alex McMurray (“one of the sweetest elves there is despite that gruff exterior”), keyboardist Josh Paxton (who’s

taken over the musical director role while Perrine is on tour) and Davis’ mom, an opera singer. Joining this year are Beth Patterson, Meschiya Lake (who’s moved back to New Orleans after a spell abroad) and the Breton Sound’s Jonathan Pretus.

Equally important are two people who will be there only in spirit: Spencer Bohren and Leigh Harris. Both were among the great losses to the local music community in 2019, and both are close to Davis’ heart: Harris was a longtime friend and supporter, and Bohren played one of his final shows at last year’s event. Both

will be represented during the show— Harris with an unusual arrangement that she once dreamed up; Bohren with a tune that he’s sung in previous years. His son Andre will also be there on piano and drums. “It wouldn’t seem right if Spencer wasn’t there in some fashion.”

If Davis has her way, the show will send everyone out with a little Christmas love in their heart.

“There’s a lot to unpack this year, so to speak. But this is how I keep from getting cynical; Christmas gets better the more people you share it with.”

—Brett Milano

C h i n e s e Ba n d i t s

An early musical tribute to LSU football champs.

As a tip of the hat to the success of the current LSU football squad, OffBeat takes pleasure in recalling a killer New Orleans R&B tribute to the Fightin’ Tigers team from 1958.

Considered now a most politically incorrect song title, “Chinese Bandits,” by the Cheerleaders, was a favorite on local radio for months.

“The Cheerleaders”—Huey Piano Smith, Frankie Ford, Jerry Byrne and Mac Rebennack—only existed on 45 r.p.m. The inspiration for the title came from Paul Dietzel, the LSU coach. He dubbed the undefeated 1958 substitute defense squad the “Chinese Bandits.” At the time there was a popular comic strip “Terry and the Pirates.” In the “funny papers,” that band of pirates often skirmished with a band of Asian privateers dubbed OF F B E AT.C OM

“Chinese Bandits.” Such was their head-hunting reputation that the Bandits became media favorites— even being featured nationally in Sports Illustrated. It should be noted that in 1958, no player of Asian descent, or of color, would wear a LSU jersey for over a decade.

After LSU went 11-0 and won the Sugar Bowl, the state was in a frenzy. Not long after, Frankie Ford, née Frank Guzzo, a teenage rock ’n’ roll performer from Gretna, came under the wing of Joe Caronna. Described by Mac Rebennack as “a stone hustler,” Caronna—among several other enterprises—was also a partner in Johnny Vincent’s local record distribution company. Vincent

also owned Ace Records, which at Caronna’s recommendation, got Ford signed to a record deal.

Besides “Sea Cruise,” the Ford/ Caronna partnership also spawned the Spinet Records company.

“That was the year LSU had the best team in country,” recalled Frankie Ford. “Joe said LSU was gonna be number one, so we came up with this topical thing ‘Chinese Bandits.’ I wrote the chorus and Huey and I made a deal to split what we made. We called ourselves the Cheerleaders, because of our [Ace] contracts.”

Very much a Huey Smith arrangement, it was Mac’s band the Skyliners’ vocalist Jerry Byrne (“Lights Out”) who sang the memorable refrain “Chinese

Bandits they can rock, gonna stop a touchdown—chop-chop!”

“We sent some dubs out to the stations and they started calling in like crazy,” added Ford.

“The first 1,000 records came in with blank labels. They were screaming for the record. We had to write the titles on by hand. We put each record on the turntable to see which side was which. We hand-delivered them to the stores because it was Saturday and the distributorship was closed.”

Of course, eventually things died down, but the LSU band still plays the song occasionally. Besides being “borrowed” by some parties, “Chinese Bandits” 45s have become quite collectable.

You’ll still hear it occasionally when religiously they rebroadcast Billy Cannon’s 1958 punt return on Halloween night.

—Jeff Hannusch

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W h at W e D o I n Th e Sh a d o w s

Bar Marilou is accessible to everybody.

Nestled into the ribs of the newest Ace Atelier hotel, Maison de la Luz, is Bar Marilou, one of New Orleans’s first aperitif bars.

It is a place flush with luxury.

Red velvet curtains billow against red walls and brimming red bookshelves. Here, with its low, golden light glistening off marcona almonds and anchovies, is the last place one would expect to be able to afford a cocktail.

“New Orleans is the mecca of the cocktail…so we have a lot of respect for that,” said Carina de Soto, one third of Quixotic Projects, the famed Parisian cocktail group that Ace Atelier tapped to create Bar Marilou.

While De Soto was referring to the bar’s spin on New Orleans classics, that’s not why Bar Marilou is noteworthy; its most interesting divergence is the bar’s earnest attempt to balance trendiness with authenticity and

accessibility.

A previous law library, De Soto and her partners modeled the interior after what the library of a Parisian woman artist might look like, with all the colorful, messiness that entails.

“We wanted the bar to be accessible to everybody,” De Soto said. “I don’t want to be a hotel bar with $20 cocktails. We try to be a community bar, not specific to demographic.”

The European concept of aperitifs pairs perfectly with this push for inclusivity. Aperitifs are drinks with a lower alcohol content meant to be enjoyed before dinner. They are often wine-based, using sherry, vermouth, Campari, Dubonnet or Lillet, and are accompanied by light snacks. While Bar Marilou is not the first to sell them, it is one of the first to build a bar around them.

The reduced alcohol content of aperitifs means they can be sold at a lower price, something Bar Marilou takes conscious advantage of. Unlike many bars, their prices don’t skyrocket after 6 p.m. when happy hour, or, in this case, aperitif hour, has passed.

Bar Marilou offers a selection of its artful cocktails in three sizes, small, medium and large. The smallest size never sells for more than six dollars.

In their first state-side bar, Quixotic Projects brought all the same cocktail creativity that won them international acclaim. A

stand-out is “What We Do In The Shadows.” Though it looks nearly black in the glass, the cocktail is a lighter, more playful take on an Old Fashioned.

Bar Marilou has only been open since May and whether or not it succeeds in mixing a trendy bar with a neighborhood one remains to be seen. The type of person that congregates there thus far varies by age and demographic, but are all generally people who can pull off chunky glasses and high-waisted pants with enviable grace.

—Emily Carmichael

S W EET T W EETS Keith Spera @KeithSpera The folks behind the new MSY airport remembered to book the brass band for the grand opening but forgot to build direct access ramps from the interstate #thatssoneworleans Michael Tisserand @m_tisserand My Darlin’ New Orleans My praline hometown Your Carnival calliope Set me free to play the clown RIP Leigh “Little Queenie” Harris Jennifer Rubin @JRubinBlogger Every time a Republican does this another hundred women vow never to vote R in their lives.

Jeff Albert @jeffalbert I really hate it when I go to a website from a link in an email, then have to agree to the cookie policy, then get a popup asking if I want to subscribe to the email list THAT I AM ALREADY SUBSCRIBED TO!!!!

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jon cleary @jonclearymusic Playing rnb on a boat in Prague tonight with John Scofield, next stop: Wilice.

Antoine Diel @AN21DL Since certain states are telling women what to do with their bodies after they get pregnant why not go the next step and tell men that they can easily prevent it. Why not require it of them? Vasectomies for everyone! Waiting for legislation for that. #vasectomies4everyone Mardi @freewatermardi New Orleans our influence is larger than we think. Stop sleeping Kermit Ruffins @KermitRuffins This Sunday Saints and Atlanta game at noon with DJ Sugar Ray O F F B E AT. C O M

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o se Lo

t le Cat

Moo! A Very Loose Cattle Christmas t’s a bright sunny afternoon in late October at

by Cree Hansen’s Sno-Bliz, and with temps in the mid-70s, the line of folks waiting for sno-balls would normally stretch around the block. Instead, the sound of a fiddle and horns wafts through the open doors on Tchoupitoulas, where passing drivers do double-takes at the skinny guy in a Santa suit tugging a fake beard next to a sweet white pooch sporting reindeer antlers.

Welcome to the video shoot for “The Day It Snows on Christmas,” Loose Cattle-style, where band co-founders Michael Cerveris and Kimberly Kaye are lip-synching their hearts out in a location that’s not only season-appropriate but very dear to their hearts.

Back in 2017, when Loose Cattle were recording their instant-classic holiday album, Seasonal Affective Disorder, Hansen’s was a refuge that provided both physical and spiritual sustenance.

“We were recording the album uptown at The Parlor in the middle of August,” recalls Kaye, who was battling a host of chronic life-threatening infections amid a heat wave that spiked to 112 degrees. “So we’d go to Hansen’s for sno-balls to keep us motivated to keep recording.” “’Cause it would feel like Christmas if we got sno-balls,” interjects Cerveris, who first proposed they make an album of covers for his own favorite holiday—and Kaye’s least favorite holiday—when she was at death’s door in the hospital.

“I said okay, because there was no way I was gonna be alive to have to actually do this stupid fuckin’ Christmas album,” Kaye says. “And then I lived! And I had to do it! And I was still on this liquid diet ’cause my organs were in failure, and when Hansen’s found out, they were like, here’s your sustenance! I would go to Hansen’s for my only meal of the day, and they would give us sno-balls for free.”

That all-in-the family spirit lights up today’s set, where Ashley Hansen and Hansen’s manager Paul Broussard greet the band with bear hugs, artisanal icy treats and red and green prop sno-balls for the shoot. They also shave a few bins of ice so the band can have a for-real snowball fight outside on Tchoupitoulas, drawing more bemused stares from passing drivers.

Though Cerveris and Kaye recorded Seasonal Affective Disorder with their original Brooklyn-based band, they’re shooting the video with Loose Cattle’s stellar New Orleans lineup: Rurik Nunan (fiddle), Rene Coman (bass) and Doug Garrison (drums), all of the Iguanas.

“We’ve had [Loose Cattle] for ten years, but within the last year, the Iguana guys joined us and sort of got stuck in the barn with us and now

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they tour with us and we won’t let them out,” Kaye says, laughing. “We’re keeping them captive!”

Brooklyn is in the house today as well: Original drummer Eddy Zweiback, who brushed his “barely snare” at an acoustic gig last night, is playing the world’s skinniest Santa at the shoot. He also turned plenty of heads when he showed up in full Claus regalia outside the Superdome after the Saints game, footage of which will appear in the video.

“The Saints had won, so the crowd was really happy,” reports Cerveris. “And out of season, people are so excited to see Santa!

People were taking pictures with him and telling him what they wanted for Christmas and dancing with him. It was hilarious.”

It was also a warm, summery day, which dovetailed perfectly with the spirit of “The Day It Snows on Christmas.” Originally recorded and released by Allen Toussaint in 2004, the Greg Barnhill-Will Robinson song details a litany of things as unlikely to happen in New Orleans as a White Christmas: “The coffee won’t have any chicory/ The moss Loose Cattle celebrating will fall right off the live oak tree/ Christmas at Hansen’ Sno Bliz Tchoupitoulas won’t have one pothole/ And the Saints’ll go marching to the Super Bowl.”

“Allen’s version is much more lyrical,” says Cerveris of Loose Cattle’s foot-stompin’ take on the song. “We also changed one line: ‘And the Saints’ll go marching back to the Super Bowl.’ ” Not to jinx it, but that just might happen. And one thing’s for sure. “A Very Loose Cattle Christmas,” their annual holiday show, will be one of the highlights of the season. Featuring a full horn section and a galaxy of guest stars, Tom McDermott, John Boutte and Debbie Davis among them, it runs the whole Seasonal Affective Disorder gamut of emotions, from Tom Waits, Merle Haggard and Willie Nelson classics to their own “Shepherds in the Parking Lot,” which manages to find a glimmer of hope in the bleakest circumstances.

Like “when that doctor gave you pills so now you’re numb but you’re sick still,” as Kaye sings in “Shepherds.” And Hansen’s comes to the rescue with sno-balls just when you need them most.

“It’s such a New Orleans story and such a Christmas story,” agrees Kaye—especially for someone like me who always hated Christmas.

My heart grew three times bigger, and not because the medication went wrong!” O The Third Annual “A Very Loose Cattle Christmas” hits the stage at Chickie Wah Wah on December 17. Loose Cattle also appears for the first time ever at the annual Christmas In New Orleans Concert at St. Augustine Church on December 21.

McCree

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Michael Cerveris and Loose Cattle celebrate “The Day it Snows on Christmas.”

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hen Spider Stacy and Cait O’Riordan from the Pogues meet the Lost Bayou Ramblers, they make Poguetry together.

The Pogues, of course, are the Anglo-Irish folk-punk band from London that featured Shane MacGowan and his great songwriting. Lost Bayou Ramblers are the powerfully adventuresome Cajun band that celebrated its 20th anniversary this year and won a Grammy award last year.

Stacy in the Pogues’ beloved Stacy, a singer and tin whistle Christmas classic “Fairytale of player, nicked Poguetry’s name New York” (originally sung by from the Pogues’ 1986 EP, MacGowan and Kirsty MacColl).

Poguetry in Motion. He and the Maybe even more importantly,

By John Wirt Lost Bayou Ramblers debuted O’Riordan adds genuine Pogues their musical hybrid in August 2015 at One Eyed Jacks in New screams to Poguetry. “Louise and Spider tried to explain all these Orleans. They’ve since performed together in Lafayette, Baton Rouge background vocals to us,” Michot said. “But we didn’t get it because and, last August during the Ramblers’ 20th anniversary tour, Brooklyn we’re just some Cajun dudes from Louisiana. They have a whole other Bowl in New York City. way of screaming. Spider and Cait are part of a whole other world of Adding even more Pogues to Poguetry, bassist and singer music that we’re not used to.”

O’Riordan played her first shows with the project last December.

Despite the differences, Pogues songs fit the Lost Bayou Ramblers The whole gang will be together again for shows at Tipitina’s in New well. “It’s not a huge transformation,” O’Riordan said, “because the Orleans on December 13 and The Pearl in Lafayette on December Cajun lads, they have the energy and that dual consciousness thing 14. “We could make it an annual tradition,” O’Riordan said from New that, looking back, was so important for the Pogues. The Cajuns. they York City, where she’s a regular performer at the Irish Arts Center. have their culture, but they’re also living in that mixing pot of New The seeds for Poguetry—which features Stacy, O’Riordan and Orleans and standardized American culture and all your history from the Lost Bayou Ramblers playing Pogues songs—were planted in Cuba and the old world. They’re representing multiple cultures and 2010 at One Eyed Jacks when Stacy experienced his first Ramblers channeling that. And it was the same with the Pogues. We weren’t performance. Michot brothers Louis and Andre and their Ramblers English. We were London and Manchester and, me and Shane, were bandmates knocked the Englishman in New Orleans out. “Just the second-generation Irish. We weren’t monocultural. That’s something power and the noise,” Stacy marveled. “I get a real blast out of playing I sense very much in the Lost Bayou Ramblers. They’re channeling with them and hanging out with them. Apart from being a great band, these strong streams of proper old culture and making them new. they’re great blokes as well.”

There’s that transformation every time we plug in and start making Stacy later made a guest appearance on the Ramblers’ Grammythe noise. And that’s the only kind of thing I’m interested in, really. You winning 2017 album, Kalenda. A New Orleans resident with his wife, can’t guess what’s going to happen. I love that.”

Louise, since 2010, he contributed tin whistle to “Si J’aurais des Ailes.”

Stacy and Louis Michot both say Poguetry may enter the recording Last year, Stacy invited O’Riordan to visit Louisiana and perform studio. “Originally,” Stacy recalled, “I just thought it would be great to with Poguetry. “That was amazing,” she said, “for Spider to just out of have the Lost Bayou Ramblers doing Pogues songs. It was really as the blue get in touch and say, ‘I’ve met these Cajuns, and we’re playing simple as that. But now I’ve seen just what can be done. It’s pretty Pogues songs.’ I just thought, ‘How fun.’ Those Michot brothers, they’re exciting. I’d be very interested to hear what we can do in the studio, a real force. It’s such an unexpected and fantastic combination, with making use of the psychedelic and experimental sounds that the Spider and Shane MacGowan’s amazing songwriting.”

Ramblers use.”

“Cait,” Stacy said, “lifts the whole thing up to another level.”

“It’s a high possibility,” Michot said of potentially recording Poguetry, Ramblers singer-fiddler Louis Michot agrees. “Being the bass player, she “because we’ve been playing a few years and now Cait is in the mix. remembers things in a different way than Spider does,” Michot said. “It We’ve come to an interesting place with Poguetry. It’s just so fun and completes the experience for us, because she’s in the rhythm section. so natural and so easy.” O She brings a whole new understanding [of the Pogues’ music].”

Poguetry, featuring Spider Stacy and Cait O’Riordan from the Pogues O’Riordan’s contributions to Poguetry include her lead vocals for with the Lost Bayou Ramblers, performs December 13 at Tipitina’s in the ballad “I Am a Man You Don’t Meet Every Day” and her duet with New Orleans and December 14 at The Pearl in Lafayette.

Dual Consciousness

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The Pogues plus Lost Bayou Ramblers equal Poguetry.

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ny musician who plays in crowded New Orleans bars gets used to people coming up to them between sets and saying how much they sound like their favorite artist. Just ask New Orleans’ folk/soul/hip-hop musician Andre Lovett, whose band plays out five nights a week at the Bourbon Street Drinkery, the Apple Barrel, and the upscale Pontchartrain Hotel. “I get so many people telling me how much I remind them of different artists, that it’s hard to pick just one,” he says. “The ones I get most are Charles Bradley and Tracy Chapman.”

Traces of both artists are discernible on Andre Lovett and his band Luscious Duchess’ soulful debut album Heartbreak and Cocaine, which is currently being mixed and mastered for release this coming January. But Lovett and his bandmates (Nat Lawrence on keys; Fernando Lima on drums; Matt Gibson on bass and Whitney Alouisouis on vocals) have a sound that’s not easily pinned down—thus the variety of comparisons, which can sometimes come out of nowhere.

“I got James Brown once, and I’m like, ‘Okayyyy,” laughs the musician. “Don’t get me wrong, I’ll always take a compliment.

But I think it was just because I’m a black guy in a suit.”

It’s no secret that many of the best R&B, blues and pop artists grew up singing

by Bill gospel music in church. Lovett did, too, just not in the kind you’re thinking of.

The singer, whose father was in the Air Force, spent his early teens in Colorado Springs, where he sang in the choir at New Life, an evangelical megachurch that would later make headlines when founding Pastor Ted Haggard was cast out for scandalous behavior.

“When you’re young, you’re doing whatever your parents are doing, so we were going to New Life,” recalls Lovett. “My dad was in the praise team, and my brother and I were in the youth choir. It was fun.”

Outside the confines of the church, Lovett says his voice was more attuned to the smooth ’90s R&B of acts like Boyz II Men and Usher, both of whom he listened to while growing up. Today, his voice is deeper and more rough around the edges, like a contemporary take on classic Southern soul mixed with indie, folk, and hip-hop influences.

“As you get older, your voice obviously changes and evolves,” he says, “and that’s especially the case when you live in a city where you’re drinking all the time. But as long as I can still hit my notes, I’m fine with it.”

The musician does all that and more with Heartbreak and Cocaine’s instantly memorable title track. An achingly beautiful 3 a.m. ballad, it’s the perfect showcase for Lovett’s talents as a singer and songwriter,

his soulful, quavering voice complemented by an accompanying vocalist, with a minimalist arrangement of nearliturgical organ and piano playing.

In the decade between his choir days in Colorado Springs and his life in the considerably less conservative Crescent City, Lovett went to college in Florida and then set out to Seattle to pursue a career in music. He spent five years there, performing in small clubs and on the street. In the Amazon Prime documentary Find Your Way: A Busker’s Documentary, you can catch a fleeting glimpse of him playing on the street, just long enough for him to earn his place in the closing credits as “Andre Lovett II: Cold Busker.” It’s easy to see why he’d want to move to a warmer climate and culture.

“New Orleans has a tight-knit musical community where everybody’s very welcoming,” says Lovett, who rapidly made the transition from busker to front man. “When I first moved here, James Andrews was like, ‘Want to come in and sing a song?’ and I was like, ‘Wait, what?’ It’s nice to be able to walk into somewhere and they’re like ‘Hey, Andre Lovett’s here, bring him up.’ Or if I see one of my homies walking by, I’m like, ‘You want to play drums? You’ve got 30 minutes until your gig, you might as well Forman sit in with us.’

Like many of their peers, Lovett and his band know how to rearrange other artists’ material in ways that can sound better than the original. The front man has also learned how to read a crowd. “If a bachelorette party walks in, I’m going to play Sam Smith mashed up with a bunch of hip-hop. If it’s middle-aged couples, we’ll go for Tom Petty.”

Yet even when Lovett trades his jeans and t-shirt for the sharp suit he wears at the comparatively straightlaced Pontchartrain Hotel, he’s been surprised by the free reign he’s given.

“It’s a really nice hotel, but they just encourage us to be ourselves,” he says. “And it’s fun because, like, when we do hip-hop covers with a lot of ‘fucks’ in them, you’d think they’d take you aside and be like, ‘All right, there’s children in here, you need to cut down on that.’ But they don’t. I’ll be standing on tables and they’re like, ‘Go for it, it’s New Orleans, we want that kind of vibe.’ There’s no way you’re going to walk into a nice hotel bar in New York City or Chicago and see the performer standing up on a table. That’s not going to happen.” O Andre Lovett and his band play Monday and Wednesday nights at the Apple Barrel on Frenchmen Street, Saturdays and Sundays at the Bourbon Street Drinkery, and Friday nights at the Pontchartrain Hotel.

Heartbreak and Cocaine

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Photo by Torre Josey

Andre Lovett and his bandmates have a sound that’s not easily pinned down.

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Christmas Gumbo ew Orleans’ history of Christmas music

by Brett actually begins fairly recently: For all the great records that came out of this city in the ’50s and ’60s, only a precious few of them were seasonal. Many local legends (Armstrong, Prima, Toussaint) only recorded one-off Christmas tracks, and at least one, Professor Longhair, never waxed any seasonal music at all. That all changed in the CD era, as local songwriters did their best to put some new spice into the Christmas repertoire.

This stab at an ultimate New Orleans holiday playlist list culls many of the greatest in chronological order. Consider this a seasonal addendum to our book, “300 Songs for 300 Years”—which, we hasten to add, makes an excellent Christmas gift.

“What Will Santa Claus Say (When He Finds Everybody Swingin’?)” (Louis Prima, 1936) A pressing question indeed, and in 1936 Louis Prima was the man to ask it. Having recently left New Orleans to launch his career on the West Coast, by now Prima likely knew plenty about parties that don’t wrap early enough to give the fat man a quiet hour to leave gifts; the band on this record was his original New Orleans Gang. Note that it also asks what Santa will do “when he hears them sing-sing-singing,” a reference to his hit from earlier that year.

“Please Come Home for Christmas” (Charles Brown, 1960) Really, has a better modern Christmas song ever been written? In contrast to the usual reverence and jollity, this soulful Charles Brown tune allows that hearts can often use some healing at this time of year.

Brown’s original version was cut at Cosimo Matassa’s studio on Governor Nichols Street in 1960. Johnny Adams did an equally soulful version in 1977—though few people outside of Louisiana ever heard that single, it sounds like someone in the Eagles did, because their hit version a year later used the same arrangement. Aaron Neville’s latterday version is no slouch either.

“Rock & Roll Santa Claus” (Huey Piano Smith & the Clowns, 1962) To its eternal credit, the Clowns’ 1962 Christmas album was way too wild for a

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Milano national audience. It sure sounds like spirits were high

in the studio, which may be why so many musical giants make appearances. This track features a young but recognizable Mac Rebennack explaining a recent change: “Santa done moved from the North Pole … People down there don’t rock and roll!” Don’t bother wondering why the North Pole is “down there.”

“Zat You, Santa Claus?” (Louis Armstrong, 1963) A contender for the most jovial vocal performance Satchmo ever cut. The song itself isn’t quite classic, but the glee in Armstrong’s voice makes it seem that way—it’s also enormous fun to sing, which explains why it’s gotten so many covers. Interestingly the original 45 gave co-billing to the Commanders, a West Coast big band who joined him for this session. During that very same Christmas season, Armstrong recorded a version of “Hello Dolly!” which would serve him well in the year to come.

“No Room at the Inn” (Mahalia Jackson, 1968) The queen of gospel actually cut this song twice, in two very different arrangements. The first version (1955) is jubilant gospel, but she revisited it for her 1968 Christmas album, released shortly after her tribute album for the Rev. Martin Luther King. In this version it’s slowed down to a funereal pace and her voice is that much more stately and regal; in this context the civil-rights overtones of the lyric are hard to miss.

“Party This Christmas” (Rockin’ Sidney, 1986) This was recorded around the same time as “My Toot Toot,” and has the same strengths: It’s dead simple and relentlessly upbeat, with a tune you can’t get out of your head. He truly was the Ramones of zydeco, aside from the drum machine.

“All I Want for Christmas is You” (Vince Vance & the Valiants, 1989) Though perhaps best remembered for “Bomb Iran,” this local group had a brighter moment with this seasonal nugget, sung by band member Lisa Layne and sounding more like a swamp-pop record from two decades earlier. The only sign of the novelty side was the single’s original cover, which showed Vance in a bouffant wig. Ironically, that’s exactly what made it a hit: A country station in Baltimore spun the record as a joke and wound up loving it; it made the national country charts in six different years (and of course, isn’t to be confused with the Mariah Carey song of the same name).

“The 12 Yats of Christmas” (Benny Grunch O F F B E AT. C O M

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The ultimate New Orleans holiday playlist.

& the Bunch, 1990) Parodies of “12 Days” are nearly as eternal as the season itself, and Grunch’s merry crew came up with one of the best—and certainly the most locally-slanted one. Replacing the partridge with “a crawfish they caught in Arabi,” it goes on to poke good-natured fun at a bunch of local habits and accents.

“Santa Baby” (Charmaine Neville, 1990) Not a lot of locals were making Christmas albums in the ’90s, so the best tracks were stashed away on compilation albums—like this one, originally on the Mardi Gras album Christmas in New Orleans. This is of course the old Eartha Kitt hit and Neville has an unheard-of amount of fun with it—playing with the lyrics and the melody and flirting with Santa for all she’s worth. It gives the Kitt original a run for its money and easily beats the Madonna version.

“Oh Holy Night” (Irma Thomas, 1994) It’s a shame that Irma Thomas never made a full Christmas album (not yet anyway), especially when you hear the wonders she works with this traditional carol (on her gospel album, Walk Around Heaven). She takes it slow so she can wrap her voice around every syllable, the way she emphasizes the “Oh night divine” would do Mahalia Jackson proud. And if you didn’t know that the original carol had some rather topical lyrics (“In His name all oppression shall cease”), now you do.

“Christmas Bayou” (Beausoleil, 1994) Tucked away on Beausoleil’s Christmas album—which was mostly seasonal standards in French and English—was this nifty Michael Doucet original, which catches the band at its most progressive. Lyrically it deals with a familiar theme—traditions and the need for holding onto them—but musically it’s modern swamp rock, with the accordion doing a rockkeyboard riff.

“I Told Santa Claus” (Fats Domino, 1999) Oddly Fats waited until the late ’90s to record any Christmas music, and the album Christmas is a Special Day is a bit of an oddity, with mostly familiar songs shoehorned into the Fats groove. This original tune is a keeper though, using the holidays as occasion for a marriage proposal. Aside from the synthesizer solo (How often did Fats play one of those?), it sounds like something he could have done decades earlier.

“The 12 Drinks of Christmas” (Frankie Ford, 2001) So you thought “Sea Cruise” was his greatest record? Guess again. On this inebriated classic, Ford imbib ecording attests more than anything else to Ford’s masterful comic timing, which won’t be a surprise to anyone who ever saw him live. It starts out fairly coherent, by the end it’s “Twelve marna-gritas…10 Ramos foozes.…tee dry martoonies…and a tree with a bird in it!”

“The Day it Snows on Christmas” (Allen Toussaint, 2004) The producers of the 2004 collection Christmas Gumbo tailored the songs to an A-list of local legends. Toussaint, of course, gets a song filled with elegance and sly humor, detailing all the unlikely things that would also happen if New Orleans gets a white Christmas (“Tchoupitoulas won’t have one pothole/ And the Saints will go marching to the Super Bowl”). There is of course a bit of sad irony to this one: New Orleans did get some snow around Christmas that year, followed by worse weather conditions some months later (and the Saints went to the Super Bowl). But OF F B E AT.C OM

Al Johnson & Margie Perez

the good nature of this song endures, as do the potholes on Tchoupitoulas.

“A Saints Christmas” (Kermit Ruffins, 2009) The fact that Christmas falls around football season has fueled many a song—not least this jovial one from Kermit, who reminds us that it was easy to request a Saints victory for Christmas, since he always sees Santa hanging out in the Treme. Suffice it to say that he seems to have caught Santa in a more accommodating mood during 2019.

“Drunk This Christmas” (Paul Sanchez, 2009) One of many highlights on the Threadhead Records Christmas album, this one finds Sanchez at his most lowdown, detailing the after-effects of a Christmas Eve on the tiles, including waking up with company. “Maybe I should kiss her, but would she be ashamed/ If I said merry Christmas, baby what’s your name?”

“The World at Christmas Time” (Susan Cowsill, 2009) From the same album comes the kind of emotive pop song that’s always been Cowsill’s specialty. The lyric is bittersweet and the vocal openhearted, celebrating the connections that people feel on the holiday: “It’s magic when you smile at me/ You don’t know my name, do you?

At Christmas time, the world’s magic too.” Lovely stuff.

“Jingle Bells” (Wynton Marsalis, 2009) The titles of Marsalis’ two Christmas albums tell the story: The first was Crescent City Christmas Card, so the arrangements accordingly land on the sweet side. But the second, Christmas Jazz Jam is exactly that, using the carols as jumping-off point for some swinging improv by a large studio band.

The seven-minute “Jingle Bells” is a real roof-raiser, getting the tune out of the way early before Herlin Riley’s drum solo leads into some festive soloing by all involved.

“It’s Christmas” (George Porter Jr., 2010) The bass master’s Christmas EP is a little more sentimental than his usual—it’s dedicated to his mother and includes a straight carol or two—but not on this track. It sounds exactly like vintage Meters, with a churning groove and lyrics that wax both sweet and cranky about family reunions: “The pot’s on the fire, kids running up and down the wall/ Cousins beating on the boxes in the yard, drivin’ me up the wall.”

“There Are Much Worse Things to Believe In” (Debbie Davis, 2015) No slight meant to Stephen Colbert—who introduced this song (with help from Elvis Costello) on his 2008 holiday special—but it’s good to hear it done by someone who can really sing. Performing alone with ukulele, Davis gives it a more bittersweet treatment, offering hope to all the Christmas cynics.

“Don’t Go Santa!” (Al Johnson & Margie Perez, 2015) Slightly bawdy Christmas records are of course a holiday tradition, and we finally get one with this recent duet, with the “Carnival Time” man playing Santa and Perez playing a woman trying to entice him to forget the reindeer and spend the night. Santa winds up having it both ways.

“Rudy the Big Booty Reindeer” (Big Freedia, 2016) The very fact that a record with this title exists is something to celebrate. But behind the bounce groove and the Freedia humor, the message is exactly the same as the original: People (or reindeer) who look different can have something important to contribute. And that’s a good place as any to wind this playlist up. O DECEMBER 2019

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“We’re the New Orleans Jazz Orchestra; we live in New Orleans,” declares drummer Adonis Rose, who in 2016 took over the position of artistic director of the ensemble affectionately called NOJO. “The thing that sets us apart from any other orchestra or band are the individuals who are in the orchestra. We make up a huge part of the music scene in New Orleans. We have some of the greatest musicians in the world playing in our orchestra and we have some of the best professors and just people who contribute to the culture. We are a New Orleans-based band solely dedicated to promoting New Orleans music and culture. There’s no other jazz orchestra that I know of in the world that is committed to doing that.”

Rose is obviously passionate about the mission of the 18-piece NOJO and its uniqueness that can be attributed to its hometown’s jazz history and culture. “What makes New Orleans different from Dallas are the people,” he offers in comparison. “We do the music of other people all the time but we have a specific thing that we put on the

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music that nobody else does.”

It’s pretty much a given that no other orchestra, big band or combo could pull off giving composer Allen Toussaint’s “Southern Nights” a second line beat as NOJO did on its latest, and first album since being reactivated, Songs—The Music of Allen Toussaint. Selecting New Orleans material like Toussaint’s beautiful “With You in Mind,” which cleverly teams vocalists Dee Dee Bridgewater and Phillip Manuel in a duet, also makes NOJO distinct from other jazz orchestras around the country.

“When it comes down to it, NOJO adds dimension to the musical culture and the City of New Orleans and bringss that dimension wherever they happen to play when they go out of town,” says Ellis Marsalis, who is on the non-profit New Orleans Jazz Orchestra’s artistic development committee. Marsalis mentions that several of NOJO’s members, including trumpeter Ashlin Parker and drummer Gerald Watkins, play in his own quintet.

“I think it’s about the character of the band that makes it unique— for example, using a tuba versus a banjo,” says Victor Atkins, who has O F F B E AT. C O M

combines the best of a concert and club experience with the Buddy Bolden Bar, a sitting area near a piano located in the conversation-friendly entrance lobby where smaller combos often perform. The main hall also offers great flexibility for a sit-down concert or, when the chairs are removed, an open dance floor.

Ready,Willing andAble

Musical Roots

Coming from a musical family, Adonis Rose, 44, was introduced to jazz at a young age. He remembers that when he was threeyears-old he had a drum set that was set up on the porch in the St. Bernard Projects and has a photo to prove it. His father, drummer Vernon Severin, who presently plays snare with the Treme Brass Band, was his first teacher and was naturally very influential in his development. Rose’s grandfather, Wilfred “Crip” Severin also played drums and his uncle is the noted, multi-dimensional bassist Chris Severin.

Rose seems primed for his new position, as he has been drumming for the New Orleans Jazz Orchestra since its inception. He recalls its first gig at Tipitina’s when the late Clyde Kerr Jr. conducted the ensemble that performed primarily Duke Ellington material and NOJO’s founder and former artistic director Irvin Mayfield played trumpet in the brass section.

While in Texas, his Hurricane Katrina evacuation destination, he established the non-profit Fort Worth Jazz Orchestra that was conceptually based on his experience with NOJO. Through his school years, Rose played in the concert band at Phillips Elementary and led the drum section in the marching band at P. A. Capdau Middle School.

He attended Warren Easton High School and simultaneously was a student of the New Orleans Center for the Creative Arts (NOCCA). Thus, as he puts it, “My marching band days were over; but I still love the marching band,” he says with memories of times past in his voice.

“NOCCA was important because it was the institution that took you from being a church musician or a street musician to a played a major role with the ensemble as a pianist and an arranger well-studied jazz musician,” Rose says. “It was the next step for musicians since its beginning. “Not that we can’t play in the traditional big band who wanted to become professionals in the jazz or classical world. style à la Count Basie—though we were probably modeled more after Ellington—but it’s the way the guys play: the rhythms, creating the That was my aim and I think the mission of the school was to develop well-trained artists who could go out and become successful in the polyphony. It’s not something most jazz musicians are used to doing. workplace.”

I don’t know if we would win a battle of the bands between some One of the early transitions made by Rose and urged on by fellow really powerful bands but that’s not us. Part of what we do is loose and soulful. We like to mix the uptown with the downtown; we like the yin NOCCA student trumpeter Nicholas Payton was to change his drumsticks. Payton, who even in his teenage years was a talented multiwith our yang. We can go in a lot of different directions.”

That so many of the musicians in the Jazz Orchestra are recognizable instrumentalist and offered Adonis advice on drums, once remembered that the sticks Rose brought with him to NOCCA were so large from their gigs around town gives its local performances a community that they resembled fat turkey legs. Rose, who explains that big sticks feel. Rousing applause often greets the guys as they walk out onto the are used in marching bands, would go on to tour and record with stage, looking sharp in their suits. the Nicholas Payton Quintet. Rose is heard on Payton’s 1995 Gumbo The New Orleans Jazz Market, which is owned by NOJO, also Nouveau, 1999’s Nick@Night, 2003’s Sonic Trance and others. In turn, provides a welcoming flavor. Designed for the orchestra, the 350-seat auditorium’s natural wood walls provide a venue with excellent acoustic Payton played on several of Rose’s albums.

“The most challenging thing about playing with Nicholas is that quality and also bring a warm glow to the room. The Jazz Market

Adonis Rose and the New Orleans Jazz Orchestra Swing Back onto the Scene.

by Geraldine Wyckoff PHOTOGRAPHS BY NOE CUGNY

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would be interested in replacing him as director of the Jazz Orchestra.

He also said that he would recommend me to the board of directors to be his replacement. I started out as a musical director and was vetted by the board and then, after about a year, I was moved to become the artistic director.”

Rose called a meeting and told the musicians that they were trying to rebuild the band and asked them if they still wanted to be in it. “We hadn’t played a concert for close to a year and everything had fallen apart,” he recalls. “The first thing I had to do was get the band together.

I called a few rehearsals at the Jazz Market just so we could play some music just to get it going again.”

“After a year, Adonis started to have sessions at the Market, like two days, one week out of each a month,” Atkins remembers. “He’s not one to ask people to do favors but we were saying, ‘Look, we’ll play. Let us play. Get us some gigs.’ It was like a reunion to be all together again. It was really special and powerful. As soon as we started to play it was like okay, we still have this. None of this would be possible without camaraderie, especially now—we started this back through camaraderie. The band was like, ‘Man, dude, we have got to play or we’re going to lose this thing that we have.”

“Most people in the band are in it for the music not the financial reward,” says saxophonist Ed Petersen who has been blowing with NOJO since 2003 and does a lot of the arrangements for the orchestra. It was Petersen who mastered the Toussaint recording in his home studio.

On taking on the position of NOJO’s artistic director, Rose conceived a plan to get the orchestra back on the scene and regain its audience. “What I wanted to do is reintroduce the band and introduce myself as the new artistic director and to bring some attention to what we were doing and show that we were credible,” Rose explains.

“The first phase was to bring in a even spend nights there.” Riley had Rose break down the drum set and lot of guest artists to get people to look at the orchestra again and see that we were doing quality work and that other people were willing to just play the ride cymbal by itself to develop endurance. He also gave him instruction on playing with brushes and the art of tuning the drums come in and work with us.” Those early guests included drummer Sheila and hitting them in certain areas in order to create the desired tones.

E, vocalists Ledisi and Dee Dee Bridgewater, who is on NOJO’s artistic During his time at NOCCA, many of the institution’s prestigious development committee and for whom the Jazz Market stage is named. and hugely talented alumni such as trumpeter Wynton Marsalis, Phase two of Adonis’ plan was to feature local artists to perform with saxophonists Branford Marsalis and Donald Harrison Jr. and trumpeter the orchestra and also to do special shows in tribute to some of music’s Terence Blanchard would return to check in and help out the students. giants like vocalists Nina Simone, Whitney Houston and Aretha Franklin.

The latest performance in this on-going “phase” featured artists from “They even recruited,” says Rose who, upon graduation in 1992, went on tour with Blanchard. Soon thereafter he headed to Boston’s Berklee two of New Orleans prominent musical families, drummer and vocalist School of Music. “Some band leaders like to have you come into a band Gerald French and trumpeter and vocalist James Andrews.

“They’ve been well-attended—people come out no matter what we and mold you into the musician they want you to be. Terence doesn’t do,” says Rose of the shows. “We’re diverse though I always make sure operate that way; Nicholas doesn’t operate that way. A lot of the best we’re true to New Orleans tradition.You’ll always know it’s the New bandleaders played underneath great bandleaders so they understand Orleans Jazz Orchestra.” how to get the best out of their musicians. All of those guys, they’re great artists and great musicians and they give you a chance to bring your personality into the music. The more you bring to the table as an NOJO Expands individual, the more they appreciate it.”

Rose gets points for his onstage presence leading the orchestra, introducing the members and guests and chatting with audiences.

Irvin Mayfield Usually viewed as a quiet man, he can be quite hilarious when he Rose was still living in Dallas/Fort Worth and commuting to New stands at the center stage microphone—particularly when jiving with Orleans to drum with NOJO when he got a call from the orchestra’s musicians. “I was a bandleader for a long time, ten years, when I was former artistic director, trumpeter Irvin Mayfield. “He told me that he away from New Orleans,” Rose explains. “I was already a leader, just not was resigning at the very moment that he called, and he asked me if I here so people have never seen me in that role.” he’s a musical genius,” Rose says. “He can hear everything. He doesn’t have to transcribe solos to be able play them. All he has to do is hear something—he has total recall.You can’t hide anything from him.”

While Rose was at NOCCA, the school didn’t employ a drum instructor so it paid the great drummer David Lee to provide lessons for him. “One of his lessons was to listen to the bebop language of the drum set,” Rose remembers. “A lot of times, young musicians’ instincts are just to show how much we know and how fast we can play. I was like that too because I had a lot of technique.”

Rose carried that lesson forward during his five years of teaching at NOCCA. His time there included instructing drum students like the now respected and successful Joe Dyson, who regularly performs and records with saxophonist Donald Harrison Jr., organist Dr. Lonnie Smith and others, and Joey Peebles who lays down the beat with Troy “Trombone Shorty” Andrews & Orleans Avenue.

“I would tell my students to listen to themselves behind the drum set in the third person. Listen away from the bandstand and see how your world fits in with the other members of the band.”

Beyond being influenced by his family and teachers, Rose names drummer Herlin Riley as “the guy who took my playing to the next level. When he was on the road, I would bug him—just constantly call his phone,” Rose remembers with a laugh. “I would be at his house waiting for him when he came home. I helped take his suitcases out of the car. He was always kind and gracious. He never turned me down. I’d

“... A lot of the best bandleaders played underneath great bandleaders so they understand how to get the best out of their musicians. All of those guys, they’re great artists and great musicians and they give you a chance to bring your personality into the music.The more you bring to the table as an individual, the more they appreciate it.”

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Rose’s ambitions include expanding the Jazz Orchestra’s profile as well as his individual career as a drummer heading his own bands. “After coming back home and taking over the NOJO job, it was something that inspired me to start doing more projects,” he says. “For one, NOJO needed to record more because we only recorded four albums over 17 years—that’s not many. Recordings keep you relevant in the market place. People can see what your new ideas are and they can see what you’re doing.You have to do them all the time.”

In June, the drummer recorded the Adonis Rose Allstar Sextet Live at the Blue Llama Jazz Club in Ann Arbor, Michigan that will drop in February 2020. The band included some names familiar to New Orleans audiences such as Crescent City natives vocalist Sasha Masakowski and bassist Jasen Weaver, plus one-time resident trumpeter Maurice Brown. Rounding out the impressive group were saxophonist Tia Fuller, who blew behind Beyoncé’s all-female band, and pianist and recording artist Miki Hayama. “When you have a gig, it’s easy to put a

In early November, the New Orleans Jazz Orchestra went into the studio to record its next release. It will feature jazz vocalist Cyrille Aimée, a native of France who moved to New Orleans via New York City. “I just wanted to get in the studio,” says Rose, who describes the album’s repertoire as coming out of the “American songbook with a New Orleans flavor.”

On Friday, December 6, NOJO will be at home at the New Orleans Jazz Market performing Duke Ellington’s “Nutcracker Suite,” an interpretation of Tchaikovsky’s “The Nutcracker Suite.”

“All of Duke’s renditions of the song were recognizable,” Rose says.

“He didn’t write a piece of music where you’d have to try figure out if it was the same song from ‘The Nutcracker.’ It’s clear; the melodies are all pronounced.”

On December 13 and 14, NOJO heads to Jazz at Lincoln Center with guest performances by our own vocalist John Boutté and noted jazz singer René Marie.

“We’ve played at Jazz at Lincoln Center many times though it’s been five years since we’ve been there,” says Rose who, early on, toured with the Center’s orchestra led by trumpeter Wynton Marsalis and played with Marsalis’ small groups.

“Wynton has invested in making sure that we’re successful by giving us a lot of opportunities through Jazz at Lincoln Center,” Rose says with appreciation.

“We’re going to perform at Jazz at Lincoln Center’s club in Shanghai and at the St. Lucia Jazz Festival that Jazz at Lincoln Center collaborates in producing. They’re giving us a lot of opportunities to rebuild and get back out there.”

Top, left to right: Victor Atkins, Ashlin Parker, Ricardo Pascal, Khris Royal, Adonis Rose, Ari Teitel, Trevarri Huff-Boone, Jason Stewart, Steve Glenn “I think it’s important, period,” says Ellis Marsalis Bottom, left to right: Dr. Brice Miller, Alexey Marti, Terrance Taplin, Chris Butcher, of the New Orleans Jazz Khari Allen Lee, Jonathan Bauer, Gerald Watkins, Ed Peterson, Barney Floyd Orchestra, “in that it is available to perform for the people in the community and periodically go out of town. It’s good that band together,” Rose says with a chuckle. This session represented the NOJO has a home, the Jazz Market, which makes a difference in terms group’s first appearance; it has yet to perform in New Orleans. of being able to perform in your own space.”

“I’m a supportive player, I play in the rhythm section,” says Rose of “Adonis wants us to know that what we do is significant and that the lengthy span since his last album as leader, 2007’s On the Verge that the music is important,” says Atkins adding, “Wynton has made America included trumpeter Payton. “For us it’s easy to just get comfortable realize the importance of jazz music. “Adonis has done an amazing job touring and playing on other people’s records all the time.” and I’ve been really impressed watching him take this on—it’s an awful Rose has given up the drum chair with NOJO as his position of lot. Writing for the orchestra has been a big part for me—to have a artistic director includes so many other facets of the music including band to write for is a beautiful thing. I’m optimistic. If NOJO were to fail, conducting. He sounds satisfied with that reality saying, “I really feel like I’m getting a chance to be a musician in a different kind of way. It’s just a it would be bad for jazz; it would be bad for New Orleans. I want it to survive us all.” different role.”

To paraphrase the lyrics sung by the late great Fats Domino, Adonis He is getting his drum fix in playing gigs with NOJO’s smaller combos and does often take on the dual role of drummer and conductor when Rose is “ready, willin’ and able” to rebuild and reignite the Grammywinning New Orleans Jazz Orchestra and once again have these fine the New Orleans Jazz Orchestra hits the road. For those dates, minus guest artists to cue, and sets composed of a dozen or so familiar tunes musical ambassadors bring the sound and the spirit of this city to the world. O played each night, it’s easier to do both jobs.

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offeats AMERICAN Port of Call: 838 Esplanade Ave., 523-0120

MUSIC ON THE MENU Banks Street Bar & Grill: 4401 Banks St., 486-0258 BARBECUE Buffa’s: 1001 Esplanade Ave., 949-0038 The Joint: 701 Mazant St., 949-3232 Carnaval Lounge: 2227 St. Claude Ave., COFFEE HOUSES 265-8865 Café du Monde: 800 Decatur St., 525-4544, Chickie Wah Wah: 2828 Canal St., 304-4714 56 Dreyfous Dr., 635-8033 Gattuso’s: 435 Huey P Long Ave., Gretna, 368-1114 CREOLE/CAJUN House of Blues: 225 Decatur St., 412-8068 Cochon: 930 Tchoupitoulas St., 588-2123 Howlin’ Wolf’s Wolf Den: 907 S. Peters St., Cornet: 700 Bourbon St., 523-1485 529-5844 Galatoire’s: 209 Bourbon St., 525-2021 Le Bon Temps Roule: 4801 Magazine St., Gumbo Shop: 630 St. Peter St., 525-1486 895-8117 New Orleans Creole Cookery: 508 Little Gem Saloon: 445 S. Rampart St., Toulouse St., 524-9632 267-4863 FINE DINING Maison: 508 Frenchmen St., 289-5648 Commander’s Palace: 1403 Washington Mid City Lanes Rock ‘N’ Bowl: 4133 S. Ave., 899-8221 Carrollton Ave., 482-3133 Josephine Estelle: Ace Hotel, 600 NOLA Cantina: 437 Esplanade Ave., Carondelet St., 930-3070 266-2848 Justine: 225 Chartres St., 218-8833 Palm Court: 1204 Decatur St., 525-0200 Mr. B’s Bistro: 201 Royal St. 523-2078 Rivershack Tavern: 3449 River Rd., 834-4938 Southport Hall: 200 Monticello Ave., FRENCH Café Degas: 3127 Esplanade Ave., 945-5635 835-2903 La Crepe Nanou: 1410 Robert St., 899Snug Harbor: 626 Frenchmen St., 949-0696 2670 Three Muses: 536 Frenchmen St., 298-8746 GERMAN Bratz Y’all: 617-B Piety St., 301-3222

NEIGHBORHOOD JOINTS Cake Café: 2440 Chartres St., 943-0010 Dat Dog: 601 Frenchmen St., 309-3362; GROCERY STORES 5030 Freret St., 899-6883; 3336 Breaux Mart: 3233 Magazine St., 262-6017; Magazine St., 324-2226 2904 Severn Ave. Metarie, 885-5565; Junction: 3021 St. Claude Ave., 272-0205 9647 Jefferson Hwy. River Ridge, 737Lucy’s Retired Surfers Bar & Restaurant: 8146; 315 E Judge Perez, Chalmette, 701 Tchoupitoulas St., 523-8995 Mardi Gras Zone: 2706 Royal St., 947-8787 Parkway Bakery and Tavern: 538 Hagan Ave., INDIAN 482-3047 Nirvana: 4308 Magazine St., 894-9797 Piece of Meat: 3301 Bienville St., 372-2289 Sammy’s Food Services: 3000 Elysian Fields JAPANESE/THAI/CHINESE Ave., 948-7361 Bao & Noodle: 2700 Chartres St., 272-0004 Mikimoto: 3301 S Carrollton Ave., 488-1881 Tracey’s: 2604 Magazine St., 897-5413 Ye Olde College Inn: 3000 S. Carrollton Sukho Thai: 4519 Magazine St., 373-6471; Ave., 866-3683 2200 Royal St., 948-9309 Wasabi: 900 Frenchmen St., 943-9433 PIZZA LOUISIANA / SOUTHERN Midway Pizza: 4725 Freret St., 322-2815 Balise Tavern: 640 Carondelet St., 459-4449 Pizza Delicious: 617 Piety St., 676-8482 La Petite Grocery: 4238 Magazine St., Slice Pizzeria: 1513 St. Charles Ave., 525891-3377 7437 Praline Connection: 542 Frenchmen St., Theo’s Pizza: 4218 Magazine St., 894-8554; 943-3934 4024 Canal St., 302-1133; 1212 S Clearview, 733-3803 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

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SEAFOOD Briquette: 701 S Peters St., 302-7496 Deanie’s Seafood: 841 Iberville St., 5811316; 1713 Lake Ave. Metairie, 834-1225 VIETNAMESE Namese: 4077 Tulane Ave., 483-8899 WEE HOURS Buffa’s Restaurant & Lounge: 1001 Esplanade Ave., 949-0038

O F F B E AT. C O M

diningout vibrant Louisiana strawberry and beet mostarda, served with rustic toasted bread procured from Bellegarde Bakery. Okra and eggplant form a more perfect union enhanced by the crunch of peanuts and a flavor punch provided by harissa.

Large plates focus on hearty, savory dishes such as chicken leg confit garnished with salsa verde, marinated heirloom tomatoes, olives and stewed white beans.

Crispy beef cheeks served with Review by Michael Dominici broccolini in a hot and sour with Chef Susan Spicer at Bayona broth garnished with eggplant fter a four-year, $20 The Elysian Bar offers several his graduate school, for instance. are punctuated by the sweet million rehabilitation dining spaces including a “There are certain things I do tang of pickled peaches. Pork project, ASH NYC handsomely-decorated parlor, scaloppini procured from Home on a daily basis where I can still and New Orleans resident progressing to a gorgeous nook Place Pastures is served with hear her instructing me the first Nathalie Jordi transformed called The Sun Room featuring fennel soubise, new potatoes, time. That evolved into how and the 19th century St. Peter larger tables in an area that eggplant and is flavored with & Paul compound in the looks like a Vermeer painting. The why I do certain things. She’s pickled mustard seeds. My been an incredible mentor to Faubourg Marigny—consisting bar area, adorned in a lobster favorite dish was the Gulf so many chefs that have come of a church, rectory, convent mushroom light, feels like the shrimp cooked in a Calabrian up in New Orleans. She played and school buildings—into best-kept secret in town. The pepper compound butter a huge role in setting me on the the remarkably beautiful stunning courtyard is also a path—showing me the direction, fragrant with toasted cumin, 71-room boutique Hotel tempting dining option. coriander, and fennel, served in a teaching me how to operate a Peter & Paul, which also The Elysian Bar, run by the cast iron skillet and topped with professional kitchen.” features the Elysian Bar. crew from Bacchanal, wisely toasted breadcrumbs. Every After a stint in Charleston, The entire complex features enlisted Executive Chef Alex plate was gorgeously presented Harrell returned to New custom fabrics, created by Harrell, formerly of Angeline. and delicious.

Orleans to open Sylvain, then a 100-year-old Swiss textile Hailing from Alabama, Chef The libations at Elysian Bar eventually established his own manufacturer using gingham in Harrell’s first experience with showcase classic combinations place, Angeline, to great acclaim. a rich color palette of colors food came directly from the including an entire menu of Elysian Bar finds Chef Harrell in derived from 14th to 18th source: his grandparents’ farm, low- alcohol preparations and yet another intimate space; the where he learned to appreciate century religious paintings. a small, but perfectly matched fresh, regionally-grown vegetables. kitchen doesn’t have a walk-in The colors complement the selection of wines. refrigerator, which inspires a gorgeous, original stained-glass Later, an academic pursuit of Elysian Bar is meant to be a biology degree led to his thoughtful precise approach that windows that lord over the enjoyed as a leisurely, elegant he considers more of an inspicourtyard. Off-white linen and appreciation and understanding dining experience imbued of the ecology, environmental ration than a challenge. Harrell Baroque-style wood furniture science, fresh water systems, and describes his stylistic approach as with old world charm—a and antique adornments also special place to enjoy the art field research which continues to being primarily Mediterraneancomplement the original feel, inform his passion for connecting influenced, interpreted through a of conversation accompanied created by New Orleans by great food in cozy, unique with purveyors of local food Southern lens. architect Henry Howard, setting. O sources. Two decades back, after The menu at Elysian Bar is an who designed the original 2317 Burgundy Street, (504) becoming disenchanted with eclectic array beginning with small structure. The resulting trans356-6769, Coffee Shop: Monday academia, a summer stint at a plate options. Whipped ricotta formation is a masterstroke – Sunday, 7 a.m. to 3 p.m.; Florida beachside restaurant topped with marinated squash of understatement; there is Restaurant: Sunday – Thursday evolved into a career that set and tapenade, and fried Brussels no signage indicating that any 10:30 a.m. to 11 p.m.; Friday Harrell on the path to becoming sprouts with smoked almonds, major change at the site ever and Saturday, 10:30 a.m. to 12 pickled raisins and bagna cauda happened, save for the inviting a chef. Along the way he had a.m. Bar closes one hour past golden glow of amber light that some rather impressive mentors. were both appealing. Chicken restaurant time.

He considers his apprenticeship illuminates the entire space. liver pâté is garnished with a

The Elysian Bar

photo courtesy of THE ELYSIAN BAR

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Food and Lagniappe

like, ‘This is spicy and it makes my mouth feel crazy, but it didn’t kill me.’ Those were the reactions I was looking for.”

Trips to the Hong Kong Food Market on the Westbank became his pilgrimage and source for ingredients. Bao became part of his bag of delicious tricks, dressed up with things like vegan fish sauce, a “caramel tofu thing” with pickled mustard and more. He began hosting primarily bao-centric meals at local breweries and he noticed people were sharing plates with one another.

Eventually, he developed a dim sum-style affair conducive to small plates and a communal atmosphere, just like that of his family events.

A couple of pop-ups at Twelve Mile Limit and Courtyard Brewery

by Amanda “BONITA” Mester behind him, as well as Sidney’s Saloon and Barrel Proof, and it was off to a semi-permanent home inside the Catahoula Hotel in 2018. That residency ended after some acrimony and Melvin has since recalibrated the future of Midnight Noodle. elvin Rogers Stovall III wants to dish out a new kind of “Some people are still wondering, ‘Is it a restaurant?’ My focus is dining experience in New Orleans, one bao at a time. He’s the creative entrepreneurial mind behind Midnight Noodle, on educating people. I do workshops now, but it’s never structured as a traditional workshop. It’s more like you’re being hands-on, and an amorphous pop-up “restaurant” serving mainly Chinese and Thaiinspired cuisine. His business has no traditional website, no brick-and- then there’s a dinner party vibe, too. I’m looking at it more like a mortar building and no regular menu. He refers to himself as an artist social club, with a membership that gets you access to dinners, events first, a chef second. Sometimes he makes house calls, where he comes and products. I’m going to start selling things, like chili sauce. I look at Midnight Noodle as food and a lagniappe.” O to your place of residence or business and cooks for you. Other For more information on Midnight Noodle, follow @eatmidnightnoodle times, he hosts dinner parties at Pax, a DIY restaurant/bar facility on North Claiborne. As long as there is a group of hungry people nearby, on Instagram. location is of little importance.

In December, he’ll host a series of “Hot Pot” events featuring Sichuan food including dumplings of some sort and a few surprises.

Midnight Noodle’s chef We don’t know where, or who we’ll end up sitting next to. But that’s Melvin Stovall III kind of the point. The element of surprise and even mystery is intentional. Like the midnight hour after which his business is named, Melvin likes to keep people in the dark, to some degree.

Spending most of his early life between New Orleans and White Castle, Louisiana, Melvin was raised in a big family that hosted big parties. That’s where he developed an appreciation for communal dining and the rewarding feeling that comes with being a good host.

He got his start in culinary arts as a baker, which he learned in part through his entrepreneurial mother and the gooey cakes she sold in the community. “I noticed it was a way to freedom, because I was making my own money,” he says of his decision to follow her path around the fifth grade. “It also allowed me to research things and realize that, even if we didn’t have certain ingredients here, I could bring them here and put my own spin on things.”

While living in Los Angeles in 2015, Melvin found himself eating a lot of vegan dishes, though he’d always eaten meat and seafood in the past. The herbivorial life had its challenges at first. “I was like, ‘Damn, y’all ever heard of seasoning? Where’s the flavor?’” He hosted his first pop-up in L.A., where he made smoked shrimp jambalaya and it was a hit. That, coupled with his newly developed appetite for L.A.’s expansive Thai offerings, made him want to bring something back to his hometown.

Once back in New Orleans, he began experimenting. “I wasn’t about to do New Orleans vegan food, because I wasn’t good with substituting. I started with noodles because it was a good way to ‘trojan horse’ my way in. It started with Thai food and I just did pad see ew,” he tells me. “I started noticing people going wild. They were

Midnight Noodle is much more than just a meal.

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Photo COURTESY OF THE ARTIST

M

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

A Powerful Statement Dave Jordan Burning Sage (Independent)

Let’s get this out of the way from the get-go. Dave Jordan has crafted a great album; perhaps the best of his long career as one of New Orleans’ foremost roots-rockers. Filled with songs with adult themes like loss, lost love and regret, Burning Sage is a powerful statement from a mature songwriter not afraid to expose powerful emotions.

From the album’s lead cut, “Lying to Myself ” to the final note of hope on “Bird on a Wire,” Jordan offers eight songs (including one cover) filled with forthright, wistful and reflective lyrics like, “To me, you was the one who got away—and to you, I was the one who couldn’t stay” and “I can’t tell you what I’m looking for, but baby I can tell you what I’ve found.”

Jordan has always been a great live performer going back to his days playing bass in the seminal jam band Juice. But like the work of many of his musical heroes, an album is not necessarily the same beast as a show. On this record, the nuances of his lyrics as well as the expressiveness of his voice,

which can be buried when the band is rocking, shine.

Every song on this album is a world in and of itself, but they all fit together into a cohesive whole, which is a testament to Jordan’s vision. The lone cover, Neil Young’s “Out on the Weekend” fits so well in the overall tone of the album that it could be one of the originals, as it speaks to the sentiments Jordan conveys.

Credit for the killer production that just gets better and better on repeat listening has to go the co-producer and engineer Jeff Watkins. Watkins is also responsible for the horn arrangements, which add another element to a sound that is filled out, yet filled with spaces.

—Jay Mazza

Jon Batiste Chronology of a Dream – Live at the Village Vanguard (Verve)

Chronology of a Dream represents the second installment of pianist/vocalist/composer Jon Batiste captured live in the fall of 2018 during his residency at New York’s famed Village Vanguard.

Though the setting and band are the same as the earlier release, Anatomy of Angels, this boasts its own vibe. It’s almost as if Batiste, who produced the album, decided to save the more raucous “party time” cuts for this disc.

It opens with one of seven tunes from Batiste’s pen, the funky and fun “BLACCK” on which he does his own lively, soulful style of scatting. Tenor saxophonist Tivon Pennicott gets the very vocal crowd riled up as they cheer him on.

The havin’ a good time spirit continues on “PWWR” with Batiste really shining the light on his roots with his distinctively New Orleans piano style as well as his love of the city and the Saintssinging, “When dey say da who dat! Who dat!” folks are clapping to the beat on this tune which, like many of the other cuts, comes in at that magic three to four minute mark. Batiste continues in the Crescent City mode on the boogie-woogie tribute to his hometown of Kenner, Louisiana and shows off his abilities as a powerful two-handed player.

Batiste and the music become more serene as he introduces the recently departed trumpeter Roy Hargrove’s composition, the lovely, “SOULFUL.” He explains that the first time he played with Hargrove was ten years ago and it was also the first time he performed at the Vanguard. The thoughtful trumpet solo here helps define the love and regard for its composer.

The album’s final cut, “ORDR,” takes off with more intensity and

a Latin tinge. Batiste plays strong block chords against Negah Santos’ compelling congas.

Batiste’s warm personality and the audience’s interaction on the beautifully recorded Chronology of a Dream welcomes listeners to the party.

—Geraldine Wyckoff

Samantha Fish Kill or Be Kind (Rounder)

Following five albums with Germany’s Ruf Records, blues, rock and more singer—guitarist Samantha Fish—moves to the great American roots-music label, Rounder Records. Fish and fellow New Orleans resident, Grammywinning producer Scott Billington, recorded the Kill or Be Kind album at Royal Studios in Memphis and The Rhythm Shack and The Music Shed in New Orleans.

Traversing rock, blues, R&B, soul and country-soul, Kill or Be Kind puts Fish’s high, plaintive voice and slicing guitar in the service of emotionally direct songs she co-wrote with noted tunesmiths.

The title song’s punchy horns, electric piano and tempting groove evoke classic Memphis soul. Fish’s

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

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vocal performance for the even more Memphis-flavored “Try Not to Fall in Love with You” show her at her most vulnerable.

Fish, a native of Kansas City, Missouri, melds Memphis soul and Southern rock in the soft-

to-loud dynamics of “You Got It Bad.” The album’s other rockoriented songs include “Bulletproof,” featuring heavy blues-rock guitar, simple, throbbing bass and Fish’s distorted vocals in an exploding chorus. In a blues-rock

Successful and Important Billy Vera Rip It Up—The Specialty Records Story (BMG)

Part of the RPM series of recent books documenting the history of U.S. independent record labels from the mid-1940s to the late-1950s, Specialty Records was one of the most successful and important labels that recorded Black music during the era. Founded by Art Rupe, the son of Polish immigrants who grew up in Pittsburgh, he developed a knack for business, moving to Hollywood where he set up a record label. His early releases by West Coast R&B artists like Percy Mayfield, Joe Liggins and Roy Milton proved to be very successful. In addition he maintained a roster of stable of dependable and important gospel groups that generated steady sales. Within a few years, Specialty was well established in the Black community.

By 1952, and despite much success, Rupe was no longer “feeling it” upon listening to his latest Specialty releases. Rupe felt his business needed a lift. Despite initially being hesitant, Rupe decided to make a trip to New Orleans, primarily because of Fats Domino’s new sound.

Rupe held an audition at J&M’s which brought him Lloyd Price. The release of “Lawdy Miss Clawdy” would immediately point Specialty in a whole new direction. New Orleans would become the primary source of Specialty’s repertoire, which was only magnified by Guitar Slim and Little Richard’s J&M output. Briefly, Rupe created a Specialty branch office located on Claiborne Avenue. Despite tremendous success during the 1950s, Rupe didn’t want to compete with the major labels. After 1959 the label pretty much became dormant and he looked for an alternative business. Much of Specialty’s comingsand-goings during that decade and-a-half are detailed in these pages, as are the subsequent destinies of the Specialty catalog. However, when compared to the previous volume in this series—Scratch My Back, the Excello Story—Rip It Up is not nearly as good a read. First of all, and it’s not a criticism, but Rupe doesn’t come off as a very “colorful” character. Secondly, upon flipping through the book initially, I couldn’t help but comment, “Didn’t I read this before?” I guess a lot of us had, as the source of most of this book were distilled from liner notes contained in Specialty box sets and reissue CDs that Vera wrote 25 years ago. Granted, there is certainly merit to Rip It Up, but there’s really no heavy lifting here. Vera’s alarming lack of sources, references and outside insights makes this book a lazy effort. It’ll make a good read for those just being introduced to the sounds of Specialty, but not so much for us who’ve been around for a while.

—Jeff Hannusch

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vein, “Watch It Die” follows the riffing precedent set by ZZ Top until Fish’s wailing vocals take unexpected melodic turns.

Setting a slower but deliberate walking tempo, “She Don’t Live Around Here Anymore” moves to Muscle Shoals country-soul, as the over-it Fish tells to a former lover it’s too late to try again. A

breakup scenario also appears in expression, solid guitar skills and “Fair-Weather,” but this time Fish on-stage prowess fuse into a dynamic package. is still mourning the loss. “All the —John Wirt time we spent together doesn’t mean much to you,” she sings.

“Someday, somehow, you’ll see the truth.”

Fish need not be the world’s best blues-rock singer or guitarist.

The totality of her versatility,

Celebrating Creole French Bruce Sunpie Barnes and Rachel Breunlin Music and arrangements by Bruce Sunpie Barnes and Leroy Joseph Etienne Le Kèr Creole: Creole Composition & Stories from Louisiana

The Tangiers Combo Tangerine (Independent)

(University of New Orleans Press)

BOOKMARK

The Louisiana Creole language, referred to by many as Creole French, surrounds those living in Louisiana even more than most people probably realize. It’s been defined as “a francophone language with connections to West Africa” and the book, Le Kèr Creole, and its accompanying CD, bring further awareness of its pervasiveness. One of the purposes of this package is to shine a light on the fact that Louisiana Creole, which was outlawed in 1921 and its use discouraged in schools in many areas of the state, is presently considered to be one of the most “endangered languages in the world.” Laws and prohibitions didn’t deter those who continued to speak and sing in their “home language” that prevails primarily in southwest Louisiana and in New Orleans. A surprising number of jazz and zydeco musicians, Mardi Gras Indians and residents of Louisiana that include a variety of professions, grew up speaking—or at least hearing—their parents and neighbors speaking Creole French daily, as is pointed out through the book’s essays, first-person commentaries, photographs and artwork.

Accordionist and vocalist Bruce Sunpie Barnes and drummer and vocalist Leroy Joseph Etienne composed original material and arranged traditional songs for the fine album. The CD allows one to savor the flavorful sound of the language and, importantly, all the lyrics to the tunes, which are sung in Creole French, and are provided in both English and Creole.

Amusingly, listeners are able to learn that Etienne’s lovely, Caribbean-tinged “Od Pour Odelia,” which would seem to be a love song, is really a tune about a man selling rotten bananas.

Le Kèr Creole creatively offers the history of Creole French and celebrates those who have kept the language vital through words and songs.

—Geraldine Wyckoff

In fine print on the back cover of The Tangiers Combo’s new album, Tangerine, it says “this album is dedicated to Norbert Slama 1926-2018.” If you never had the joy of encountering Algerian accordionist Norbert Sllama during his time on Frenchmen Street, I feel sorry for you. Norbert had a vibrant backstory and a true gift for his instrument. He was featured on The Courtyard Kings’ last album before they split in two, The Tangiers Combo being one of its off-shoots. Tangerine is bursting with French bal musette charm, Caribbean warmth, bouncing Latin American grooves, and creative takes on songbook standards. The rhythm section is spritely, featuring Carl Keith on guitar and cuatro venezolano with Nathan Lambertson on bass.

Eric Roderiguez adds the right amount of manouche flavor on violin and Simon Moushabeck does Norbert proper justice on accordion. Meryl Zimmerman displays her vocal chops with relish and Jason Danti does triple duty on clarinet, soprano sax, and flute. Much like Norbert’s playing, Tangerine is a mix of influences that span the globe, coming to rest here in the northernmost city of the Caribbean.

Leyla McCalla The Capitalist Blues (Jazz Village)

Leyla McCalla’s third solo release The Capitalist Blues is remarkable in terms of ambition, scale, and realization. Whereas her first efforts focused on her solo work and small cello ensembles, The Capitalist Blues is a large-scale project enlisting dozens of musicians across a multiplicity of genres with producer Jimmy Horn (a.k.a.

King James) at the helm, with McCalla just as often opting for the electric guitar as much as the cello. McCalla’s previous effort was inspired by the Harlem Renaissance poet Langston Hughes. Here, McCalla’s lyrics take shape in a spellbinding journey addressing “The psychological and emotional effects of living in a capitalist society.” Born in New York City to Haitian parents who are human rights activists, Leyla McCalla has made New Orleans her home for nearly a decade and has juggled her musical career that has found her traveling the world with The Carolina Chocolate Drops, Our Native Daughters, and as a solo artist as well as raising three adorable young children.

Those elements that confront an increasingly hostile political climate which directly impacts her family’s lives all permeate the sprawling story arc of The Capitalist Blues.

With a provocative title like The Capitalist Blues one might expect the in-your-face intensity of The Clash or perhaps the

—Stacey Leigh Bridewell

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didactic shaming of Bob Dylan, but instead we find McCalla emerging more as a unique world music artist more akin to Cesaria Evora or Angelique Kidjo; her music resonates with profound lyricism. The songs flow from folk jazz to calypso, zydeco to Cajun, R&B with gospel overtones, Haitian Creole, ballads, to exuberant rock ’n’ roll.

It’s a lot, but producer Jimmy Horn was hell-bent on pushing McCalla’s range to the limit, and it pays off handsomely here.

The title track commences with a slow drag trad jazz feel that laments the hardships of being on the downside of the capitalist trickle-down blues, served with a judicious side of resistance.

Neville Marcano’s Trinidad calypso classic “Money Is King” kicks things into high gear as the insatiably irresistible groove punctuates the biting lyrics that contrast the status between rich and poor.

“Oh My Love” is a exuberant zydeco romp featuring Corey Ledet. It hits like Saturday night at Fred’s Lounge in Mamou, and is one of the many shining moments here.

The beautiful, bittersweet “Mize Pa Dous” sung in Haitian Creole utilizes a lap steel guitar and a Haiti’s national instrument, the tanbou. While the song title translates to “Poverty is not sweet” you wouldn’t necessarily guess that from the sultry, sensual sway of McCalla’s vocal delivery.

The aptly titled “Heavy As Lead” depicts every Louisiana parent’s worst fears when discovering her daughter tested positive for lead poisoning.

As McCalla dealt with that nightmare, she soon discovered just how ubiquitous that problem was here. McCalla’s says the song came to her in one powerful take and it drained her completely.

It’s perhaps her most poignant song to date, underscored by Joe Ashlar’s soulful organ and driven home by Topsy Chapman and her OF F B E AT.C OM

daughters’ lovely harmony vocals.

Throughout The Capitalist Blues Leyla McCalla’s expressionism is in full bloom as she elicits more empathy than anger, and more hope than frustration; all the while maintaining her sense of urgency. Over the course of this year, the events of our time find me returning to this recording over and over again for solace, for inspiration, for hope and meaning in a time that desperately needs all the positive vibes we can get.

—Michael Dominici

Warren Storm Taking the World, By Storm (APO Records)

At some point when Yvette Landry was writing her book Taking the World, by Storm—A Conversation with Warren Storm Schexnider, The Godfather of Swamp Pop, someone suggested a companion disc of Storm’s previously released material.

That is, until Landry realized: Why not a fresh recording? The octogenarian’s pipes are still in great shape and Landry’s versatile band The Jukes was perfect for the occasion. Add special guests like Marc Broussard and Sonny Landreth, and Dockside Studios couldn’t be booked fast enough.

Several songs are reprised from Storm’s early career, starting with his first single in 1958, the shuffling “Prisoner’s Song” that unexpectedly hit number 81 on the Billboard Hot 100. Its flipside, “Mama, Mama, Mama” is practically a malt shop musical as duet partners Storm and Landry playfully relate the amorous DECEMBER 2019

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storyline from each of their perspectives. “Troubles Troubles” is the sunniest tune you’ll ever hear having “troubles” in the title.

“In My Moments of Sorrow” has all the trappings of classic swamp pop while “My House of Memories” is totally weepy country with Eric Adcock’s Floyd Cramer-recalling piano playing.

It’s not all a Storm surge. It’s also a South Louisiana musical odyssey. There’s the ever-popular “Matilda” with co-vocalist Broussard and Earl King’s “Lonely Nights” featuring Adcock’s elegant New Orleans-style piano. On Bobby Charles’ “Tennessee Blues,”

the unhurried Storm stretches it out to let the song’s inner beauty slowly unfold.

Thanks to saxophonist Derek Huston’s dogged persistence, Creedence Clearwater Revival’s “Long as I Can See the Light” was a late addition. Eventually, John Fogerty was enlisted as a co-vocalist and matched up well with Storm’s soulful style.

Just as Storm recorded via two-track in ’58, the same was done here, meaning a wrong note required a retake. It also met the rigid criteria of audiophile imprint APO who requires two-track recording for its high-

quality vinyl remastering.

Surely, this won’t be the last time these songs will ever be recorded but if they are, these renditions would endure for eternity.

—Dan Willging

Charlie Dennard Melodias (Independent)

Dennard, a New Orleans pianist who nevertheless makes most of his living on the road with Cirque du Soleil, has put out a curious disc here. It’s an ECM-like album with strong Brazilian overtones. Six of the 12

tracks are composed by Brazilians, and three of the composers have recorded for ECM. This is not the world of samba and straight-ahead jazz swinging, but of handsome balladry.

Merry and Intoxicating Jazz at Lincoln Center Orchestra with Wynton Marsalis Big Band Holidays II (Blue Engine Records)

Playing live on its home turf in New York City, the Lincoln Center Jazz Orchestra with Wynton Marsalis celebrates the season on Big Band Holidays II much as one would expect—it swings, performs some traditional classics and throws in a few wonderfully unexpected tunes, tempos and a guest of royal stature.

The album opens joyfully with “It’s the Most Wonderful Time of the Year,” that includes bright solos by New Orleans own clarinetist Victor Goines and trumpeter Marsalis. While performing with the orchestra, Marsalis has been known to occasionally have his trumpet step back from the spotlight though he lets it shine here and later on “Snowfall.”

That tune begins slow and gentle with Marsalis’ fluttering, muted trumpet reminiscent of when the first light snowflake lands on one’s eyelashes. A blizzard of swirling notes are soon to come.

There are fun moments like “Cool Yule,” by pianist/television host Steve Allen that was made famous in 1953 by Louis Armstrong.

Vocalist Catherine Russell, tenor saxophonist Walter Blanding and altoist Sherman Irby take center stage on this swinging number.

The trumpet of Marcus Printup and drums of Ali Jackson call out on a powerfully moving rendition of the African American spiritual “Rise Up, Shepherd and Follow.”

Aretha Franklin, the Queen of Soul, stands as the royal guest for a never-before-released, 2015 performance at the Center. She’s alone at the piano bringing a gospel flavor to “O Tannenbaum,” which she sings in both English and German.

“Brazilian Sleigh Bells,” by Percy Faith, is done quite whimsically, and

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its Latin rhythms offer an enjoyable change of pace. A bluesy “Silent Night,” which opens with the tasty piano of Dan Nimmer, is sung in warm, mellow tones by Denzal Sinclaire who, urged on by the big horn sections, then really goes for it.

Big Band Holidays II sounds like the swinging season of merry and bright.

—Geraldine Wyckoff

Charlie and the Tropicales Presents for Everyone (Independent)

Do you know what goes great with kitsch? More kitsch! By early December, some of us are about to gag on the schmaltziness of the Christmas season. What’s the remedy? Pile on more! Tiki and Christmas go together so naturally it’s surprising you don’t see the combination more often. Presents for Everyone is the tiki Christmas album you didn’t know you needed.

This collaboration between trombonist Charlie Halloran and singer/ songwriter/guitarist Alex McMurray is tropical, merry and intoxicating.

It’s guaranteed to boost your jolly quotient. Produced in part by local renowned tiki bar, Latitude 29, in conjunction with their yearly Sippin’ Santa pop-up, it’s a delightful collection of Caribbean Christmas classics played by a top-notch band. It features four calypsos dating from the 1950s and 1960s by Mighty Sparrow, Lord Kitchener, Mighty Spoiler and Lord Nelson. Additionally,Yulene Velazquez joins the band to sing “A Comer Lechon,” a Cuban Christmas song from Cheo Marquetti about feasting on Christmas Eve. “Latitude” showcases a duet from Charlie and his wife Mia about their love for Latitude 29 and “O, Christmas Tree” gets a French Caribbean beguine treatment. Presents for Everyone pairs festively with gingerbread and a bottle of rum.

—Stacey Leigh Bridewell

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When Dennard goes out of these worlds, (a straight recording of Robert Schumann’s “Träumerei” and Horace Silver’s “Peace”) the results are similarly muted and satisfying. This is one of those rare albums that can be listened to as background music or with scrutiny: it’s neither jarring, nor is it dull when you put in under the magnifying glass.

A welcome follow-up to his haunting Sozinho disc.

—Tom McDermott

and adding to the good times on “Django’s Rocket” is Kala Chandra, also on guitar. Speaking of Django, Mignano and Allahan weave in and out of solos with singular focus as they play off of one another in a great take on Reinhardt and Grappelli’s “Stompin’ At The Decca.” Closing things out, Mignano treats us to a brief vocal performance on “I’m Gonna Lock My Heart.” While the sentiment is poignant, the playing, as it is on the entirety of this release, swings with grace and feeling that will leave you longing for more.

—Christopher Weddle

Hanna Mignano Quartet Hanna Mignano Quartet (Independent)

If you are in the mood for jazz manouche, you can set Peabody’s wayback machine to 1930’s Paris or just pop in the self-titled release from The Hanna Mignano Quartet. Hanna and company start things off with a lively version of the Johnny Green classic “Coquette.” Alex Palmeros (guitar) provides a driving percussive rhythm while Roy Brent (upright bass) delivers a fat round thumping bottom end that creates the perfect atmosphere for Owen Allahan (clarinet) to soar as he delivers a tone that is light and airy, yet lush and full.

Not to be outdone, Mignano (violin) swings with elegant grace.

Of the eight tracks, Mignano penned three, including the beautiful “Persephone’s Waltz” and “Django’s Rocket To The Ghost Nebula.” The former paints an evocative soundscape and the latter is a flat-out barn burner.

Both feature Paul Mehling (Hot Club of San Francisco) on guitar,

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In Business Space Story

(Independent)

If any cultural capital in the world could possibly reboot the adventures of the P-Funk mothership, the Crescent City would be it. Yet this sextet, already well-known for its stage show, is reluctant to identify themselves to us lower life forms: it took a bit of digging to uncover the real identities of these supernauts, who are quite space serious about their very unserious space storyline.

(There’s so much concept in this album that the liner notes do a lot of the work, a la Genesis’ “The Lamb Lies Down on Broadway.”)

The short version involves a Christ-like savior of a spaceman named Spliff (nice pop-culture update there) fighting the anti-fuck anti-iconoclasts of the Bond-like cadre of villains known as S.C.R O.T.U.M. (yikes).

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There’s also a newly sentient sexbot known as Andromeo; it’s been a long time since Air used talkboxes to seduce humans, and it’s about time someone brought the concept back.

Got all that? It’s really just an excuse to lay down some thick NOLA-style funk-rock in a retrofuturistic setting. Despite the jazzy horns, titles like “Spaceman” and “Attack on the Spaceport,” and the yeoman work put forth by the amazing lungs of singer/ rapper Whitney Alouisious, those searching for the future of funk will have to look elsewhere: this group’s cultural touchstones are all ‘70s-adjacent, from action jazz to “A New Hope” to Charlie Wilson to TV’s perennially underrated “Archer.” But it does indicate that they have excellent taste. You wouldn’t want to cruise the universe with Ed Sheeran and Post Malone, and neither would I. —Robert Fontenot

Byron Asher Byron Asher’s Skrontch Music (Sinking City Records)

Reed player and composer Byron Asher, a Maryland native based in New Orleans for the past decade, has been exploring the strong relationship between jazz and the socio-economic environment from which it emerged. With good reason.

In the early years of the 20th century, jazz was a radical form of music, a way to resist and help overcome racism that was so prevalent in the Jim Crow era.

The result is Asher’s Skrontch

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Music project. Asher borrowed the name from a Swing Era dance step that Duke Ellington featured in his late 1930s Cotton Club shows with the number “Doing the Skrontch.”

This initial offering is a five-part suite created during Asher’s time as artist-in-residence at Tulane University’s A Studio in the Woods. The Skrontch project made its debut with live performances by his 10-piece ensemble starting in 2017 and this studio recording. Its goal: to absorb and understand the lessons of the past as a way to extend the music, and make a fresh statement in today’s unusual sociopolitical climate. [Note: check out skrontch on OffBeat’s media page].

The band includes both Asher and Ricardo Pascal on clarinet and tenor sax; Aurora Nealand on clarinet and alto sax; Reagan Mitchell on alto and soprano sax; Shaye Cohn on cornet; Emily Frederickson on trombone; Oscar Rossignoli on piano; Steve Glenn on sousaphone; James Singleton on bass and Paul Thibodeaux on drums.

The first three tracks include excerpts of recordings by Mamie Smith, Bessie Smith, King Oliver and Jelly Roll Morton, snippets of interviews with early jazz makers that he found in Tulane’s oral history collection, and a reading from the U.S. Supreme Court’s 1896 landmark decision in the NOLA-focused Plessy v. Ferguson civil rights case, riding over some of Asher’s new music.

The opener, “Blues Obligato,” begins with a tease of Mamie Smith’s vocals on “Crazy Blues,” blending thick ensemble passages and a series of duets, first by clarinetist Nealand and trombonist Frederickson, then

by Cohn on cornet and Mitchell on alto sax. “Aural History” cushions its music with bits from interviews with Albert Nicholas, Alphonse Picou, Barney Bigard

and Louis Tio. The Tio family, clarinet teachers from a largely Creole neighborhood, taught classical techniques to New Orleans’s most renowned jazz clarinetists, including Omer Simeon of Jelly Roll Morton’s band, Jimmy Noone and Sidney

Bechet.

“Comité des Citoyens” begins with a reading of Plessy v. Ferguson over horn vamps that blossom into a hard-driving, buoyant main section fueled by Pascal’s tenor solo and Rossignoli’s piano. The celebration

20th Anniversary Lost Bayou Ramblers On Va Continuer! (DVD) / Asteur (CD) (Lost Bayou Records)

This combined DVD-CD offering of the documentary On Va Continuer! and the live album Asteur celebrates the Lost Bayou Ramblers’ 20th anniversary as a group. In 2016, director/cinematographer Bruno Doria was filming the Dockside Studio flood when he met the Ramblers fiddlin’ frontman Louis Michot, which led to Doria capturing various live performances and the recording of the album Kalenda. Doria was also present when Kalenda reached its zenith by winning a Grammy in 2018 and the band’s jubilant post- celebration.

Though the documentary seems like it’s a day in a life of the Lost Bayou Ramblers, it’s also a snapshot of contemporary Cajun culture holding on to its time-honored roots. There are segments with various instrument makers, most notably Louis’ brother Andre who painstakingly builds accordions for the sheer love of it. Another segment shows Louis and copious friends constructing an exterior bousillage wall made out of mud and Spanish moss, reminiscent of the homes built by Cajuns in the 18th and 19th centuries.

Though this is obviously a worthy promotional tool, its overarching message is not to sell another unit or concert ticket.

Instead it’s the preservation and growth of the Cajun French language. Louis shares insightful thoughts such as “the language is a huge part of the rhythms of the music” and how “it’s the best possible vehicle for transmitting the language. I think there’s a chance we can revitalize it to where it will last many more generations,” he says. “It’s definitely a life’s work and the reason I do what I do.”

Asteur features well-received live performances from seven New Orleans area venues. Though it draws on several selections from Kalenda, there are another seven tunes (“Steh,” “New Iberia Haircut,” “Hwy 90”) never released by the Lost Bayou Ramblers.

“Bosco Stomp” and “Côte Clair” sound closer to vintage Cajun music than “Freetown Crawl/Fighten’ ville Brawl” and “Kalenda”— those are considerably more untamed and unruly than their studio-produced counterparts. Given the hypnotic percussion, feedback, distortion, drones and far-out futuristic effects, by the time “Tune Up” and “Dans Les Pins” end, you feel like you’ve survived a physically-grueling, mind-altering ordeal.

—Dan Willging

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winds down with a bit more of the Plessy narration. “Elegy” is an ensemble piece that opens with a simple clarinet vamp, with each of the other players join in on successive refrains. It becomes rich and vibrant, not mournful.

At times, it sounds like several brass bands marching into the same Crescent City intersection, playing different tunes that end up complementing each other.

“After this/that” is the longest segment and Skrontch Music’s crème de la crème that is both minimalist and robust. It rides over a repeated, simple little piano filigree that inspires fine solos by Mitchell on soprano sax, Asher on clarinet, Nealand on tenor sax and Singleton’s arco bass segment. Together, they tie the project together with a contemporary sound to underscore that New Orleans jazz keeps evolving.

Asher isn’t done with this project. After finishing this initial suite, he started developing new material with similar themes for a smaller ensemble.

—Ken Franckling

Frog and Henry England 2019 (Independent)

Frog and Henry 2019 ii (Independent)

Similar to the methods of Tuba Skinny, string and brass band Frog and Henry draw inspiration from the dawn of early recorded music, breathing new life into long-forgotten songs. On their albums England 2019 and 2019 ii, they feature 12 musicians from five countries, chronicling half-year of playing in England, Switzerland, and New Orleans.

Their geographic influences are evident in their song choices.

They’ve developed not only early New Orleans tunes from the likes of A. J. Piron and Jelly Roll Morton, as well as early

mainstream American pop tunes from Guy Lombardo and Sophie Tucker, but also British dance band numbers from artists like Al Bowley and The Four Bright Sparks.

Trying to pin down the exact personnel of Frog and Henry is a frustrating task as so many players cycle through and many shuffle instruments.

Consistently appearing on both albums are Ewan Bleach, reeds, vocals; Kermane Arken, violin; David Neigh, simultaneous foot-operated tuba machine and six-string banjo; F.H. Henry, guitar, vocals; Laurin Habert, clarinet; William Scott, bass clarinet, tenor saxophone; Colin Good, piano; and Maxwell Poulos, tenor banjo.

Some New Orleans friends are featured on 2019ii including Shaye Cohn, Todd Burdick, Craig Flory and Robin Rapuzzi.

To dig into the nuances of these albums would require more space than I have here, but I’m sure some intrepid traditional jazz bloggers are making a feast out of them elsewhere. Bottom line is: these albums are lovingly made, creatively sourced, beautifully

recorded and brilliantly played.

—Stacey Leigh Bridewell

The New Orleans Swinging Gypsies Hot Boudin (Independent)

The swing music scene in New Orleans is in full swing, if you’ll pardon the play on words. As new bands continue to emerge especially on Frenchmen Street,

sometimes it’s a tad difficult to find enough differences between the various acts to separate them from their peers.

Enter the New Orleans Swinging Gypsies. Led by guitarist and vocalist John Saaverdra and singer Giselle Anguizola, the group brings the dance floor onto the stage—literally.

Anguizola taps and struts and swings while the band plays.

Their second album, Hot Boudin, is a collection of seven jazz standards covering a wide period of traditional jazz, ranging from Sidney Bechet’s “Vipermad” from 1924 to Django Reinhardt’s “Flèche d’Or” from 1952. Amid the classic sounds including tunes from Artie Shaw, Irving Berlin and Fats Waller are four strong originals—two from the pen of Saavedra and two composed by

alto saxophonist Connor Stewart.

The album was recorded at Esplanade Studios—the current go-to spot in town for pristine recording and attentive production. The band’s sound positively oozes out of the speakers with the rhythm section of drummer Paul Thibodeaux and bassist Matt Booth driving the music.

The soloing is all first class

For Dr. John this was an era of rejuvenation Dr. John & the WDR Big Band Big Band Voodoo (Orange Music)

Dr. John is an essential piece of New Orleans for his R&B and rock ’n’ roll sessions at Cosimo Matassa’s studio, for the marvelous invention of his Gris-Gris music and stage show, for his revival of his R&B idols on Gumbo and for his role in spreading the New Orleans funk worldwide with In the Right Place and Desitively Bonaroo. Perhaps it’s easy to forget that his deepest roots were in the ballads and pieces from the American Songbook that he heard around the house when he was very young. These are the songs that influenced one of the most dramatic identity switches of his career when he rotated out of the funk long enough to make In a Sentimental Mood, with its Grammy-winning version of “Makin’ Whoopie,” a duet with Rickie Lee Jones.

Mac remembered that one of his mother Dorothy’s favorite songs when he was a kid was “My Buddy.” Once upon a time she used to sing it to him. His aunts and uncles would gather around the piano and play popular tunes that stuck in the young Mac’s budding musical imagination. In fact Rebennack’s first recording session was not at Cosimo’s, but in an old make-your-ownrecord kiosk cut one summer in an arcade by Lake Pontchartrain.

What was on his mind back then? He recorded himself singing “Blueberry Hill,” “Old Time Religion” and “Long Ago and Far Away.”

Rebennack was a brilliant producer and songwriter in his early days, but not much of a singer. This was probably one of the reasons he resisted being a front man until circumstance gave him no choice. But singing was in his blood, and his love for classic songs never waned.

His voice was not the usual instrument used on such material—it was craggy, without much range and a tendency to go off pitch. But he could sing the pants off of any song he came close to, with an understanding of phrasing, improvisation and rhythm flow second to none.

It’s always a treat to hear Dr. John sing these songs, so it comes as an unexpected pleasure to hear this 1995 session with the WDR Big Band. Mac’s love for the old stuff is matched by this classy outfit with its rich arrangements and cushioning version of swing. Highlights

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here are “I’m Just a Lucky So and So,” “Blue Skies,” “Gee Baby Ain’t I Good to You,” “New York City Blues,” “I Still Think About You” and “I’m Confessin’ (That I Love You).” Mac often sings with a sly smile and a bit of a swagger, but on this material he reveals his tender heart, a longing for love and a striking vulnerability. His quietly dramatic reading of “Tell Me You Will Wait for Me” is a performance for the ages.

—John Swenson

This is the first release from the Dr. John archives since the man’s passing, and it’s a bit of a curio— capturing a studio session (and probable concert rehearsal) with a Cologne big band, during a tour stop in Germany in 1995. He was then promoting Afterglow, his second album of jazz/pop standards, from which comes most of this material.

So this is largely a not-too-different alternate take on that album, plus a few standbys from his live repertoire, on which the big band lays out: “Mess Around” uses only the rhythm section; “Tipitina” and “Stagger Lee” are solo performances. For Dr. John this was an era of rejuvenation, and Duke Ellington’s “I’m Just a Lucky So and So” remains one of his warmest and winningest vocal performances, both here and on Afterglow. Also reprised here are “I Still Think About You” and “There Must Be a Better World Somewhere,” a pair of sturdy blues songs he co-wrote with Doc Pomus (the latter for B.B. King, who made it a major late-career statement). Only two tracks are substantial reworks of signature material: “Goin’ Back To New Orleans”—as always an occasion for stretching out—and especially “My Indian Red.”The sound of the latter recalls Billy May’s swingingest arrangements for Sinatra, and it’s where the big-band voodoo really happens.

Big-band jazz was one of the many directions Dr. John was pondering at the time—as it turned out he ultimately formed a funky and flexible four-piece band, the Lower 9-11, who joined him for the next couple of decades. This proved to be the right decision and led to a couple of his greatest albums, but this is an enjoyable snapshot of the moment. And so much the better if it leads to a lot more archival releases—especially if anyone’s got that ultimate Holy Grail, a wellrecorded show from the Night Tripper years.

—Brett Milano

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“Vipermad.”

Hot Boudin is a welcome addition to the new swing and gypsy jazz canon in New Orleans.

It’s refreshing to hear great original material paired so ably with some gems from a genre that continually renews itself.

—Jay Mazza

with shout-outs to Saaverda for his crisply articulated licks and both Stewart and trombonist Nick Garrison for sweetly melodic playing. Most of the tunes are instrumentals with Saavedra taking lead vocals on a pair, Waller’s “Baby Brown” and Berlin’s “Russian Lullaby.”

Anguizola shines on the lead cut, a languid take on Shaw’s “Moonray,” and an infectious jump version of Bechet’s

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Roadside Glorious Brawn and Bone (Independent)

Roadside Glorious styles itself as a blues-rock group, but there’s a surprisingly strong soul element that lands them more on the side of swamp-rock. The result gives them a range that exists somewhere between the Black Crowes and the Black Keys, though they lack the bleeding emo-gospel depth of the former at their most stoned or the indie neoclassicism of the latter.

rock opening rave-up (and first single) “Lay Your Weapons Down” sure sounds like a call to action despite the title, what with all those deferred dreams and political cynicism littering the verses.

Okay, so it’s all about mood.

But it’s a great, consistent rootsrock ambiance, a remarkable ruckus raised by four men recording in Muscle Shoals, Such a dichotomy means they even as they heavily augment often come off sounding haunted their sound with all the usual and righteous on this, their debut: genre trappings: piano, organ, the friend in “Ain’t No Friend horns, plenty of backup testifyin’. of Mine” turns out to be not a Whether getting funky on “Sure person but a concept, specifically, As Hell” or doing the blues-rock “standin’ still” (but also, ironically, shuffle on “By the Roots” or moral ambiguity). Likewise, the going all Allmans on “Jasmine,” lone story song “Catalina,” despite Roadside Glorious are your being set in 1964 Birmingham, one-stop shop for all things doesn’t have much to say about Southern Rock. Just don’t expect its subject other than that she’s much more than a groove. Yet. an old maid. And the gospel—Robert Fontenot

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Feufollet Prends Courage

(Feufollet Records)

Christened after the boisterous garage rocker from Feufollet’s 2008 Cow Island Hop, Prends Courage marks the group’s 20th anniversary with 17 tracks culled from seven albums and a ’45’ with two new songs and an unearthed track making a public debut.

Other than the opening dancehall stomper “Dans le magasin,” one of the two new offerings, everything is chronologically arranged to illustrate the group’s artistic progression.

Of course, some of Feufollet’s most popular songs are here, such as the paint-peeling “Cow Island Hop,” “Femme l’a dit” with its radical Dixieland flourish, and Anna Laura Edmiston’s Spotify hit of sorts “Au fond du lac.”

Through the course of this compilation, it’s apparent how groundbreaking Feufollet’s marvelously arranged and composed material really is. The sans-accordion “Je m’endors” is haunting and mystical, while Edmiston’s “Berceuse du vieux voyageur” is strikingly beautiful.

Chris Stafford’s “Les jours sont longs” is similarly stunning with its Beatlesque harmonies and sunny chords that defy any standard chord progression. Within a few years of its inception, Feufollet realized not every song had to revolve around the proverbial accordion-fiddle axis but could stand proudly on its own artistic

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merit.

The previously shelved track, Edmiston’s “Regard ensoleillé” is best described as a trippy Cajun Radiohead and is the proceedings’ crown jewel.

Layered and joyfully spacey, it concludes with Andrew Toups’ mounting keyboard work that’s head-spinning enough to feel like timeless space travel. As this encompassing snapshot illustrates, Feufollet accomplished a ton here while evolving its own identity.

—Dan Willging

Georgi Petrov Alien of Extraordinary Abilities (Breakfast for Dinner Records)

An “Alien of Extraordinary Abilities” is not a Grey with telekinesis or something like that, as jazz guitarist Georgi Petrov playfully alludes in the art for his second album; it’s the name of a special visa that got him American citizenship when he came here from Bulgaria, the same (in)famous “Einstein” visa that our own First Lady used to vault over the wall. And while it definitely helps to have someone in your corner during the process (ahem), you don’t have to be a model or a genius to get one. You just have to be outstanding in your field.

Petrov has that covered, subtly mixing native Balkan rhythms and tonalities with classicist bop. He performs two main functions in his latest quartet: laying down a thicket of breezy, undulating chords so that Tomas Majcherski

can go exploring with his tenor sax, meanwhile unspooling his own leads, equally influenced by cool-jazz piano guru Lennie Tristano and Deep Purple legend Steve Morse, over the top.

That the former usually produces more profound results than the latter is no slag on Georgi’s abilities, extraordinary or not; it just marks him as a team player. Consider the way the sweetness of “Alone in Berlin” hangs on a simple two-chord phrase, or how his nearly singlehanded tragic backdrop on “I Am Not Alright” gives Tomas space to really explore his hangover.

In fact, Petrov’s recent residence in the city seems to have informed the group’s commitment to rhythm over flash, as evident in drummer Brad Webb’s sometimes almost martial approach to funk, whether glimpsed rolling around in the background on “Spies” or pushed to the fore on the title track. It’s a groove Georgi finds a lot of room to color in, although the quartet usually just struts along on most of these nine originals, traditional postwar jazz that occasionally flashes its free jazz prowess. Not every jazzman needs to be an Einstein, but Georgi and his pan-cultural bop definitely earn the right to be called “extraordinary.” Sometimes it is about what you know.

—Robert Fontenot

Our Native Daughters Songs of Our Native Daughters (Smithsonian Folkways)

Rhiannon Giddens, Leyla McCalla, Allison Russell and Amythyst Kiah assembled to form an unlikely alliance in the music business: a supergroup of banjo-playing singer/songwriters intent on confronting the abuse of African American women by giving a candid, unflinching, powerful voice to the desperation, dignity, unimaginable

suffering, humanity, and hope to their storied lives. I can’t help making a kindred connection to four congresswomen collectively known as The Squad, in terms of the power, passion, and righteousness that Our Native Daughters bring to the table.

The project originally germinated from sources ranging from slavery and Jim Crow era minstrel narratives, historical writings and items that Rhiannon Giddens came across during her visit to the Smithsonian’s National Museum of African American History and Culture. There she encountered an 18th century poem “Pity the Poor Africans”

by William Cowper that read: I am shock’d at the purchase of slaves / but I must be mum, for how could we do without sugar or rum?

Our Native Daughters turn this into Barbados, in which the poem gets a contemporary update replete with provocative new lyrics confronting the nefarious origins of many of the products that we use every day.

In the liner notes Giddens writes, “Black women have historically had the most to lose, and have therefore been the fiercest fighters for justice.”

The contrasting backgrounds of the individual members meld together perfectly here. Giddens rose to prominence with the Carolina Chocolate Drops before launching her brilliant solo career. Amythyst Kiah is a bluegrass country performer from O F F B E AT. C O M

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Tennessee, while Leyla McCalla is a New York native-HaitianAmerican based in New Orleans who specializes in Creole and Cajun traditions, and is a potent songwriter. Allison Russell hails from Canada and is a multiinstrumentalist with a powerful, resonating voice.

Each of these songs showcase different genres, forms, and rhythms but, collectively they form a cohesive musical statement illuminating both the contributors’ individual and collective talent that uplifts this project from start to finish. Even though the content of this recording is potent and often tear-jerking, a poignant light enters this musical landscape as well. This is a remarkable musical journey and one of the most memorable and impactful recordings I’ve come across in quite some time.

—Michael Dominici

Brad Walker Quartet Live at Snug Harbor (Independent)

As pointed out in the liner notes, this recording, Live at Snug Harbor, was initially captured purely to be used as “reference.”

“During the very first song, I realized something special was happening this night,” saxophonist Brad Walker is quoted as saying.

That “something” is a lot of energy that transmits between the musically compatible and highly-talented members of the quartet, who are saxophonist Walker, pianist Oscar Rossignoli, bassist Nathan Lambertson and

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drummer AJ Hall.

Walker, who earned a bachelor’s and master’s degrees in saxophone and jazz at Louisiana State University, and who has achieved a reputation as a go-to sideman (most notably with country star Sturgill Simpson), shows himself as an insistent leader. He’s all over his tenor saxophone from its deepest to highest tonal ranges as heard on his introductory solo number that opens the set.

Walker’s original soulful number, “Pilgrim,” builds in passion, as many of the tunes here do, with Rossignoli’s two-handed emotional piano. The pianist contributes “Never Odd or Even,” which at first focuses primarily on the rhythm section, featuring provocative interactions between the pianist, bassist and drummer.

Walker steps into the mix to take it to the outer levels.

Herbie Hancock’s “Oliloqui Valley” receives a gentler, more classic treatment with Lambertson’s modal, then walking, bass that swings the tune with melody firmly in place.

Walker’s “Samurai,” begins introspectively but lifts to a happy and fully relatable feel, particularly when Rossignoli introduces some strong Latin rhythms. The always-melodic pianist takes off with drummer Hall behind him all the way. Walker, as is his way, digs down hard, then brings the song to a satisfying resolution.

The climax of Live at Snug Harbor sums up the best of the Brad Walker Quartet in that it offers the dynamics of the ensemble in its most comprehensive mode, yet reveals a progressive essence.

—Geraldine Wyckoff

Dukes of Dixieland New Orleans Voodoo (Leisure Music Group)

With its release year printed as 2015 on the CD’s slipcase

packing, Dukes of Dixieland’s voodoo-themed three-song EP is a bit of an oddity. But according to John Shoup, the Dukes’ band manager of 45 years, this project kept getting bumped by other priorities until now. If you’re expecting sharp horns, wailing clarinet, dazzling piano playing, and tight drumming, you’ll find that here in an abbreviated form.

But moreover, these live cuts show how good the Dukes are as entertainers. Vocalist/pianist Joe Kennedy milks “Marie Laveau” for all it’s worth. On “I Put a Spell on You,” he affects a demonic Louis Armstrong voice. “Voodoo Woman” is the most jovial as Kennedy sings between swinging horn lines and Kevin Clark’s blistering trumpet solo. With pop-flavored selections beyond the cannon of its Dixieland namesake, it’s inherently obvious this is no longer your father’s Dukes of Dixieland.

—Dan Willging

Eyope Elevation

(Independent)

Eyope is an acronym for “elevate your own personal expression” and this new band’s debut EP, Elevation, is a statement of purpose for a new project led by multi-instrumentalist Evan Oberla.

Though Oberla’s primary instrument is trombone, he plays in the brass-driven ensemble Brass Lightning, and tours and performs with local acts Sexual

Thunder and Miss Mojo. He also sings and plays keys and percussion on this latest effort.

Oberla has also released two records of original material; the hip-hop driven Here from EOP and the jazz-oriented May Your Vice Be Nice by the RFG Quintet.

The music on Elevation is groove-oriented with elements of hip-hop, soul and R&B mingling in a concoction that demands to be heard live. Oberla’s trombone is at the center of the first two cuts, “Parish” and “Afternoon Samba.”

The third cut, “Dizzy,” veers

into some seriously soulful terrain and features the contributions of the first ringer Oberla has recruited for this fascinating collection, vocalist Anjelika “Jelly” Joseph. Best known for her work with Tank and the Bangas as well being a featured singer with the Pinettes Brass Band and more recently, Galactic, she enlivens the proceedings with wordless vocal inflections and nails the chorus.

Jamison Ross, the award-winning drummer and vocalist, sings a soaring lead on “Don’t Get it Twisted.”

Oberla proves to be an adept singer in his own right. With production by guitarist Andrew Block, who also appears on one track, his vocal work is set perfectly in this very modern production that reaches back as it simultaneously stretches forward.

The final and title cut, “Elevation,” which opens with Ari Kohn’s samba jazz-influenced flute work, is the strongest tune O F F B E AT. C O M

on this adventurous recording. It features a full horn section and an arrangement that sums up the band’s mission statement.

if it stepped out of the Delbert McClinton songbook.

But intentionally funny or not, Doug Duffey’s rocky “Back Home in Louisiana” is the kicker. Initially, it sounds like another song vying for a travel commercial, but the line “Time goes slower than bacon grease down the drain” has to be among the wittiest of all time.

on the album.

“Keeping Up with the Kid” swings the blues and name-checks the late Texas guitar master Stevie Ray Vaughan, reproducing his idiosyncratic style. HeavyDrunk returns to Memphis with the Stax Records-era Staple Singers soul sound of “Memphis.” Robinson and HeavyDrunk also create compelling quieter material, such as the heartfelt “High on Love” and the album’s Randy Newmanlike title song, “Holywater.”

In addition to leading HeavyDrunk, Robinson owns Puckett’s Grocery and Restaurant in Leiper’s Fork, Tennessee. Heavy responsibility at home must be why all of the show dates on the band’s Facebook page are in Tennessee.

ignites the extraterrestrial lights, which swing hard into country twang while they illuminate Jimmy Swaggart’s cross and —Jay Mazza refract rainbows over Joe Tex’s glass house. Then the band downshifts into swampy R&B and bluesman Tabby Thomas hexes the lights away as “bad for liquor sales.” But they return, —Dan Willging with a vengeance, borne aloft on a wave of psychedelic guitar, as the cousin pleads: “Take me home, Gonazales lights!”

Yowser! It’s terrific introduction to The Rakers and their deep roots in Baton Rouge— especially if, like me, you’re new Parker James to this “thinking man’s drinking Home band,” and are just catching up (BSE Records) with them on Five, their aptlyThough Parker James has been named fifth release. And the rest a professional musician for 29 —John Wirt of the album delivers as well. years and a Boogie King for 25, Fronted by singer-songwriters ironically he has only three CDs HeavyDrunk Alex V. Cook and Lance Porter, under his name.Yet, despite the Holywater the five-piece unit is as tight as sporadic releases, James makes his (Independent) the skins of Anna Byars’ drums opportunities count, as evidenced Raised in Monroe, Louisiana, after six years of playing with by these dozen tracks that feature and Jackson, Mississippi, Rob guitarist Leon LeJeune and six originals.

Robinson leads the Nashvillebassist Lewis Roussel, a luthier As a vocalist, James has a warm based soul-blues-Southern rock who makes many of the band’s demeanor with his slightly raspy, band HeavyDrunk. On record, instruments. A roots-rock band soulish pipes that can hit high the group is a sprawling ensemble with roots as gnarly as a live notes in nothing flat. He excels at including six vocalists, horns, B3 oak, The Rakers shift seamlessly slower material that tugs at the Hammond organ, piano and three from the rockabilly roadhouse of heartstrings, such as the poignant guitars. HeavyDrunk’s collective “How I Knew I Wasn’t Country” “I Can See Your Smile,” a southern vibe recalls the Allman Brothers The Rakers to the mournful elegiacs of “Bad rock-soul ballad, written in the Band and Lynyrd Skynyrd. As Five Penny,” a meditation on jinxes, memory of his late mother. On for Robinson’s primary musical (Independent) and let their Clash flag fly with “Baby’s Song,” he sings to his reference points, they’d seem to Forget Area 51 and Roswell— the collisions of “Problematic.” nameless, unborn child, stating he’s be the latter groups, Little Feat those hotbeds of paranormal They even nail an obsessive falling in love with someone he and classic soul. activity ain’t got nothin’ on the power-rock ballad with “Your has yet to meet. “Going Home” Robinson and guitarist Will psychedelic swamp-gas hoodoo of Eyes Are Mine.” For the full chronicles a dying man at peace Beeman wrote most of Holywater, “Gonzales Lights,” Five’s comically Rakers’ effect, blast Five in your with his fate.

HeavyDrunk’s third album. cosmic first track. car like you’re driving the back On the lighter side, the infec“Walking to the Mission in the Launched with a lusty field roads of Ascension Parish no tious swamp pop number “I Didn’t Rain” is swampy rock highlighted holler—“My cousin was never matter what highway you’re on.

Know” hits the stars with Jon

by Robinson’s distinctively right / After she saw the Gonzales —Cree McCree Smith’s stellar sax solo.

Southern vocals and a prominent lights!”—it snakes into a bluesy But just as James is an adept horn section. “One Dancing invocation of Janis Joplin and the Smithfield Fair vocalist, he’s also an enterFool” could be an imaginary Dead dropping acid into the Gospelesque tainer. There’s a variety of good collaboration by the Allman water at an infamous Prairieville (Stevenson Productions) groovin’ material like the rowdy Brothers Band and James Brown concert in ’69 that conflates local With its existence inching roadhouse-styled “Fishin” and the on a Saturday night in Memphis. bayou legend with a pantheon of towards the half-century hilarious “Lucky Me” where every- “Pick You Up Along the Way” is Baton Rouge characters. Swamp mark—46 years to be exact— thing goes wrong. The sax-jukin’ another Southern rock song but, popper Wayne Toups flicks a Smithfield Fair is believed to “Be Good To Yourself ” sounds as simultaneously, the funkiest thing cigarette into the marsh gas that be the longest running folk/

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O F F B E AT. C O M

Max and the Martians Curtains (Independent)

singer-songwriter aggregation in the Pelican State. But even so, its 32nd album, an all-original spiritual release, is still a career first. Though six of the 14 tunes may be found on previous offerings, eight others make their grand debut. Yet, regardless whether it’s heritage or brand spanking new, every track is a fresh recording, so everything sounds like a live performance.

Even better is how the proceedings are never heavyhanded or a fire-and-brimstone smack in your face. Rather, they’re soul-felt, honest reflections of celebration, salvation, admittance, reassurance and anticipation of the eternal afterlife—all fodder for mediation.

Smithfield Fair bookends it brilliantly, opening with a vivid reprisal of “God Never Sleeps” written by vocalist/accordionist Jan Smith. It’s four in the morning and the protagonist is star-gazing out the window, absorbed with the shattering news of the day’s tragedy. But realizing God’s close by (hence, he never sleeps), she feels comfort and strength to carry on.

The penultimate track “God Bless the Weary” advocates opening one’s heart to the Almighty. It isn’t an unexpected message for fare such as this, but the final ode “I Am Weary” certainly is. It’s a surprisingly strong admission of one’s own mortality and willingness, when it’s time, to leave this earthly life behind.

Indeed, the spirit moves here.

—Dan Willging

OF F B E AT.C OM

With only four tracks on Curtains, the latest release from Max and the Martians leaves no room for a false step. It’s no wonder then that Max Bien Kahn (guitar, vocals) brings his “A game” and delivers a solid recording.

Listeners may recognize Max Bien Kahn from his work with Tuba Skinny, but this project gives Max a chance to put on his rock and roll shoes.

“Fever Dreamer” sets the stage for what the listener can expect. There’s a hazy feel to the proceeding that draws to mind George Harrison’s early solo work and features lush harmony and some tasty jangly guitar work.

“Springtime” follows the same formula but has the added benefit of some nice swirling organ from Duff Thompson. The title track features guitar lines that drip with humidity and the closing “This Town” wraps things up with a nice loping rhythm that encapsulates what this band is all about.

This is a definitely a group effort as Jordan Odom (guitar), Duff Thompson (drums, organ), Eli Silverman (bass), Esther Rose and Camille Weatherford (vocals) provide a lush and dreamy landscape that melds nicely with Max’s well-crafted songs that result in highly danceable psychedelic pop. Hopefully the release of Curtains will be the liftoff that will land Max and the Martians a larger following.

—Christopher Weddle

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express 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-newlistings 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

THURSDAY NOVEMBER 28 30/90:Andy J. Forest (BL) 5p,Armando LeDuc y Salsa Royale (LT) 9p, DJ Dot Dunnie (VR) 10p Bourbon Street Honky Tonk: Mark and the Pentones (BL) 4p, Blues Masters (BL) 8:30p Café Negril: Claude Bryant and the All-Stars (VR) 6p, Sierra Green and the Soul Machine (VR) 10p Carnaval Lounge:Thanksgiving Football on the Big Screen (VR) 6p Howlin’ Wolf (the Den): Comedy Gumbeaux (CO) 8:30p Jazz Playhouse: Brass-A-Holics (JV) 8:30p Kermit’s Mother-in-Law Lounge: Kermit Ruffins and the BBQ Swingers (JV) 7p, Mario Abney (JV) 9p Le Bon Temps Roule: Soul Rebels (FK) 11p Little Tropical Isle: Allen Hebert (RK) 5p, Jezebels Chill’n (RK) 9p Preservation Hall: Preservation Legacy Band feat. Gregg Stafford (TJ) 5p, Preservation AllStars feat. Charlie Gabriel (TJ) 8p Rock ‘n’ Bowl: Geno Delafose and French Rockin’ Boogie (ZY) 8p SideBar NOLA: Mike Dillon and Helen Gillet present Turkey Night Extravaganza (MJ) 9p Spotted Cat:Thanksgiving Potluck with Tom Saunders and the Hot Cats (JV) 6p, Jumbo Shrimp (JV) 10p Three Keys (Ace Hotel): Saints Game Screening (VR) 7p Tropical Isle Original: the Hangovers (RK) 5:15p, Late As Usual (RK) 9:15p Vaughan’s: DJ Black Pearl 504 (VR) 9p, Corey Henry and the Treme Funktet (FK) 10:30p

Bourbon Street Honky Tonk: Mark and the Pentones (BL) 4p, Blues Masters (BL) 8:30p Buffa’s: Charlie Wooton Project feat. Hèli (VR) 6p, Song Swap with Patrick Smith and friends (VR) 9p Café Negril: Shawn Williams (VR) 2p, Dana Abbott Band (VR) 6p, Higher Heights (VR) 10p Carnaval Lounge: Kool Moe Dee Appreciation Society (CO) 9p d.b.a.: Russell Welch Hot Quartet (JV) 5p, Aurora Nealand and the Royal Roses (JV) 7p, Big Sam’s Funky Nation (FK) 11p Fillmore: Jeezy (HH) 8p House of Blues: PJ Morton (RB) 9p Howlin’ Wolf (the Den): Pig Lizard (RK) 10p Kermit’s Mother-in-Law Lounge: DJ Sugar Ray (VR) 4:20p New Orleans Creole Cookery: the Cookery Three (JV) 6p Old Point Bar: Rick Trolsen (PI) 5p, Jamey St. Pierre and the Honeycreepers (RK) 9:30p Palm Court Jazz Café: Lucien Barbarin and Kevin Louis with Palm Court Jazz Band (JV) 7p Preservation Hall: Preservation Legacy Band feat.Wendell Brunious (TJ) 5p, Preservation All-Stars feat. Shannon Powell (TJ) 8p Snug Harbor: Ellis Marsalis Quintet (JV) 8 & 10p Spotted Cat: Andy J. Forest (JV) 2p,Washboard Chaz Blues Trio (JV) 6p, Sierra Green and the Soul Machine (JV) 10p Three Keys (Ace Hotel): Lobby: Soul Rebels (BB) 9p Three Muses: Doro Wat Jazz Band (JV) 9p Tropical Isle Original: the Hangovers (RK) 5:15p, Late As Usual (RK) 9:15p

FRIDAY NOVEMBER 29 30/90: Jonathan Bauer Project (MJ) 2p, Jon Roniger and the Good For Nothin’ Band (JV) 5p, Crooked Vines (FK) 8p, DJ Trill Skill (VR) 10p, Gene Harding’s Birthday Bash (VR) 11p Banks Street Bar: Little Freddie King (BL) 10p

SATURDAY NOVEMBER 30 30/90: Jonathan Bauer Project (MJ) 11a, Ted Hefko and the Thousandaires (SS) 2p, Jeremy Joyce (BL) 5p, Sam Price and the True Believers (RK) 8p, DJ Fresh (VR) 10p, Soul Project (FK) 11p

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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.

Bourbon Street Honky Tonk: Mark and the Pentones (BL) 2p, Blues Masters (BL) 8:30p Buffa’s: Hunter Burgamy (JV) 6p, Marina Orchestra (VR) 9p Café Negril: John Lisi and Delta Funk (VR) 2p, Colin Davis and the Night People (VR) 6p, Higher Heights (VR) 10p Carnaval Lounge: Alex Bosworth (ID) 6p, Pallbearers (PK) 9p d.b.a.: Sabertooth Swing (JV) 4p, Ricky B with Cheeky Black, Lady Red and DJ Redd (BO) 11p Dos Jefes: Sunpie and the Louisiana Sunspots (ZY) 10p Kermit’s Mother-in-Law Lounge: Keva Holiday (VR) 8p Little Tropical Isle: Reed Lightfoot (RK) 5p, Styk (RK) 9p New Orleans Creole Cookery: the Cookery Three (JV) 6p Palm Court Jazz Café: Palm Court Jazz Band (JV) 7p Preservation Hall: Preservation Brass feat.

Mark Braud (TJ) 5p, Preservation All-Stars feat.

Mark Braud (TJ) 8p Saenger Theatre: Chris Tucker (CO) 9p SideBar NOLA: Alex McMurray (SS) 7p, Byron Asher’s Long Dark Short (MJ) 9p Snug Harbor:Topsy Chapman and Solid Harmony (JV) 8 & 10p Spotted Cat: Jazz Band Ballers (JV) 2p, Panorama Jazz Band (JV) 6p,Vegas Cola Band (JV) 10p Three Keys (Ace Hotel): Lobby: Sierra Green (SO) 8:30p Three Muses: Dan Schroeder (JV) 5p, Shotgun Jazz Band (JV) 9p Tipitina’s:Tank and the Bangas, the Suffers, Casme (VR) 10p Tropical Isle Bayou Club: the Troubadour (KJ) 1p, Faubourg Ramblers (KJ) 5p,T’Canaille (KJ) 9p Tropical Isle Bourbon: Rhythm and Rain (RK) 5p, Debi and the Deacons (RK) 9p SUNDAY DECEMBER 1 30/90: Dana Abbott (RB) 11a, Set Up Kings (RB) 2p,Ted Hefko and the Thousandaires (FK) 5p,T’Canaille (KJ) 9p Bourbon Street Honky Tonk: Mark and the Pentones (BL) 4p,Willie Lockett Band (BL) 8p Buffa’s: Some Like It Hot! (TJ) 10:30a, the Pfister Sisters (JV) 4p, Steve Pistorius Jazz Quartet (JV) 7p Café Negril: CobraSoul (JV) 6p,Vegas Cola Band (JV) 10p Carnaval Lounge: Lynn Drury (SS) 6p, Gina Leslie Sundays (RR) 9:30p d.b.a.: Palmetto Bugs Stompers (JV) 6p, the Fessters (VR) 10p Fillmore: Drag Diva Brunch Holiday Edition (VR) 10:30a Howlin’ Wolf (the Den): Hot 8 Brass Band (BB) 11p Jazz Playhouse: Germaine Bazzle Jazz Quartet (JV) 8p Kajun’s Pub: Karaoke (KR) 5p

Kermit’s Mother-in-Law Lounge: DJ Sugar Ray (VR) 4:20p;TBC Brass Band (BB) 8p Kerry Irish Pub: Beth Patterson (FO) 8p Little Tropical Isle: Styk (RK) 5p, Frank Fairbanks (VR) 9p Palm Court Jazz Cafe: Gerald French and Sunday Night Swingsters (TJ) 7p Preservation Hall: Preservation Legacy Band feat.Will Smith (TJ) 5p, Preservation All-Stars feat.Wendell Brunious (TJ) 8p Snug Harbor: Jason Marsalis (JV) 8 & 10p Spotted Cat: Aurora Nealand and the Reed Minders (JV) 2p, Michael Watson and the Alchemy (JV) 7p, Pat Casey and the New Sound (JV) 10p Three Muses: Raphael et Pascale (JV) 5p, the Clementines (JV) 8p Tipitina’s: Miracle Meaux: A Benefit for Heartbeat NOLA feat. Funk Monkey (VR) 4p Tropical Isle Bourbon: Rhythm and Rain (RK) 5p, Debi and the Deacons (RK) 9p Tropical Isle Original: the Hangovers (RK) 5:15p, Late As Usual (RK) 9:15p MONDAY DECEMBER 2 30/90: Margie Perez (SO) 5p, Gene Harding’s New Orleans Super Jam (VR) 9p Bourbon Street Honky Tonk:Willie Lockett Band (BL) 8p Buffa’s: Arsene DeLay and Charlie Wooton (VR) 5p, Antoine Diel (VR) 8p Café Negril: Noggin (VR) 6p, Soul Project NOLA (VR) 10p Carnaval Lounge: Carlos Childe (LT) 6p, Comic Strip (CO) 9:30p d.b.a.: Alexis and the Samurai (ID) 10p Jazz Playhouse: Gerald French and the Original Tuxedo Jazz Band (JV) 8p Kermit’s Mother-in-Law Lounge: James Williams (VR) 6p, Kermit Ruffins and the BBQ Swingers (JV) 7p, Irvin Mayfield (JV) 8p Kerry Irish Pub: Patrick Cooper (FO) 8:30p Little Tropical Isle: Mark Parsons (RK) 5p, Reed Lightfoot (RK) 9p Maison: Chicken and Waffles, Aurora Nealand and the Royal Roses, Sierra Green and the Soul Machine (JV) 4p Preservation Hall: Preservation Jazz Masters feat. Leroy Jones (TJ) 5p, Preservation All-Stars feat. Charlie Gabriel (TJ) 8p Snug Harbor: Charmaine Neville Band (JV) 8 & 10p Spotted Cat: Royal Street Winding Boys (JV) 2p, Dominick Grillo and the Frenchmen St. AllStars (JV) 6p, New Orleans Swing Consensus (JV) 10p Starlight: Holiday Happy Hour with Louise Cappi (VR) 4p, Lulu and the Broadsides (BL) 7p, Jazz Vipers (JV) 10p Three Muses: Keith Burnstein (SS) 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 DECEMBER 3 30/90: Mem Shannon and the Membership O F F B E AT. C O M

express Band (BL) 5p, Ed Wills and Blues4Sale (BL) 9p Ace Hotel (Lobby):Tech Tuesdays: Hack Night and NoFUN Meetup (VR) 7p Bacchanal: Raphael Bas (JV) 12p, Nutria (JV) 7:30p Bourbon Street Honky Tonk: Blues Masters (BL) 8:30p Buffa’s:Tacos,Tequila and Tiaras with Vanessa Carr (VR) 7p Café Negril: Jelly Roll Stomper (VR) 7p, Dimondick Gorilla and the Swingin’ Vines (VR) 10p Carnaval Lounge: B-Side Beatniks (JV) 6p, Mighty Brother and friends (ID) 9p d.b.a.: Dinosaurchestra (JV) 7p,Treme Brass Band (BB) 10p House of Blues (Foundation Room):Todd Adams (SS) 6p House of Blues (the Parish): We the Kings (RK) 7p Howlin’ Wolf (the Den): Comedy Beast (CO) 8:30p Jazz Playhouse: James Rivers Movement (JV) 8p Kermit’s Mother-in-Law Lounge: Big 6 Brass Band (BB) 7p, Stuart Coles’ Straight Ahead Jam Session (VR) 9p Kerry Irish Pub: Hugh Morrison (FO) 8:30p Krewe Lounge: Open Mic Night (SS) 8p Little Tropical Isle: Mark Pentone (RK) 5p, Frank Fairbanks (RK) 9p Preservation Hall: Preservation Legacy Band feat.Wendell Brunious (TJ) 5p, Preservation All-Stars feat. Charlie Gabriel (TJ) 8p Snug Harbor: Grayson Brockamp and the New Orleans Wildlife Band (JV) 8 & 10p Spotted Cat: Andy J. Forest (JV) 2p, Little Big Horns (JV) 6p, Smoking Time Jazz Club (JV) 10p Three Muses: Sam Cammarata (VR) 5p, Mia Borders (BL) 8p Tropical Isle Original: the Hangovers (RK) 5:15p, F.A.S.T. (RK) 9:15p WEDNESDAY DECEMBER 4 30/90: Justin Donovan (SO) 5p, Big Mike and the R&B Kings (RB) 9p Ace Hotel (Three Keys): Sinking City Selects (VR) 8p Buffa’s: Open Mic Night with Nattie Sanchez (SS) 7p Café Negril: John Lisi and Delta Funk (VR) 6p, Luscious Duchess (VR) 10p Carnaval Lounge: David Roe (PI) 6p, Shawn Williams and Dana Abbott (RK) 9p Carousel Bar (Hotel Monteleone): James Martin Band (JV) 8:30p d.b.a.:Tin Men (BL) 7p,Walter “Wolfman” Washington and the Roadmasters (BL) 10p House of Blues (Foundation Room): Or Shovaly Plus (JV) 7p Howlin’ Wolf (the Porch): the Number Twelve Looks Like You, Moon Tooth, Steaksauce Mustache (ME) 8p Jazz Playhouse: Big Sam’s Crescent City Connection (FK) 8:30p Joy Theater: Heather McMahan (CO) 8p Kajun’s Pub: Karaoke (KR) 5p Kermit’s Mother-in-Law Lounge: Z2Solo (VR) 5p; Angie’s Karaoke (VR) 7p Kerry Irish Pub:Will Dickerson (FO) 8:30p

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Little Tropical Isle: Mark Parsons (RK) 5p, Reed Lightfoot (RK) 9p Palm Court Jazz Cafe: Lars Edegran and Topsy Chapman with Palm Court Jazz Band (TJ) 7p Preservation Hall: Preservation Legacy Band feat. Gregg Stafford (TJ) 5p, Preservation AllStars feat. Charlie Gabriel (TJ) 8p Snug Harbor: Uptown Jazz Orchestra (JV) 8 & 10p Spotted Cat: Chris Christy (JV) 2p, Doro Wat Jazz Band (JV) 6p, Antoine Diel and the New Orleans Power Misfits (JV) 10p Starlight: Davis Rogan (VR) 5p,Tuba Skinny (JV) 8p, Hot Jazz Jam (JV) 10p Three Muses: Ken Swartz (BL) 5p, Hot Club of New Orleans (JV) 7p Tropical Isle Bayou Club: the Troubadour (KJ) 7p Tropical Isle Original: Debi and the Deacons (RK) 5:15p, Late As Usual (RK) 9:15p THURSDAY DECEMBER 5 30/90: Andy J. Forest (BL) 5p, Raw Deal (FK) 9p, DJ Fresh (VR) 10p Ace Hotel (Three Keys): Harlequeen presents Honor Thy Mother (VR) 9p Bourbon Street Honky Tonk: Mark and the Pentones (BL) 4p, Blues Masters (BL) 8:30p Buffa’s: Rebecca Leigh and Harry Mayronne (JV) 5p,Tom McDermott and Aurora Nealand (JV) 8p Café Negril: Claude Bryant and the All-Stars (VR) 6p, Sierra Green and the Soul Machine (VR) 10p Carnaval Lounge: Steve DeTroy and the Hot Plates (JV) 6p, Salt Wives (KZ) 9p d.b.a.: Marina Orchestra (VR) 10p House of Blues: Lil Durk (HH) 8p Howlin’ Wolf (the Den): Comedy Gumbeaux (CO) 8:30p Jazz Playhouse: Brass-A-Holics (BB) 8:30p Kajun’s Pub: Karaoke (KR) 5p Kermit’s Mother-in-Law Lounge: Kermit Ruffins and the BBQ Swingers (JV) 7p, Mario Abney (JV) 9p Kerry Irish Pub: Beth Patterson (FO) 8:30p Le Bon Temps Roule: Soul Rebels (FK) 11p Little Tropical Isle: Allen Hebert (RK) 5p, Jezebels Chill’n (RK) 9p Palm Court Jazz Cafe: Duke Heitger and Tim Laughlin with Crescent City Joymakers (TJ) 7p Preservation Hall: Preservation Legacy Band feat. Gregg Stafford (TJ) 5p, Preservation AllStars feat. Lucien Barbarin (TJ) 8p Rock ‘n’ Bowl: Horace Trahan and Ossun Express (ZY) 8p Snug Harbor: Mitch Woods and Rocket 88s (JV) 8 & 10p Spotted Cat: Monty Banks (JV) 2p, Miss Sophie Lee (JV) 6p, Jumbo Shrimp (JV) 10p Three Muses:Tom McDermott (PI) 5p, Arsene DeLay (JV) 8p Tipitina’s: Loyola’s Uptown Threauxdown (VR) 8p Treme Art and Music Lounge: Song Swap Series feat. Paul Sanchez and Justin Molaison (SS) 8p Tropical Isle Original: the Hangovers (RK) 5:15p, Late As Usual (RK) 9:15p Vaughan’s Lounge: Corey Henry and the Treme Funktet (FK) 10:30p

FRIDAY DECEMBER 6 30/90:Tiffany Pollack and Co. (BL) 2p, Jonathan Bauer Project (MJ) 5p, Sleazeball Orchestra (JV) 8p, DJ Torch (VR) 10p, Gene’s Music Machine (FK) 11p Ace Hotel (Lobby): Cue’d Up feat. G-Cue, B2B (VR) 10:30p Bourbon Street Honky Tonk: Mark and the Pentones (BL) 2p, Blues Masters (BL) 8:30p Buffa’s: Davis Rogan (VR) 6p, Jamie Bernstein and Dave Easley (VR) 9p Café Negril: John Lisi and Delta Funk (VR) 2p, Dana Abbott Band (VR) 6p, Higher Heights (VR) 10p Carnaval Lounge: Margie Perez (SO) 6p, Marc Stone Band, New Soul Finders (BL) 9p d.b.a.: Swinging Gypsies (JV) 6p, DiNola, Gools, Malevitus (VR) 10p Dos Jefes: Panorama Jazz Band (TJ) 10p French Market: Johnette Downing (SS) 11a Hi-Ho Lounge: Papa Mali and Joe Krown (BL) 10:30p House of Blues (Foundation Room): And Then Came Humans (RK) 7p House of Blues: Bayside, Capstan (RK) 7p Howlin’ Wolf (the Den): Grant Terry, Adam Dale (SS) 10p Jazz Playhouse:Tease the Season Burlesque Ballroom feat.Trixie Minx and Jazz Vocals by Angie Z (BQ) 11p Jazz Playhouse: Shannon Powell Jazz Quartet (JV) 7:30p Kajun’s Pub: Karaoke (KR) 5p Kermit’s Mother-in-Law Lounge: DJ Sugar Ray (VR) 4:20p Kerry Irish Pub: Chip Wilson (FO) 5p, Lynn Drury (FO) 9p Mahalia Jackson Theater:Toys for Tots’ Holiday Concert feat. Marine Forces Reserve Band (VR) 7p New Orleans Creole Cookery: the Cookery Three (JV) 6p One Eyed Jacks: DJ Soul Sister presents Soulful Takeover (FK) 10p Palm Court Jazz Cafe: Palm Court Jazz Band (TJ) 7p Preservation Hall: Preservation All-Stars with Rickie Monie (TJ) 1p, Preservation Legacy Band feat.Wendell Brunious (TJ) 5p, Preservation All-Stars feat. Steve Lands (TJ) 8p Snug Harbor: Ellis Marsalis Quintet (JV) 8 & 10p Spotted Cat: Andy J. Forest (JV) 2p, New Orleans Cottonmouth Kings (JV) 6p, Doro Wat Jazz Band (JV) 10p Three Muses: Royal Roses (JV) 5:30p, Esther Rose (JV) 8p Tipitina’s: Flow Tribe’s Christmas Crunktacular, J and the Causeways (VR) 10p 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 SATURDAY DECEMBER 7 30/90: Jonathan Bauer Project (MJ) 11a,Ted Hefko and the Thousandaires (FK) 2p, Rebel Roadside (BL) 5p, the New Orleans Johnnys (RK) 8p, DJ Dot Dunnie (VR) 10p, Big Easy Brawlers (BB) 11p Ace Hotel (Three Keys): NOJO 7 (BB) 8:30p;

(Lobby): Archive with Felice Gee (VR) 10p Blue Nile:Washboard Chaz Blues Trio (JV) 7p Bourbon Street Honky Tonk: Mark and the Pentones (BL) 2p, Blues Masters (BL) 8:30p Buffa’s: Greg Schatz (VR) 6p,Ted Hefko and the Thousandaires (JV) 9p Café Negril: Jelly Roll Stompers (VR) 2p, Jamey St. Pierre Band (VR) 6p, Another Day In Paradise (VR) 10p Carnaval Lounge: Fraulein Francis and the Sleazeball Orchestra (JV) 6p, Esther Rose, Max and the Martians (CW) 9p d.b.a.:Tuba Skinny (JV) 7p, Little Freddie King (BL) 11p Dew Drop Social and Benevolent Hall: Bon Bon Vivant (JV) 6:30p Dmac’s:Walter “Wolfman” Washington (BL) 9p Fillmore: Straight Up with Stassi (VR) 7p House of Blues (Foundation Room): Jake Landry and the Right Lane Bandits (FO) 7p House of Blues (the Parish): Inferno Burlesque (BQ) 7p Howlin’ Wolf (the Den): Or Shovaly Plus (JV) 10p Howlin’ Wolf (the Porch): Dee-1 (HH) 8p Jazz Playhouse: Nayo Jones Experience (JV) 8p Kajun’s Pub: Karaoke (KR) 5p Kermit’s Mother-in-Law Lounge: DJ Sugar Ray (VR) 4:20p, Keva Holiday (VR) 8p Kerry Irish Pub: Patrick Cooper (FO) 5p, Beatles Tribute with Rites of Passage (FO) 9p New Orleans Creole Cookery: the Ed Barrett Trio (JV) 6p Palm Court Jazz Cafe:Will Smith and Palm Court Jazz Band (TJ) 7p Preservation Hall: Preservation All-Stars with Will Smith (TJ) 1p, Preservation Brass Band feat.Wendell Brunious (TJ) 5p, Preservation All-Stars with Will Smith (TJ) 8p Saturn Bar: Michot’s Melody Makers (KJ) 10p Snug Harbor: Quiana Lynell (BL) 8 & 10p Spotted Cat: Panorama Jazz Band (JV) 6p, the Catahoulas (JV) 10p Three Muses: Eric Merchant (JV) 5p, Debbie Davis (JV) 6p, Shotgun Jazz Band (JV) 9p Tropical Isle Bayou Club: the Troubadour (KJ) 1p, Faubourg Ramblers (KJ) 5p,T’Canaille (KJ) 9p Tropical Isle Original: the Hangovers (RK) 5:15p, Late As Usual (RK) 9:15p SUNDAY DECEMBER 8 30/90: Marigny Hemenway (JV) 11a,Truman Holland and the Back Porch Review (SS) 2p, Carolyn Broussard (FO) 5p,T’Canaille (KJ) 9p Bacchanal: the Tangiers Combo (JV) 12p, John Zarksy (JV) 4p, Noah Young (JV) 7:30p Bourbon Street Honky Tonk: Mark and the Pentones (BL) 4p,Willie Lockett Band (BL) 8p Buffa’s: Some Like It Hot! (TJ) 10:30a, Larry Scala feat. Meryl Zimmerman (JV) 4p, Steve Pistorius Jazz Quartet (JV) 7p Café Negril: Ecirb Muller’s Twisted Dixie (JV) 6p,Vegas Cola Band (JV) 10p Carnaval Lounge:Will and the Foxhounds (VR) 6p, Gina Leslie Sundays (RR) 9:30p d.b.a.: Palmetto Bugs Stompers (JV) 6p, Ari Teitel and the Get Together (VR) 10p Fillmore: Drag Diva Brunch Holiday Edition (VR) 10:30a O F F B E AT. C O M

express Howlin’ Wolf (the Den): Hot 8 Brass Band (BB) 11p Jazz Playhouse: Germaine Bazzle Jazz Quartet (JV) 8p Kajun’s Pub: Karaoke (KR) 5p Kermit’s Mother-in-Law Lounge: DJ Sugar Ray (VR) 4:20p;TBC Brass Band (BB) 8p Kerry Irish Pub: Patrick Cooper (FO) 8p Little Tropical Isle: Styk (RK) 5p, Frank Fairbanks (VR) 9p Old Point Bar: Gregg Martinez (RK) 3:30p, Jazz Night (JV) 7p One Eyed Jacks: Marina Orchestra (VR) 9p Preservation Hall: Preservation Legacy Band feat.Will Smith (TJ) 5p, Preservation All-Stars feat.Wendell Brunious (TJ) 8p Saturn Bar: Michot’s Melody Makers (KJ) 10p Snug Harbor: Michael Kaeshammer Trio with Johnny Vidacovich (JV) 8 & 10p Spotted Cat: Giselle Anguizola and the New Orleans Swinging Gypsies (JV) 2p, Michael Watson and the Alchemy (JV) 7p, Pat Casey and the New Sound (JV) 10p Three Muses: Raphael et Pascale (JV) 5p, the Clementines (JV) 8p 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 DECEMBER 9 30/90: Dapper Dandies (JV) 5p, New Orleans Super Jam presented by Gene Harding (VR) 9p Ace Hotel (Three Keys):Too Trill Trivia with Eric and Terri (VR) 6p Bourbon Street Honky Tonk:Willie Lockett Band (BL) 8p Buffa’s: Arsene DeLay and Charlie Wooton (VR) 5p, Antoine Diel (VR) 8p Café Negril: Noggin (VR) 6p, Soul Project NOLA (VR) 10p Carnaval Lounge: the Whyos (ID) 6p, Comic Strip (CO) 9:30p d.b.a.: Alexis and the Samurai (ID) 10p Howlin’ Wolf (the Den): Feed8ack (RK) 9p Kajun’s Pub: Karaoke (KR) 5p Kermit’s Mother-in-Law Lounge: James Williams (VR) 6p, Kermit Ruffins and the BBQ Swingers (JV) 7p, Irvin Mayfield (JV) 8p Kerry Irish Pub: Beth Patterson (FO) 8:30p Little Tropical Isle: Mark Parsons (RK) 5p, Reed Lightfoot (RK) 9p Preservation Hall: Preservation Jazz Masters feat. Leroy Jones (TJ) 5p, Preservation AllStars feat. Charlie Gabriel (TJ) 8p Snug Harbor: Charmaine Neville Band (JV) 8 & 10p Spotted Cat: Royal Street Winding Boys (JV) 2p, Dominick Grillo and the Frenchmen St. All-Stars (JV) 6p, Hot Club of New Orleans (JV) 10p Three Muses: Monty Banks (VR) 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 DECEMBER 10 30/90: Set Up Kings (RB) 5p, In Business OF F B E AT.C OM

(FK) 9p Ace Hotel (Lobby):Tech Tuesdays: Hack Night and NOLASec Meetup (VR) 7p Bourbon Street Honky Tonk: Blues Masters (BL) 8:30p Buffa’s:Talkin’ To New Orleans with Davis Rogan (VR) 7p Café Negril: Marla Dixon Band (VR) 7p, Dimondick Gorilla and the Swingin’ Vines (VR) 10p Carnaval Lounge: Josh Paxton (PI) 6p, Transiberian Drag Show (VR) 9p d.b.a.: Dinosaurchestra (JV) 7p,Treme Brass Band (BB) 10p Fillmore: Hanson (PO) 6p House of Blues (Foundation Room): Shawan Rice (SO) 6p Howlin’ Wolf (the Den): Comedy Beast (CO) 8:30p Kajun’s Pub: Karaoke (KR) 5p Kermit’s Mother-in-Law Lounge: Big 6 Brass Band (BB) 7p, Stuart Coles’ Straight Ahead Jam Session (VR) 9p Kerry Irish Pub: Hugh Morrison (FO) 8:30p Krewe Lounge: Open Mic Night (SS) 8p Little Tropical Isle: Mark Pentone (RK) 5p, Frank Fairbanks (RK) 9p Preservation Hall: Preservation Legacy Band feat.Wendell Brunious (TJ) 5p, Preservation All-Stars feat. Charlie Gabriel (TJ) 8p Snug Harbor: Stanton Moore Trio (JV) 8 & 10p Spotted Cat: Andy J. Forest (JV) 2p, Little Big Horns (JV) 6p, Smoking Time Jazz Club (JV) 10p 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 DECEMBER 11 30/90: Justin Donovan (BL) 5p, Colin Davis and Night People (SO) 9p Ace Hotel (Three Keys):Think Less Hear More (VR) 8:30p Café Negril: John Lisi and Delta Funk (VR) 6p, Luscious Duchess (VR) 10p Carnaval Lounge: Live Jazz Group (JV) 6p, Jeff Krause and Anna Stein (RK) 9p Carousel Bar (Hotel Monteleone): James Martin Band (JV) 8:30p d.b.a.:Tin Men (RK) 7p,Walter “Wolfman” Washington and the Roadmasters (BL) 10p House of Blues (Foundation Room): Freedom in the Groove (JV) 6p Jazz Playhouse: Big Sam’s Crescent City Connection (FK) 8:30p Kajun’s Pub: Karaoke (KR) 5p Kermit’s Mother-in-Law Lounge: Z2Solo (VR) 5p; Angie’s Karaoke (VR) 7p Kerry Irish Pub: Chip Wilson (FO) 8:30p Little Tropical Isle: Mark Parsons (RK) 5p, Reed Lightfoot (RK) 9p Palm Court Jazz Cafe: Lars Edegran and Topsy Chapman with Palm Court Jazz Band (TJ) 7p Preservation Hall: Preservation Legacy Band feat. Gregg Stafford (TJ) 5p, Preservation AllStars feat. Charlie Gabriel (TJ) 8p Santos: Swamp Moves with the Russell Welch Quartet (SI) 10:30p Snug Harbor: Uptown Jazz Orchestra (JV) 8 & 10p DECEMBER 2019

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express Spotted Cat: Chris Christy (JV) 2p, Shotgun Jazz Band (JV) 6p, Antoine Diel and the New Orleans Power Misfits (JV) 10p Starlight: Davis Rogan (VR) 5p,Tuba Skinny (JV) 8p, Hot Jazz Jam (JV) 10p Three Muses: Andre Bohren (CL) 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 DECEMBER 12 30/90: Andy J. Forest (BL) 5p, Smoke N Bones (FK) 9p, DJ Fresh (VR) 10p Ace Hotel (Lobby): the Finest in Funk with AJ Hall (FK) 7p Bacchanal: Raphael Bas (JV) 12p, Hector Gallardo’s Cuban Jazz Band (JV) 7:30p Bourbon Street Honky Tonk: Mark and the Pentones (BL) 4p, Blues Masters (BL) 8:30p Buffa’s: Andre Bohren (CL) 5p,Tom McDermott and Michael Skinkus (JV) 8p Café Negril: Claude Bryant and the All-Stars (VR) 6p, Sierra Green and the Soul Machine (VR) 10p Carnaval Lounge: Geovane Santos’ Jazz Brasileiro (LT) 6p, Missing, Radians, Shambles (ID) 9p d.b.a.: Sarah Quintana (SS) 7p, Panorama Brass Band (BB) 10p Howlin’ Wolf (the Den): Comedy Gumbeaux (CO) 8:30p Jazz Playhouse: Brass-A-Holics (BB) 8:30p Joy Theater: the Moth in New Orleans (SW) 8p Kermit’s Mother-in-Law Lounge: Kermit Ruffins and the BBQ Swingers (JV) 7p, Mario Abney (JV) 9p Kerry Irish Pub:Vincent Marini (FO) 8:30p Le Bon Temps Roule: Soul Rebels (FK) 11p Ogden Museum of Southern Art: Ogden After Hours feat. Extended (JV) 6p Old Point Bar:Valerie Sassyfras (PO) 8p Palm Court Jazz Cafe: Leroy Jones and Katja Toivola with Crescent City Joymakers (TJ) 7p Preservation Hall: Preservation Legacy Band feat. Gregg Stafford (TJ) 5p, Preservation AllStars feat. Lucien Barbarin (TJ) 8p Rock ‘n’ Bowl: Nathan and the Zydeco Cha Chas (ZY) 8p Snug Harbor: Jason Marsalis (JV) 8 & 10p Spotted Cat: Monty Banks (JV) 2p, Miss Sophie Lee (JV) 6p, Jumbo Shrimp (JV) 10p Three Muses:Tom McDermott (PI) 5p, Mia Borders (BL) 8p Treme Art and Music Lounge: Hot 8 Brass Band (FK) 8p Tropical Isle Original: the Hangovers (RK) 5:15p, Late As Usual (RK) 9:15p Vaughan’s Lounge: Corey Henry and the Treme Funktet (FK) 10:30p FRIDAY DECEMBER 13 30/90: Jeremy Joyce (BL) 2p, Jon Roniger and the Good For Nothin’ Band (JV) 5p, Kennedy and the M.O.T.H (RK) 8p, DJ Trill Skill (VR) 10p, Raw Deal (FK) 11p Ace Hotel (Three Keys): 1Social presents the Living Room Experience (SO) 9:30p Bacchanal: the Tangiers Combo (JV) 12p, Harmonouche (JV) 5p,Willie Green Project (JV) 7:30p

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DECEMBER 2019

Buffa’s: Debbie Davis and Josh Paxton (JV) 6p, Dave Jordan (RR) 9p Café Negril: John Lisi and Delta Funk (VR) 2p, Dana Abbott Band (VR) 6p, Higher Heights (VR) 10p Carnaval Lounge: Arsene DeLay (RK) 6p, the Chevrettes, JJ and the Trashdogs, Mango (ID) 9p d.b.a.: Hot Club of New Orleans (JV) 6p, New Orleans Klezmer All-Stars (KZ) 10p Gattuso’s: Benny Grunch Christmas Show (VR) 7p House of Blues (Foundation Room): Jake Landry and the Right Lane Bandits (FO) 7p House of Blues: Rumours: A Fleetwood Mac Tribute (CR) 7p Howlin’ Wolf (the Den): Julie Elody and the Band Karolina (FO) 8p Joy Theater: the Last Podcast On The Left (VR) 7 & 10p Kermit’s Mother-in-Law Lounge: DJ Sugar Ray (VR) 4:20p Kerry Irish Pub: Beth Patterson (FO) 5p, Paintbox with Dave James and Tim Robertson (FO) 9p Little Tropical Isle: Reed Lightfoot (RK) 5p, Styk (RK) 9p Marigny Studios: Luthjens Music Series feat.

Wendell Brunious (JV) 7p Metropolitan: Bear Grillz, Lucii Somnium Sound, OG Nixin (EL) 10p New Orleans Creole Cookery: the Cookery Three (JV) 6p Old Point Bar: Rick Trolsen (PI) 5p, Gal Holiday and the Honky Tonk Revue (CW) 9:30p One Eyed Jacks:Them Ol Ghosts, Green Gasoline, South Jones (VR) 9p Palm Court Jazz Cafe: Palm Court Jazz Band (TJ) 7p Preservation Hall: Preservation All-Stars with Rickie Monie (TJ) 1p, Preservation Legacy Band feat.Wendell Brunious (TJ) 5p, Preservation All-Stars feat. Shannon Powell (TJ) 8p Saenger Theatre: Lauren Daigle (PO) 8p Smoothie King Center: Cher, Nile Rodgers, CHIC (PO) 8p Snug Harbor: Ellis Marsalis Quintet (JV) 8 & 10p Spotted Cat: Andy J. Forest (JV) 2p,Washboard Chaz Blues Trio (JV) 6p Three Muses: Matt Johnson (JV) 5:30p, Doro Wat Jazz Band (JV) 9p Tipitina’s: Poguetry feat. Spider Stacy, Cait O’Riordan and Lost Bayou Ramblers (VR) 10p Treme Art and Music Lounge: Clarkgang (BL) 9p Tropical Isle Bourbon:Wild Card (CW) 5p, Debi and the Deacons (RK) 9p Tropical Isle Original: the Hangovers (RK) 5:15p, Late As Usual (RK) 9:15p SATURDAY DECEMBER 14 30/90: Sleazeball Orchestra (JV) 11a, Chicken and Waffles (JV) 2p, Organami (JV) 5p, Mofongo (LT) 8p, DJ Fresh (VR) 10p, Sierra Green and the Soul Machine (SO) 11p Ace Hotel (Three Keys): Big Easy Brawlers (BB) 8:30p; (Lobby): DJ Soul Sister (FK) 11p Blue Nile:Washboard Chaz Blues Trio (JV) 7p,

Soul Rebels (FK) 11p Bourbon Street Honky Tonk: Mark and the Pentones (BL) 2p, Blues Masters (BL) 8:30p Buffa’s: Freddie Blue and the Friendship Circle (VR) 6p, Cole Williams (VR) 9p Café Negril: John Lisi and Delta Funk (FK) 2p, Jamey St. Pierre Band (RK) 6p, Soul Project NOLA (VR) 10p Carnaval Lounge: Jamie Lynn Vessels (RK) 6p, the Oleskies, Quintessential Octopus, Biscuithound (ID) 9p d.b.a.:Tuba Skinny (JV) 7p, Sweet Crude (ID) 11p Dos Jefes: Sunpie and the Louisiana Sunspots (ZY) 10p Gasa Gasa:Valerie Sassyfras (PO) 10p House of Blues (Foundation Room): Gabrielle Cavassa Quartet (JV) 7p Howlin’ Wolf (the Porch): New Thousand, Om.Cada, DJ Candy Barr Live (EL) 10p Jazz Playhouse: Richard Piano Scott’s Twisty River Band (JV) 8p Kermit’s Mother-in-Law Lounge: DJ Sugar Ray (VR) 4:20p, Keva Holiday (VR) 8p Kerry Irish Pub: Dave Hickey (FO) 5p, Beth Patterson (FO) 9p Little Tropical Isle: Reed Lightfoot (RK) 5p, Styk (RK) 9p New Orleans Creole Cookery: the Ed Barrett Trio (JV) 6p Orpheum Theater: New Orleans Ballet Theater presents The Nutcracker (DN) 2 & 7p Palm Court Jazz Cafe:Will Smith and Palm Court Jazz Band (TJ) 7p Preservation Hall: Preservation All-Stars with Will Smith (TJ) 1p, Preservation Brass Band feat.Wendell Brunious (TJ) 5p, Preservation All-Stars feat. Steve Lands (TJ) 8p Rock ‘n’ Bowl: Kermit Ruffins and the BBQ Swingers, Big Sam’s Funky Nation (JV) 8:30p Saenger Theatre: Lauren Daigle (PO) 8p Snug Harbor: Herlin Riley Quartet (JV) 8 & 10p Spotted Cat: Shotgun Jazz Band (JV) 2p, Panorama Jazz Band (JV) 6p, James Martin Band (JV) 10p Three Muses: Eric Merchant (JV) 5p, Debbie Davis (JV) 6p, Shotgun Jazz Band (JV) 9p Tipitina’s: Dragon Smoke (FK) 10p Tropical Isle Original: the Hangovers (RK) 5:15p, Late As Usual (RK) 9:15p SUNDAY DECEMBER 15 30/90: Amanda Walker (ID) 11a, Set Up Kings (RB) 2p,Ted Hefko and the Thousandaires (FK) 5p, Chris Klein and the Boulevards (BL) 9p Buffa’s: Some Like It Hot! (TJ) 10:30a, Molly Reeves and Nahum Zdybel (JV) 4p, Steve Pistorius Jazz Quartet (JV) 7p Cafe Istanbul: Oh Crap, It’s Christmas! Feat.

Debbie Davis, Susan Cowsill, Meschiya Lake, Jonathan Pretus, Dayna Kurtz, Beth Patterson, Darwin Davis, Alex McMurray, Josh Paxton, Andre Bohren, Sam Craft, Barbara SmithDavis and others (VR) 7p Café Negril: CobraSoul (JV) 6p,Vegas Cola Band (JV) 10p Carnaval Lounge: Pfister Sisters (JV) 6p, Gina Leslie Sundays (RR) 9:30p d.b.a.: Palmetto Bugs Stompers (SI) 6p, Ghalia

Volt, Lightnin’ Malcolm (BL) 10p Fillmore: Drag Divas Brunch (VR) 10:30a House of Blues:Tobe Nwigwe (HH) 7p Howlin’ Wolf (the Den): Hot 8 Brass Band (BB) 11p Jazz Playhouse: Germaine Bazzle Jazz Quartet (JV) 8p Kermit’s Mother-in-Law Lounge: DJ Sugar Ray (VR) 4:20p;TBC Brass Band (BB) 8p Kerry Irish Pub:Traditional Irish Session (FO) 5p,Will Dickerson (FO) 8p Little Tropical Isle: Styk (RK) 5p, Frank Fairbanks (VR) 9p Orpheum Theater: New Orleans Ballet Theater presents The Nutcracker (DN) 2p Palm Court Jazz Cafe: Gerald French and Sunday Night Swingsters (TJ) 7p Preservation Hall: Preservation Legacy Band feat.Will Smith (TJ) 5p, Preservation All-Stars feat.Wendell Brunious (TJ) 8p Saenger Theatre: Lauren Daigle (PO) 8p Snug Harbor: Stanton Moore Trio (JV) 8 & 10p Spotted Cat: Jamey St. Pierre Band (JV) 2p, Michael Watson and the Alchemy (JV) 7p, Pat Casey and the New Sound (JV) 10p Three Muses: Raphael et Pascale (JV) 5p, the Clementines (JV) 8p Tipitina’s: Cajun Fais Do Do with Bruce Daigrepont Cajun Band (KJ) 5:30p Tropical Isle Bayou Club: Roland Cheramie and friends (KJ) 5p, Faubourg Ramblers (KJ) 9p MONDAY DECEMBER 16 30/90: Margie Perez (SO) 5p, New Orleans Super Jam presented by Gene Harding (VR) 9p Ace Hotel (Three Keys): Movement Mondays WHIV Live Radio Broadcast with Chinua (VR) 5p Buffa’s: Arsene DeLay and Charlie Wooton (VR) 5p, Antoine Diel (VR) 8p Café Negril: Noggin (VR) 6p, Soul Project NOLA (VR) 10p Carnaval Lounge: Saints Happy Hour (VR) 5p, Comic Strip (CO) 9:30p d.b.a.: Alexis and the Samurai (ID) 7p Kermit’s Mother-in-Law Lounge: Kermit’s 55th Birthday Bash Festival (JV) 4:20p; James Williams (VR) 6p, Kermit Ruffins and the BBQ Swingers (JV) 7p, Irvin Mayfield (JV) 8p Kerry Irish Pub: Saints on the Big Screen (VR) 7p Little Tropical Isle: Mark Parsons (RK) 5p, Reed Lightfoot (RK) 9p Preservation Hall: Preservation Jazz Masters feat. Leroy Jones (TJ) 5p, Preservation All-Stars feat. Charlie Gabriel (TJ) 8p Snug Harbor: Charmaine Neville Band (JV) 8 & 10p Spotted Cat: Royal Street Winding Boys (JV) 2p, Dominick Grillo and the Frenchmen St. All-Stars (JV) 6p, Hot Club of New Orleans (JV) 10p Starlight: Holiday Happy Hour with Eiliena Dennis (VR) 4p, Lulu and the Broadsides (BL) 7p, Jazz Vipers (JV) 10p Three Muses: Bart Ramsey (JV) 5p, Joe Cabral (JV) 8p Tropical Isle Bayou Club: Cajun Drifters (KJ) 7p O F F B E AT. C O M

express Tropical Isle Bourbon: Rhythm and Rain (RK) 5p, F.A.S.T. (RK) 9p TUESDAY DECEMBER 17 30/90: Mem Shannon and the Membership Band (BL) 5p, Ed Wills and Blues4Sale (BL) 9p Ace Hotel (Lobby):Tech Tuesdays: Hack Night and GDG New Orleans Meetup (VR) 7p Café Negril: Marla Dixon Band (VR) 7p, Dimondick Gorilla and the Swingin’ Vines (VR) 10p Carnaval Lounge: Meryl Zimmerman and Kris Tokarski (JV) 6p, Mighty Brother and friends (ID) 9p d.b.a.: Dinosaurchestra (JV) 7p,Treme Brass Band (BB) 10p Fillmore: Snoop Dogg (HH) 7p Howlin’ Wolf (the Den): Comedy Beast (CO) 8:30p Kajun’s Pub: Karaoke (KR) 5p Kermit’s Mother-in-Law Lounge: Big 6 Brass Band (BB) 7p, Stuart Coles’ Straight Ahead Jam Session (VR) 9p Kerry Irish Pub: Hugh Morrison (FO) 8:30p Little Tropical Isle: Mark Pentone (RK) 5p, Frank Fairbanks (RK) 9p Preservation Hall: Preservation Legacy Band feat.Wendell Brunious (TJ) 5p, Preservation All-Stars feat. Charlie Gabriel (TJ) 8p Snug Harbor: James Singleton Quartet (JV) 8 & 10p Spotted Cat: Andy J. Forest (JV) 2p, Meschiya Lake and the Little Big Horns (JV) 6p, Smoking Time Jazz Club (JV) 10p Three Muses: Sam Cammarata (VR) 5p 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 DECEMBER 18 30/90: Justin Donovan (BL) 5p, Big Mike and the R&B Kings (RB) 9p Ace Hotel (Three Keys): SONO presents Shape of Jazz to Come (JV) 9p Bourbon Street Honky Tonk: Blues Masters (BL) 8:30p Buffa’s: Open Mic Night with Nattie Sanchez (SS) 7p Café Negril: John Lisi and Delta Funk (VR) 6p, Luscious Duchess (VR) 10p Carnaval Lounge: Kelcy Mae’s Merry Songwriter Revue feat. Ever More Nest, Lynn Drury, James Rose, Alex Bosworth, Jeremy Joyce, LLYDIAN, Jamey St. Pierre, Loose Cattle, Gal Holiday, Rose Cangelosi, Otiis (VR) 7p Carousel Bar (Hotel Monteleone): James Martin Band (JV) 8:30p d.b.a.:Tin Men (RK) 7p,Walter “Wolfman” Washington and the Roadmasters (BL) 10p House of Blues (Foundation Room): Samantha Pearl (SS) 6p Jazz Playhouse: Big Sam’s Crescent City Connection (FK) 8:30p Kajun’s Pub: Karaoke (KR) 5p Kermit’s Mother-in-Law Lounge: Z2Solo (VR) 5p; Angie’s Karaoke (VR) 7p Kerry Irish Pub:Vincent Marini (FO) 8:30p Little Tropical Isle: Mark Parsons (RK) 5p, Reed Lightfoot (RK) 9p OF F B E AT.C OM

Palm Court Jazz Cafe: Lars Edegran and Topsy Chapman with Palm Court Jazz Band (TJ) 7p Preservation Hall: Preservation Legacy Band feat. Gregg Stafford (TJ) 5p, Preservation AllStars feat. Charlie Gabriel (TJ) 8p Smoothie King Center:Trans-Siberian Orchestra (VR) 7:30p Snug Harbor: Uptown Jazz Orchestra (JV) 8 & 10p Spotted Cat: Chris Christy (JV) 2p, Shotgun Jazz Band (JV) 6p, Antoine Diel and the New Orleans Power Misfits (JV) 10p Starlight: Davis Rogan (VR) 5p,Tuba Skinny (JV) 8p, Hot Jazz Jam (JV) 10p Three Muses: Leslie Martin (JV) 5p, Schatzy (JV) 8p 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 DECEMBER 19 30/90: Andy J. Forest (BL) 5p, Raw Deal (FK) 9p, DJ Trill Skill (VR) 10p Ace Hotel (Three Keys): Four Five Times with Meschiya Lake and the Little Big Horns (SI) 9p Bourbon Street Honky Tonk: Mark and the Pentones (BL) 4p, Blues Masters (BL) 8:30p Buffa’s: Fess Birthday with Tom Worrell and friends (VR) 5p,Tom McDermott and Aurora Nealand (JV) 8p Café Negril: Claude Bryant and the All-Stars (VR) 6p, Sierra Green and the Soul Machine (VR) 10p Carnaval Lounge: KatieCat and Cain Bossa Nova Love (LT) 6p, Josh Benitez Band (FK) 9p d.b.a.: Loose Cattle (CW) 7p, Little Freddie King (BL) 10p House of Blues (Foundation Room): Neurotic Diction (FK) 6p Howlin’ Wolf (the Den): Comedy Gumbeaux (CO) 8:30p Jazz Playhouse: Brass-A-Holics (BB) 8:30p Kajun’s Pub: Karaoke (KR) 5p Kermit’s Mother-in-Law Lounge: Kermit Ruffins and the BBQ Swingers (JV) 7p, Mario Abney (JV) 9p Kerry Irish Pub: Patrick Cooper (FO) 8:30p Le Bon Temps Roule: Soul Rebels (FK) 11p Little Tropical Isle: Allen Hebert (RK) 5p, Jezebels Chill’n (RK) 9p Ogden Museum of Southern Art: Ogden After Hours feat. Mike Doussan (BL) 6p Orpheum Theater: the LPO presents Baroque Christmas (CL) 7:30p Palm Court Jazz Cafe: Duke Heitger and Crescent City Joymakers (TJ) 7p Preservation Hall: Preservation Legacy Band feat.Will Smith (TJ) 5p, Preservation All-Stars feat. Lucien Barbarin (TJ) 8p Rock ‘n’ Bowl: Chubby Carrier and Bayou Swamp Band (ZY) 8p Snug Harbor: Jason Marsalis (JV) 8 & 10p Spotted Cat: Monty Banks (JV) 2p, Miss Sophie Lee (JV) 6p, Jumbo Shrimp (JV) 10p Three Muses:Tom McDermott (PI) 5p, Arsene DeLay (JV) 8p Tipitina’s: Hot 8 Brass Band, New Breed Brass Band,Trombone Short Academy Students, Trombone Shorty (FK) 8p Treme Art and Music Lounge: Hot 8 Brass DECEMBER 2019

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express Band (FK) 8p 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 Vaughan’s Lounge: DJ Black Pearl 504 (VR) 9p, Corey Henry and the Treme Funktet (FK) 10:30p FRIDAY DECEMBER 20 30/90: Organami (JV) 2p, Retrofit (BL) 5p, Smoke N Bones (FK) 8p, DJ Fresh (VR) 10p, Dat Band (VR) 11p Ace Hotel (Three Keys): AfroXotica with Andrea Peoples, DJ OJay, Kodjo (AF) 10p Bourbon Street Honky Tonk: Mark and the Pentones (BL) 4p, Blues Masters (BL) 8:30p Buffa’s: Margie Perez (SO) 6p, Calvin Johnson and Native Son (JV) 9p Café Negril: John Lisi and Delta Funk (VR) 2p, Dana Abbott Band (VR) 6p, Higher Heights (VR) 10 Carnaval Lounge: Lilli Lewis Project (BL) 6p, Otra (LT) 9p Champions Square: the B-52s, Berlin (VR) 7:30p d.b.a.: Smoking Time Jazz Club (JV) 6p, Deltaphonic,Tasche and the Psychedelic Roses (VR) 10p Kermit’s Mother-in-Law Lounge: DJ Sugar Ray (VR) 4:20p Kerry Irish Pub: Chip Wilson (FO) 5p,Will Dickerson (FO) 9p New Orleans Creole Cookery: the Cookery Three (JV) 6p Palm Court Jazz Cafe: Palm Court Jazz Band (TJ) 7p Preservation Hall: Preservation All-Stars with Rickie Monie (TJ) 1p, Preservation Legacy Band feat.Wendell Brunious (TJ) 5p, Preservation All-Stars feat. Steve Lands (TJ) 8p Snug Harbor: Ellis Marsalis Quintet (JV) 8 & 10p Spotted Cat: Andy J. Forest (JV) 2p, New Orleans Cottonmouth Kings (JV) 6p, Shake ‘Em Up Jazz Band (JV) 10p Three Muses: Royal Roses (JV) 5:30p, Doro Wat Jazz Band (JV) 9p Tipitina’s: Anders Osborne’s Holiday Spectacular with G. Love, John Mooney, Big Chief Monk Boudreaux (VR) 10p Tropical Isle Original: the Hangovers (RK) 5:15p, Late As Usual (RK) 9:15p UNO Lakefront Arena: Greta Van Fleet (RK) 8p SATURDAY DECEMBER 21 30/90: Jonathan Bauer Project (MJ) 11a, Chris Klein’s Otis Redding Holiday Tribute (SO) 2p, Ted Hefko and the Thousandaires (FK) 5p, Big Mike and the R&B Kings (RB) 8p, DJ Torch (VR) 10p, Deltaphonic (FK) 11p Ace Hotel (Three Keys): La Noche Caliente with Muevelo and Mambo Orleans (LT) 10p Bacchanal: the Tangiers Combo (JV) 12p, Red Organ Trio (JV) 4:30p, Steve Lands (JV) 7:30p Blue Nile:Washboard Chaz Blues Trio (JV) 7p Buffa’s: HG Breland (VR) 6p,Walter “Wolfman” Washington (BL) 9p Café Negril: John Lisi and Delta Funk (FK) 2p, Jamey St. Pierre Band (RK) 6p, Sierra Green and the Soul Machine (VR) 10p

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DECEMBER 2019

Carnaval Lounge: Royal and Dumaine Hawaiians (VR) 6p, Hydra Plane, Matron, Static Masks (ID) 9p d.b.a.:Tuba Skinny (JV) 7p, Honey Island Swamp Band (RR) 10p Dew Drop Social and Benevolent Hall: Kenny Neal (BL) 6:30p Dmac’s: Lynn Drury (FO) 9p Gattuso’s: Randy Jackson of Zebra (CR) 7p House of Blues (Foundation Room): Jake Landry and the Right Lane Bandits (FO) 7p House of Blues: Bustout Burlesque (BQ) 7:30p Kermit’s Mother-in-Law Lounge: DJ Sugar Ray (VR) 4:20p, Keva Holiday (VR) 8p Kerry Irish Pub:Vali Talbot (FO) 5p, Hurricane Refugees (FO) 9p Little Tropical Isle: Reed Lightfoot (RK) 5p, Styk (RK) 9p Mahalia Jackson Theater: Delta Festival Ballet’s The Nutcracker (DN) 7:30p New Orleans Creole Cookery: the Ed Barrett Trio (JV) 6p One Eyed Jacks: Motel Radio, Pet Fangs (VR) 9p Palm Court Jazz Cafe:Will Smith and Palm Court Jazz Band (TJ) 7p Preservation Hall: Preservation All-Stars with Will Smith (TJ) 1p, Preservation Brass Band feat.Wendell Brunious (TJ) 5p, Preservation All-Stars feat. Kevin Louis (TJ) 8p Republic: Ekali (EL) 11p Snug Harbor: Mark Rapp and Wess “Warmdaddy” Anderson Present Boogaloo Christmas (JV) 8 & 10p Spotted Cat: Russell Welch’s Band (JV) 2p, Panorama Jazz Band (JV) 6p, Another Day in Paradise (JV) 10p Three Muses: Eric Merchant (JV) 5p, Kris Tokarski (JV) 6p, Shotgun Jazz Band (JV) 9p Tipitina’s: Anders Osborne’s Holiday Spectacular with Steve Earle, Helen Gillet, Leyla McCalla, Alvin Youngblood Hart (VR) 10p Tropical Isle Bayou Club: the Troubadour (KJ) 1p, Faubourg Ramblers (KJ) 5p,T’Canaille (KJ) 9p SUNDAY DECEMBER 22 30/90: Brandi Dobney (RB) 11a,Truman Holland and the Back Porch Review (SS) 2p, Carolyn Broussard (FO) 5p,T’Canaille (KJ) 9p Buffa’s: Some Like It Hot! (TJ) 10:30a, Christmas Sports and Singing with Andre Bohren (VR) 4p, Steve Pistorius Jazz Quartet (JV) 7p Café Negril: CobraSoul (JV) 6p,Vegas Cola Band (JV) 10p Carnaval Lounge:Tiffany Pollack and Co. (JV) 6p, Gina Leslie Sundays (RR) 9:30p d.b.a.: Palmetto Bugs Stompers (JV) 4p, Ponchartrain Wrecks (VR) 10p Fillmore: A Drag Queen Christmas (VR) 7p Howlin’ Wolf (the Den): Hot 8 Brass Band (BB) 11p Jazz Playhouse: Germaine Bazzle Jazz Quartet (JV) 8p Kermit’s Mother-in-Law Lounge: DJ Sugar Ray (VR) 4:20p;TBC Brass Band (BB) 8p Kerry Irish Pub: Christmas Carols at the Kerry with Robert Wagner and Chip Wilson (FO) 8p

Mahalia Jackson Theater: Delta Festival Ballet’s The Nutcracker (DN) 2p Preservation Hall: Preservation Legacy Band feat.Will Smith (TJ) 5p, Preservation All-Stars feat.Wendell Brunious (TJ) 8p Snug Harbor:Thais Clark and the Jazzsters (JV) 8 & 10p Spotted Cat: Antoine Diel and Arsene DeLay (JV) 2p, Michael Watson and the Alchemy (JV) 7p, Pat Casey and the New Sound (JV) 10p Three Muses: Raphael et Pascale (JV) 5p, the Clementines (JV) 8p 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

Jazz Playhouse: James Rivers Movement (JV) 8p Kajun’s Pub: Karaoke (KR) 5p Kermit’s Mother-in-Law Lounge: Big 6 Brass Band (BB) 7p, Stuart Coles’ Straight Ahead Jam Session (VR) 9p Little Tropical Isle: Mark Pentone (RK) 5p, Frank Fairbanks (RK) 9p Spotted Cat: Andy J. Forest (JV) 2p, Meschiya Lake and the Little Big Horns (JV) 6p, Smoking Time Jazz Club (JV) 10p Tropical Isle Bayou Club: Cajun Drifters (KJ) 7p 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

MONDAY DECEMBER 23 30/90: Dapper Dandies (JV) 5p, New Orleans Super Jam presented by Gene Harding (VR) 9p Ace Hotel (Lobby): Simple Play Networking Happy Hour (VR) 5p Bourbon Street Honky Tonk:Willie Lockett Band (BL) 8p Buffa’s: Arsene DeLay and Charlie Wooton (VR) 5p, Antoine Diel (VR) 8p Café Negril: Colin Davis and the Night People (VR) 6p, Soul Project NOLA (VR) 10p Carnaval Lounge: Dick Deluxe presents Dad’s Dive Bar Christmas (BL) 6p, Comic Strip (CO) 9:30p d.b.a.: Alexis and the Samurai (ID) 7p Jazz Playhouse: Gerald French and the Original Tuxedo Jazz Band (JV) 8p Kajun’s Pub: Karaoke (KR) 5p Kermit’s Mother-in-Law Lounge: James Williams (VR) 6p, Kermit Ruffins and the BBQ Swingers (JV) 7p Kermit’s Mother-in-Law Lounge: Irvin Mayfield (JV) 8p Kerry Irish Pub: Patrick Cooper (FO) 8:30p Preservation Hall: Joe Lastie’s New Orleans Sound (TJ) 5p, Preservation All-Stars feat.

Charlie Gabriel (TJ) 8p Snug Harbor: Charmaine Neville Band (JV) 8 & 10p Southport Hall: Marc Broussard (VR) 7p Spotted Cat: Royal Street Winding Boys (JV) 2p, Dominick Grillo and the Frenchmen St. AllStars (JV) 6p, Rhythm Stompers (JV) 10p Starlight: Holiday Happy Hour with Bremner Duthie (VR) 4p, Lulu and the Broadsides (BL) 7p, Jazz Vipers (JV) 10p Three Muses: Monty Banks (JV) 5p Tropical Isle Original: Graham Robinson Band (RK) 5:15p,Trop Rock Express (RK) 9:15p

WEDNESDAY DECEMBER 25 30/90: Justin Donovan (BL) 5p, Colin Davis and Night People (SO) 9p Bourbon Street Honky Tonk: Blues Masters (BL) 8:30p Circle Bar: the Iguanas (RK) 7p, Dummy Dumpster Christmas (PK) 9:30p Jazz Playhouse: Big Sam’s Crescent City Connection (FK) 8p Kajun’s Pub: Karaoke (KR) 5p Kermit’s Mother-in-Law Lounge: Z2Solo (VR) 5p; Angie’s Karaoke (VR) 7p Little Tropical Isle: Mark Parsons (RK) 5p, Reed Lightfoot (RK) 9p Old Point Bar: Susan Cowsill (RK) 7p Preservation Hall: Preservation Legacy Band feat. Clive Wilson (TJ) 5p, Preservation AllStars feat. Charlie Gabriel (TJ) 8p Rock ‘n’ Bowl: Benny Grunch and the Bunch (VR) 5p Santos: Swamp Moves with the Russell Welch Quartet (SI) 10:30p Spotted Cat: Chris Christy (JV) 2p, Shotgun Jazz Band (JV) 6p, Antoine Diel and the New Orleans Power Misfits (JV) 10p Tropical Isle Bayou Club: the Troubadour (KJ) 7p Tropical Isle Original: Debi and the Deacons (RK) 5:15p, Late As Usual (RK) 9:15p

TUESDAY DECEMBER 24 30/90: Set Up Kings (RB) 5p, New Orleans Guerilla Xmas Eve Social (VR) 9p Ace Hotel (Lobby):Tech Tuesdays: Hack Night (VR) 7p Bacchanal: Raphael Bas (JV) 12p, Miles Berry (JV) 7:30p Bourbon Street Honky Tonk: Blues Masters (BL) 8:30p Buffa’s: Christmas Movie Marathon (VR) 12p Howlin’ Wolf (the Den): Comedy Beast (CO) 8:30p

THURSDAY DECEMBER 26 30/90: Andy J. Forest (BL) 5p, Hotline (PO) 9p, DJ Dot Dunnie (VR) 10p Buffa’s: Darcy Malone and Amasa Miller (VR) 5p,Tom McDermott and Michelle Welchons (JV) 8p Café Negril: Claude Bryant and the All-Stars (VR) 6p, Sierra Green and the Soul Machine (VR) 10p Carnaval Lounge: 30x90 Blues Women (BL) 6p,Transiberian Drag Show (SS) 9p d.b.a.: Soul Brass Band (BB) 10p House of Blues (Foundation Room): Zoe K. (SO) 6p Howlin’ Wolf (the Den): Comedy Gumbeaux (CO) 8:30p Jazz Playhouse: Brass-A-Holics (BB) 8:30p Joy Theater: Liquid Stranger,Yheti, AU5, MiZE (EL) 10p Kajun’s Pub: Karaoke (KR) 5p Kermit’s Mother-in-Law Lounge: Kermit Ruffins and the BBQ Swingers (JV) 7p, Mario Abney (JV) 9p O F F B E AT. C O M

express Kerry Irish Pub: Chip Wilson (FO) 8:30p Le Bon Temps Roule: Soul Rebels (FK) 11p Little Tropical Isle: Allen Hebert (RK) 5p, Jezebels Chill’n (RK) 9p Ogden Museum of Southern Art: Ogden After Hours feat.Valerie Sassyfras (PO) 6p Preservation Hall: Preservation Legacy Band feat. Gregg Stafford (TJ) 5p, Preservation AllStars feat. Lucien Barbarin (TJ) 8p Rock ‘n’ Bowl: Geno Delafose and French Rockin’ Boogie (ZY) 8p Snug Harbor: Germaine Bazzle and Larry Sieberth Quartet (JV) 8 & 10p Spotted Cat: Monty Banks (JV) 2p, Miss Sophie Lee (JV) 6p, Jumbo Shrimp (JV) 10p Three Muses:Tom McDermott (PI) 5p Treme Art and Music Lounge: Hot 8 Brass Band (FK) 8p Tropical Isle Original: the Hangovers (RK) 5:15p, Late As Usual (RK) 9:15p Vaughan’s Lounge: Corey Henry and the Treme Funktet (FK) 10:30p FRIDAY DECEMBER 27 30/90: Jonathan Bauer Project (MJ) 2p, Jon Roniger and the Good For Nothin’ Band (JV) 5p, Smoke N Bones (FK) 8p, DJ Trill Skill (VR) 10p, Armando LeDuc y Salsa Royale (LT) 11p Ace Hotel (Three Keys): Brass and Beats: Kings of Brass and Raj Smoove (BB) 8:30p Buffa’s: Michael Burkart’s Les Syncopators De Bayou Jazz Trio (JV) 6p, Eric Merchant Band (JV) 9p Café Negril: John Lisi and Delta Funk (VR) 2p,

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Dana Abbott Band (VR) 6p, Higher Heights (VR) 10p Carnaval Lounge: St. Roch Syncopators (TJ) 6p Carousel Bar (Hotel Monteleone): James Martin Band (JV) 9p Chickie Wah Wah: Paul Cebar Tomorrow Sound, Creole String Beans (VR) 8p Dmac’s: Chapel Hart (CW) 8p House of Blues (Foundation Room): Jake Landry and the Right Lane Bandits (FO) 7p House of Blues (the Parish): Inferno Burlesque (BQ) 7p House of Blues: A Tribute to Billy Joel and Elton John (SS) 8p Joy Theater: Liquid Stranger, Champagne Drip, b2b, LUZCID, SFAM, Sully (EL) 10p Kajun’s Pub: Karaoke (KR) 5p Kermit’s Mother-in-Law Lounge: DJ Sugar Ray (VR) 4:20p Kerry Irish Pub:Tim Robertson (FO) 5p, the One Tailed Three (FO) 9p Preservation Hall: Preservation Legacy Band feat.Wendell Brunious (TJ) 5p, Preservation All-Stars feat. Shannon Powell (TJ) 8p Saenger Theatre: Moscow Ballet Theater’s Great Russian Nutcracker (DN) 3 & 7p Snug Harbor: Ellis Marsalis Quintet (JV) 8p Spotted Cat: Andy J. Forest (JV) 2p,Washboard Chaz Blues Trio (JV) 6p, Soul Brass Band (JV) 10p Three Muses: Matt Johnson (JV) 5:30p, Doro Wat Jazz Band (JV) 9p Tipitina’s: Eyehategod (VR) 10p

Tropical Isle Original: the Hangovers (RK) 5:15p, Late As Usual (RK) 9:15p SATURDAY DECEMBER 28 30/90: Sleazeball Orchestra (JV) 11a, Jeremy Joyce (BL) 2p, Simple Sound Retreat (PO) 5p, Vance Orange (SO) 8p, DJ Torch (VR) 10p, Big Mike and the R&B Kings (RB) 11p Ace Hotel (Three Keys): Lobby: DJ RQ Away presents Happy Feelins (VR) 9:30p Buffa’s: Nebula feat. Lenny Marcus (JV) 6p, Keith Burnstein (SS) 9p Café Negril: John Lisi and Delta Funk (FK) 2p, Colin Davis and the Night People (VR) 6p, Higher Heights (VR) 10p Carnaval Lounge: Dusty Santamaria (VR) 6p, Green Gasoline (RK) 9p d.b.a.: New Orleans Cottonmouth Kings (JV) 7p, Soul Rebels (BB) 11p House of Blues: Saved by the ‘90s (VR) 8p Kermit’s Mother-in-Law Lounge: DJ Sugar Ray (VR) 4:20p, Keva Holiday (VR) 8p Kerry Irish Pub: Beth Patterson (FO) 5p,Van Hudson and friends (FO) 9p Preservation Hall: Preservation All-Stars with Will Smith (TJ) 1p, Preservation Brass Band feat. Kevin Louis (TJ) 5p, Preservation All-Stars feat. Kevin Louis (TJ) 8p Saenger Theatre: Maze feat. Frankie Beverly, the Whispers (VR) 8p Snug Harbor: Dr. Lonnie Smith Organ Trio (JV) 8 & 10p Spotted Cat: Jazz Band Ballers (JV) 2p, Aurora Nealand and the Royal Roses (JV) 6p,

Dominick Grillo and the Frenchmen St. AllStars (JV) 10p Three Muses: Eric Merchant (JV) 5p, Debbie Davis (JV) 6p,Tyler and John (JV) 9p Tipitina’s: Corey Smith, Dawson Edwards (VR) 10p Tropical Isle Bourbon: Rhythm and Rain (RK) 5p, Debi and the Deacons (RK) 9p Tropical Isle Original: the Hangovers (RK) 5:15p, Late As Usual (RK) 9:15p SUNDAY DECEMBER 29 30/90: Carolyn Broussard (FO) 11a, Set Up Kings (RB) 2p,Ted Hefko and the Thousandaires (FK) 5p,T’Canaille (KJ) 9p Buffa’s: Some Like It Hot! (TJ) 10:30a, Father Ron and friends (FO) 4p, Steve Pistorius Jazz Quartet (JV) 7p Café Negril: Ecirb Muller’s Twisted Dixie (JV) 6p,Vegas Cola Band (JV) 10p Carnaval Lounge: Doc Lovett (RK) 6p, Gina Leslie Sundays (RR) 9:30p d.b.a.: Palmetto Bugs Stompers (SI) 6p,TBC Brass Band (BB) 10p Howlin’ Wolf (the Den): Hot 8 Brass Band (BB) 11p Kajun’s Pub: Karaoke (KR) 5p Kermit’s Mother-in-Law Lounge: DJ Sugar Ray (VR) 4:20p;TBC Brass Band (BB) 8p Kerry Irish Pub: Patrick Cooper (FO) 8p Preservation Hall: Preservation Legacy Band feat. Gregg Stafford (TJ) 5p, Preservation AllStars feat.Wendell Brunious (TJ) 8p Rock ‘n’ Bowl: Dale Watson, Chapel Hart

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express Band (CW) 8p Snug Harbor: Dr. Lonnie Smith Organ Trio (JV) 8 & 10p Spotted Cat: John Lisi and Delta Funk (JV) 2p, Michael Watson and the Alchemy (JV) 7p, Pat Casey and the New Sound (JV) 10p Three Muses: Raphael et Pascale (JV) 5p, the Clementines (JV) 8p Tropical Isle Bayou Club: Roland Cheramie and friends (KJ) 5p, Faubourg Ramblers (KJ) 9p Tropical Isle Bourbon: Rhythm and Rain (RK) 5p, Debi and the Deacons (RK) 9p

Sound (TJ) 5p, Preservation All-Stars feat.

Charlie Gabriel (TJ) 8p Snug Harbor: Charmaine Neville Band (JV) 8 & 10p Spotted Cat: Royal Street Winding Boys (JV) 2p, Dominick Grillo and the Frenchmen St. All-Stars (JV) 6p Three Muses: Bart Ramsey (JV) 5p,Washboard Rodeo (JV) 8p Tropical Isle Bourbon: Rhythm and Rain (RK) 5p, F.A.S.T. (RK) 9p Tropical Isle Original: Graham Robertson (RK) 5:15p,Trop Rock Express (RK) 9:15p

MONDAY DECEMBER 30 30/90: Margie Perez (SO) 5p, New Orleans Super Jam presented by Gene Harding (VR) 9p Bacchanal: Raphael Bas (JV) 12p, Charlie Halloran and the Calypsonians (JV) 7:30p Buffa’s: Arsene DeLay and Charlie Wooton (VR) 5p, Antoine Diel (VR) 8p Café Negril: Noggin (VR) 6p, Soul Project NOLA (VR) 10p Carnaval Lounge: Daniel Beaudoin (BL) 6p, Comic Strip (CO) 9:30p Kermit’s Mother-in-Law Lounge: James Williams (VR) 6p, Kermit Ruffins and the BBQ Swingers (JV) 7p, Irvin Mayfield (JV) 8p Kerry Irish Pub: Beth Patterson (FO) 8:30p Little Tropical Isle: Mark Parsons (RK) 5p, Reed Lightfoot (RK) 9p Preservation Hall: Joe Lastie’s New Orleans

TUESDAY DECEMBER 31 30/90: Mem Shannon and the Membership Band (BL) 2p, Hotline (PO) 5p, DJ Dot Dunnie (VR) 9p, Gene’s Music Machine (VR) 10p Ace Hotel (Three Keys): 20/20 Vision with Lee Fields & the Expressions and the Aaron Abernathy Trio 9:30p; New Year’s Eve Pregame with DJ Shane Love, 5p (Lobby); New Year, New Me with Felice G and Legatron Prime 12a Buffa’s:Yoshitaka “Z2” Tsuji and friends (JV) 5p, Leslie Cooper and Harry Mayronne (JV) 7p, Marina Orchestra (VR) 10p Café Negril: Dimondick Gorilla and the Swingin’ Vines (VR) 10p Carnaval Lounge: Carnaval New Year’s Eve Extravaganza (VR) 7p Civic Theatre: DJ Soul Sister’s New Year’s Eve Soul Train (FK) 10p

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d.b.a.: Dinosaurchestra (JV) 7p,Treme Brass Band, Cha Wa (MG) 10p Dmac’s:Walter “Wolfman” Washington (BL) 9p Dos Jefes: Sunpie and the Louisiana Sunspots (ZY) 9p Fillmore: the Revivalists (ID) 9p Hi-Ho Lounge: Debauche (GY) 9p House of Blues (Foundation Room): the Quickening (RR) 7p House of Blues: Foundation of Funk feat. John Medeski and Eric Krasno (FK) 6:30p Howlin’ Wolf: Rebirth Brass Band (BB) 11p Joy Theater: A New Year’s Eve Freak Show feat.

Big Freedia, Boyfriend, Sweet Crude (VR) 10p Kermit’s Mother-in-Law Lounge: Big 6 Brass Band (BB) 7p, Stuart Coles’ Straight Ahead Jam Session (VR) 9p Kerry Irish Pub: Patrick Cooper (FO) 5p,Will Dickerson Band (FO) 9p Little Tropical Isle: Mark Pentone (RK) 5p, Frank Fairbanks (RK) 9p Maison: St. Roch Syncopators, Gregory Agid Quartet, Dirty Dozen Brass Band (JV) 1p Palm Court Jazz Cafe: New Years Eve Gala feat. Lars Edegran, Kevin Louis, Joe Goldberg, Fred Lonzo, Richard Moten, Benny Amon (TJ) 8:30p Preservation Hall: Preservation All-Stars feat.

Charlie Gabriel (TJ) 4p Republic: Herobust (EL) 9p Rock ‘n’ Bowl:Tab Benoit (BL) 9:30p Snug Harbor:Topsy Chapman and Solid Harmony (JV) 8 & 10p

Southport Hall:Where Y’acht (VR) 9p Spotted Cat: call club Starlight: Chris Craig (VR) 4p, NYE Ball with Kuwaisiana (VR) 11p Tipitina’s: Galactic, Anjelika “Jelly” Joseph, Southern Avenue (VR) 10p Tropical Isle Original: the Hangovers (RK) 5:15p, F.A.S.T. (RK) 9:15p Vaughan’s Lounge: DJ Khris Royal Dance Party (FK) 9p SPECIAL EVENTS Dec. 12-15 Arts Council New Orleans presents its annual LUNA Fete holiday light and art installation around Lafayette Square. ArtsNewOrleans. org/Event/Luna-Fete/ Dec. 15 The French Market presents its annual St. Nick Celebration in Dutch Alley featuring live music, kids’ activities, food and drinks.

FrenchMarket.org Dec. 31 The annual New Year’s Eve celebration includes a fleur de lis drop at Jax Brewery, with live music in Jackson Square and fireworks along the riverfront. NewOrleans. com Throughout December French Quarter Festivals presents Christmas New Orleans Style, a month of reveillon dinners, holiday home tours, family fun and other holiday events. FQFI.org

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backtalk

ississippi’s Jimmy “Duck” Holmes is the keeper of the Bentonia blues tradition flame. He follows such earlier practitioners of the country-blues style as Skip James, Jack Owens and brothers Henry and Dodd Stuckey. The uniqueness of Bentonia blues derives in part from open-tuned guitars and unpredictable performances.

Holmes’ fans include Dan Auerbach, the rock star who’s one-half of the Black Keys. In March, Auerbach produced and recorded Holmes’ ninth album, Cypress Grove, at his Easy Eye Sound Studio in Nashville. “I like to work with people who inspire me,” Auerbach said. “Jimmy inspires me. His music is rough and tumble, and it can shatter a lot of preconceptions purists have about Delta blues.”

In the wake of Cypress Grove’s October release, Holmes opened for the Black Keys in Washington, D.C., and for Jason Isbell at the Ryman Auditorium in Nashville. Through it all, his manager said, the 72-year-old musician stayed unaffected.

In addition to being an award-winning blues man known throughout the world, Holmes has operated the Blue Front Café in Bentonia, Mississippi, since 1970. His parents, Carey and Mary Holmes, opened the business in 1948, a year after Holmes’ birth. Today, a Mississippi Blues Trail marker stands tall in front of the café’s baby-blue façade. Believed to be the oldest juke joint in the United States, the café’s main room is a 20-by-30 feet space featuring cinderblock walls, a concrete floor, the simplest of tables and chairs and a few ceiling fans. There’s also a soft-drink vending machine, snacks hanging behind the small service counter, Blue Front Café T-shirts hanging on the wall and an old jukebox in the left corner. “That’s about it,” Holmes said. “It’s 71 years old. I’m 72, so it’s just as authentic as I am.”

Holmes opens the Blue Front Café at 7 a.m.

Monday through Saturday. Sundays he waits until about two in the afternoon to open, even if he doesn’t go to church that day. “I respect the because it’s original. They tell me don’t even take the spider webs church hours,” he explained. out of the corner. I’m serious.

For much of his life, performing was a sideline to running Your parents opened the Blue Front Café in 1948. Do the Blue Front Café and working for the Yazoo County School you think of it as home?

District as a parents’ advisor. Retirement from the school This is where I have lived for 71 years. I go home to eat, sleep system in 2010 gave him more time for music. He’s performed and take a bath, mow the lawn or something like that. But when throughout the world, including appearances at the New you spend ninety percent of your time in any place, that’s where Orleans Jazz and Heritage Festival, Crescent City Blues & BBQ you live. And it’s been like that since I can remember.

Festival and King Biscuit Blues Festival.

You took over the café’s operation from your mother Have you changed anything at the Blue Front Café in 1970. You’ve run it for 50 years. Why has it been lately? important to you to keep it going?

No. Nothing has changed. I’ve been rolling with it like this for Well, the stuff my mom told me about the Blue Front itself. My 50 years, so I don’t see no need to change it. And plus, the state daddy was a dirt farmer—a small farm. And after department of tourism [officially Visit Mississippi] the farm got whatever harvest, and probably didn’t

by John Wirt and historians, they tell me to let it stay the same,

Jimmy “Duck” Holmes

Photo COURTESY OF THE ARTIST

talks back

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backtalk make no money, the Blue Front was a means of survival, putting food on the table. Across the years, when we didn’t have a hog to sell or a cow to sell, it was the Blue Front that kept food on the table.

What was life like when you were growing up in Bentonia?

My mother’s two sisters passed away at a young age. She didn’t want the kids to get separated, so she took them all in with us.

And we were all raised like brothers and sisters. A total of 14 under one roof. Two bedrooms. We slept two at the top of the bed, two at the bottom part. And a lot of people wonder how did my mother did it.

She was determined.

What did your mother sell at the Blue Front Café in those days?

The moonshine whiskey, the fish, soda pop. About this time of year, it was the moonshine that kept the Blue Front rolling.

She did food, like burgers and hotdogs, but she’d tell me all the time she devoted her retail sales to moonshine, because it was more profitable. And this was the time of year, when it’s cooling down, those old timers drank beaucoups of moonshine.

Was music part of the Blue Front from the beginning?

Yeah, because this town was full of musicians. Guitar players, they would come in with their little guitars on their back and sit in. Two or three guys, they’ll get back there—they call it a jam now—and just take turns playing, having fun.

Is that what got you into playing music?

That’s part of it. I got interested in music because of the guy called Henry Stuckey.

He started what they call the Bentonia style of blues. He was our neighbor. As a matter of fact, his guitar was the first guitar I put hands on. That was 1957. And I guess that’s what you call planting the seeds. In that same year, my dad got me a yellow plastic guitar with plastic strings for Christmas.

He got this from a furniture store—it was just something they happened to have. That introduced me to the guitar. Then, by me being at the Blue Front with my mom, you got these old timers coming in and playing. All that kind of watered the plant.

You must have known Henry Stuckey very well.

He used to babysit us on Friday, until my mom and dad would close the Blue Front at 10 p.m. He would sit and play the guitar— for me and my brothers and sisters and his kids—until my mom and dad came home on Friday. Then he would leave, I guess going to the juke houses to play his guitar and just pick up nickels and dimes to help support his family. When he would leave on Friday, we wouldn’t see him no more until late Sunday afternoon or Monday morning. Playing for tips.

Jack Owens was another of the Bentonia blues musicians.

Did you know him well, too?

In his later years, Jack would come to the Blue Front every day. I think it was divine. I don’t even know if he was aware of it. He felt like that [the Bentonia style of blues] was something that needed to be carried on. And it would bother him when I couldn’t pick up on it. He didn’t read music. He couldn’t tell me it was an A chord or a D chord or C. He didn’t know none of that. He told me, “Boy, just watch my fingers. You got to learn this. Watch my fingers.” That’s what I did. I picked up things from other guitar players, but when it comes to the Bentonia style, I absolutely got that from Jack.

Because of the open tuning that the Bentonia blues-style uses, would you say the music is sad, mournful, lonesome?

People give blues a bad rap. I know a lot of blues songs, everybody’s happy. I know a lot of blues songs, everybody’s sad. It’s just all based on how you accept it.

Do many visitors from across the country and world come to Bentonia to see you and the Blue Front Café?

Oh, they come from all over to see this hole in the wall. And the most amazing thing, this is one of their main stops on their tours. I got enough sense to know that they didn’t leave Johannesburg, South Africa, just to come to Blue Front Cafe, but they said this was their main stop. Another long way, Sydney, Australia. They said they came specifically to see the Blue Front— but they went other places, too.

How do feel about the international fascination for the Blue Front?

A lot of people asked me, “Are you making any money?” I said, “Well, everybody knows money’s good—but my greatest reward is what I do, or what I possess that people appreciate. That’s more reward to me than money. When a person comes see me or comes see the Blue Front or asks me to play a tune for them, that’s a great reward.

Dan Auerbach, the rock star who’s famous for being a member of the Black Keys, produced your new album. How did that happen?

He tried for two years to get me to come record with him, but I didn’t do it. He said the best thing that could happen to me is if I come to Nashville to record with him. I had no idea what that meant to him, but then the album proved that. And to show you how I am just a regular person, he had scheduled to record for three days. I hooked it up for him in three hours.

You got straight down to business in the studio?

I didn’t pretend. I did what I do. I did what God has blessed me to do. Play the guitar and sing. Listen at me careful—whether it’s an interview or whatever, be yourself. O

I got interested in music because of the guy called Henry Stuckey. He started what they call the Bentonia style of blues. He was our neighbor. As a matter of fact, his guitar was the first guitar I put hands on.That was 1957. And I guess that’s what you call planting the seeds. In that same year, my dad got me a yellow plastic guitar with plastic strings for Christmas. He got this from a furniture store—it was just something they happened to have.That introduced me to the guitar.

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