Shemekia Copeland Jon Batiste Ceaux Young Jonathon Long
NEW ORLEANS MUSIC, FOOD, CULTURE—OCTOBER 2018 Free In Metro New Orleans US $5.99 CAN $6.99 £UK 3.50
.BLAST FROM
PHoto: ELSA HAHNE
Dyna-Mite
THE PAST
“Jon Cleary: Heir to the New Orleans Piano Throne“
Jon Cleary keeps the New Orleans piano tradition’s fuse lit. Page 22
6
COMMUNAL BITES
MOJO MOUTH
7
New Orleans continues to digest the national food hall trend.
FRESH
8
IN THE SPIRIT
LETTERS
Five Questions with Walter “Wolfman” Washington; My Music with Keith Stone; Five Questions with M.A.Q.; The legacy of Caesar Vincent at Festivals Acadiens et Créoles; Five Questions with author Michael Allen Zell; Five Questions with pianist Danilo Pérez; Deutsches Haus Oktoberfest returns to New Orleans on Bayou St. John and more.
OBITUARY
OFFBEAT EATS
16 17
G.G. Shinn
DEAR NEW ORLEANS
18
Visual artist Ceaux Young pens stories without words.
THE BEST HIGH Jonathon Long puts his songs and singing up front.
www.OFFBEAT.com
32
Matt Ray and Sonali Fernando mix up the King Tuts (and the Frozen Tuts) for Isidore “Tuts” Washinton at the Ace Hotel.
Lazy Lester
OBITUARY
30
20
34
Chef Kelly Fields dishes on her BBQ Shrimp Toast at Willa Jean and Elsa Hahne reviews Restaurant R’evolution.
REVIEWS
36
Jon Batiste, Eric Lindell, Jonathon Long, Jamie Lynn Vessels, Buddy Guy, Keith Stone with Red Gravy, Neslorchestra, Charles Lloyd with Lucinda Williams, Shemekia Copeland and more.
LISTINGS
46
BACKTALK with Shemekia Copeland
53
By Scott Jordan November 1997 “I remember the first night I arrived Huey Smith was playing at Jimmy’s, and I was literally on my way to The Maple Leaf from the airport, and I couldn’t stop because I didn’t know where I was… So the taxi pulled up to the Maple Leaf, and Earl King was playing. That was my first night in New Orleans.” >> offbeat.com/shop/ back-issues/1997/offbeatmagazine-november-1997 O CTO BER 2018
O
5
Letters
“The place was like an old-style nightclub with small round tables close to the stage and the right amount of smokiness. We stayed until the early morning hours and Ms. Thomas did all of her hits and visited with everyone.” —Pete Cohen, St. Louis, Missouri
Don Suhor I was excited to read Geraldine Wyckoff’s review of the Don Suhor discs in your last issue [August 2018]. I had the privilege of meeting and performing with Don during 1973 as part of a rock rhythm section backing up Santo Pecora. Don was one of the most kind, generous and gracious musicians I had ever met, and today I remember his patience and enthusiasm in teaching us “rock” kids the fundamentals of Dixieland and traditional jazz when he could have easily just brushed us off. Don was a monster player, a contemporary of Pete Fountain, and went largely uncelebrated during his career, unlike his world famous schoolmate. I am so glad he is finally getting some recognition for his amazing talent and dedication to his craft through the efforts of his brother Charles (whose book on New Orleans jazz and the local music scene through 1970 is a mustread) and the others involved in this record. Don was a master of his craft and beautiful and intricate melodies just flowed from his sax and clarinet. The privilege to work with both Don and Pete has been very influential in my own playing, and it took me years to recognize this. I urge young guitarists and any musicians to spend some time listening to Don, Pete and the other New Orleans jazz greats. Their melodies and phrasing are the real deal, and can bring your playing to another level. —Dave Ferrato, New Orleans, Louisiana
Irma Thomas I really enjoyed the story about Irma Thomas [Forever Young, August 2018]. One of the best music experiences that I have ever had was at her club, the Lion’s Den. It was located near the courthouse, adjacent to a bail bonds shop on Gravier Street. When we told our hosts where we were going they strongly discouraged us because of the neighborhood it was located in. Thankfully, we went anyway. When we got there, the door was a one-way mirror
and we had to be buzzed in. I guess my wife Julie and I didn’t look too threatening and we were let in. The place was like an old-style nightclub with small round tables close to the stage and the right amount of smokiness. We stayed until the early morning hours and Ms. Thomas did all of her hits and visited with everyone. Sadly, Katrina took the place, but, gratefully, the Soul Queen of New Orleans still reigns supreme. —Pete Cohen, St. Louis, Missouri
Frenchmen Street The following letter is in response to Jan Ramsey’s Mojo Mouth column titled Changing Venues [August 2018] indicating that musicians and people who are into music are disenchanted with Frenchmen Street.—Ed. This just seems so elitist—Frenchmen Street isn’t cool anymore because there are tourists and partiers and people out looking for a good time. It needs more serious music listeners who sit in rapt attention and respond to each song with a polite “golf clap” at the end. Drunk people and people being loud and boisterous and dancing has been a part of seeing music in a club since the first music was played in a place that sold alcohol. Maybe Jan is right with her push for more clubs having cover charges. A good $25 a head cover will keep the unwashed and uncool beyond the velvet rope and make sure only the pure “music lovers” are in attendance. However, were it not for tourists, a city the size of New Orleans would not have a music scene any better than any other medium-size city in the country. All those clubs with live music from early in the afternoon until late at night could not be supported by a population this size. Regardless of the pay involved, there would be far fewer opportunities for musicians to play and be heard without the visitors to this city. —Gerard Guidoni, New Orleans, Louisiana
OffBeat welcomes letters from its readers—both comments and criticisms. To be considered for publication, all letters must be signed and contain the current address and phone number of the writer. Letters to the editor are subject to editing for length or content deemed objectionable to OffBeat readers. Please send letters to Editor, OffBeat Publications, 421 Frenchmen St., Suite 200, New Orleans, LA 70116.
6
O
OCTOBER 2018
Louisiana Music, Food & Culture
October 2018 Volume 31, Number 11 Publisher and Editor-in-Chief Jan V. Ramsey, janramsey@offbeat.com Managing Editor Joseph L. Irrera, josephirrera@offbeat.com Consulting Editor John Swenson Food Editor Elsa Hahne, elsahahne@offbeat.com Listings Editor Katie Walenter, listings@offbeat.com Contributors Stacey Leigh Bridewell, Michael Dominici, Herman Fuselier, Elsa Hahne, Jeff Hannusch, David Kunian, Amanda Mester, Jennifer Odell, John Swenson, Christopher Weddle, Dan Willging, John Wirt, Geraldine Wyckoff Cover Elsa Hahne Art Director/Food Editor Elsa Hahne, elsahahne@offbeat.com Web Editor Amanda Mester, amanda@offbeat.com Videographer/Web Specialist Noe Cugny, noecugny@offbeat.com Copy Editor Theo Schell-Lambert, theo@offbeat.com Advertising Sales/Promotions Coordinator Camille A. Ramsey, camille@offbeat.com Advertising Design PressWorks, 504-944-4300 Business Manager Joseph L. Irrera Interns Danika Andrade, Devorah Levy-Pearlman Distribution Patti Carrigan, Doug Jackson OffBeat (ISSN# 1090-0810) is published monthly in New Orleans by OffBeat, Inc., 421 Frenchmen St., Suite 200, New Orleans, LA 70116 (504) 944-4300 • fax (504) 944-4306 e-mail: offbeat@offbeat.com, web site: www.offbeat.com
/offbeatmagazine Copyright © 2018, OffBeat, Inc. No part of this publication may be reproduced without the consent of the publisher. OffBeat is a registered trademark of OffBeat, Inc. First class subscriptions to OffBeat in the U.S. are available for $45 per year ($52 Canada, $105 foreign airmail). Back issues are available for $10, except for the May issue for $16 (for foreign delivery add $6, except for the May issue add $4). Submission of photos and articles on Louisiana artists are welcomed, but unfortunately material cannot be returned.
MOJO MOUTH
I’ll Be Brief…
I
’m actually forced into being succinct in this Mojo Mouth column because, well, there’s not a lot of room to express myself here. Just like other print media, OffBeat is feeling the pinch from advertisers who now say they only use social media to promote their businesses. So we print fewer pages. Less advertising, less editorial. Sad, but true. We’ve been steaming full speed ahead, though, to improve and expand our digital content on OffBeat.com, in the Weekly Beat, and through social media outlets. We’ve hired great staff to help us there (Amanda Mester, our digital content editor; Noé Cugny, writer,
www.OFFBEAT.com
videographer, all-around web dude and photographer; Camille Ramsey, events and marketing) and we’re going to be improving and expanding with other staff members in the near future. OffBeat has been very diligent in creating compelling digital content (not advertising that boosts followers) that both our local and out-of-town readers can relate to and engage with. We’re also offering options to advertisers who want to engage with our readers too. We are aware, though, that it’s one thing to post ad after social media ad as some local media do, but this doesn’t sit well with many people (our readers tell us so, and we listen).
By Jan Ramsey You’ll be noticing in the future that we’ll be publishing more “digital only” content. We actually do have readers who don’t care for the web or social media, which surprises me to no end (one of our subscribers called in a week or so ago and let us know that he didn’t have email). Okay, we get it: Some readers want print, and we’ll continue to give it to them. There are still a lot of us “old people” who read the newspaper and print because it offers a lot more in-depth journalism, and provides a much wider range of news options for its readers. I don’t care for spoon-fed headlines. I can pick and choose what I want to read; it also takes less time, believe it or not, to
become more well-informed (with less internet news bias) about what’s going on in my world. The fact is, at this point in the three-decades-long journey of OffBeat, that music appeals to a broad range of age groups, and our job is to keep our readers entertained and informed in print and digitally. We also want them to be cognizant of the responsibility that they have to support and honor New Orleans and Louisiana music and musicians, and the music businesses that keep the scene and culture alive, growing and flourishing. That’s an integral part of our mission. I have tons more to say on this subject, as you know! Check out my blog on OffBeat.com every week. O
O CTO BER 2018
O
7
FRESH
OffBeat.com PHOTO: Brandon williams
Five Questions with M.A.Q.
M.A.Q. with Ceaux Young
M
.A.Q. is a champion of New Orleans hip-hop, though he has mostly relegated himself to realms below the radar. After nurturing seeds sowed as a podcast producer, artist manager and radio host, he is now stepping forth as executive producer of an ambitious album, Supreme Being. Arriving October 12, it is co-produced by Irvin Mayfield and John Diaz and boasts a line-up including Nesby Phips, Ceaux Young, Don Flamingo, MadeGroceries, MidCityAb, Paasky, Kourtney Heart and more. Raised on Frenchmen Street and Claiborne Avenue, the 7th Ward representative says he’s ready to bring lyrical rap to the city’s forefront. Why is it important to showcase a lyrical side to the city’s rap scene? As I started to manage and even work on the media side, I started finding more and more lyrical artists that were just dope, to the point I was like, ‘People need to hear this shit.’ I showcased that on my former podcast in a segment called #After4BarsGoIn, where I wanted guys to spit some real lyrics, what we call ‘bars’ in hip-hop. What do you have to say to critics who say New Orleans isn't a place for lyrical hip-hop? They are fucking crazy! Lyrical content did not stop with Lil Wayne. For some reason there is a dark cloud hanging over us when it comes to hip-hop. New Orleans is full of dope MCs with BARS that can outrap some of your favorite rappers. I stand on that! But at the same time I understand where it comes from. NOLA has a big bounce scene that has taken over the world. That’s NOLA culture though; some of our hometown heroes was spittin’ that gangsta shit over those bounce beats like Soulja Slim, Juvenile, B.G., U.N.L.V., to name a few. How did Mr. Mayfield become involved in co-producing Supreme Being? It came through John Diaz. John was working with Mayfield and I met John while doing a podcast, and we would always talk about hip-hop. One day, John asked me to come to the studio to meet Irvin Mayfield and through conversation we agreed to do three songs. While doing those three songs, I asked Mayfield, ‘Where do we go from here?’ Mayfield said, ‘I love this energy. Let’s do a whole album.’ What has your career been in music thus far? I started out as a manager for Da Outfittaz and Paasky, then I switched to the media side of things and started a podcast (‘DaTakeOver w/ Thedo’) to having my own radio show, ‘The BluePrint’ show, on WBOK 1230AM. How did you decide which artists to feature on Supreme Being? I wanted to get artists who I believed in and I know breathe, sleep and shit hip-hop! —Amanda Mester
8
O
OCTOBER 2018
SWEET TWEETS @jonclearymusic Early morning, 4 a.m., at the A Merkin [sic, AmericInn] hotel in St. Peter [MN]. Alone in the lobby, a rather odd but friendly lady tends to the unappetizing breakfast offering. I hold up a yogurt and ask, “Do you have a spoon?” “Booze?” she replies. @musicculture504 Jazz in the Park will leave Armstrong Park, change formats and begin charging admission at the Carver Theater this fall. @JohnPapaGros You play a song one day. Then you go to the next town, set up your stuff, and play the same song. But for whatever reason you started it faster tonight and it has a different kind of energy to it. And for me, that’s the exciting part of music. @MusiCNOLALIVE Would you walk (or second line) 1.8 miles to support mental health services? Join TEAM NOMC in the #NAMIWalk on October 6th! @tedgioia R.I.P. Big Jay McNeely (1927-2018) who anticipated much of the rock ‘n’ roll sound in the early 1950s with his honking & shouting sax recordings. He was also the subject of the greatest photo of a saxophonist ever taken (in my opinion)—shown here.
www.OFFBEAT.com
Photo: noe cugny
Southern Decadence Parade 2018
SOUNDCHECK
FRESH
MY MUSIC
SOUNDCHECK
“I
was a late-in-life baby, so my mom grew up in a different era in New Orleans. She loved music. My mom knew the music scene. She knew Louis Prima. When ‘Hello Dolly’ was on TV, she told me, ‘That’s Louis Armstrong. He’s from New Orleans.’ And anytime Louis Armstrong popped up on TV, she’d say, ‘Keith! Louis Armstrong’s on TV. Come see him. You know you love him.’ How could you not love him? My first instrument was trumpet. I grew up playing trumpet in the marching band culture and I was in a drum-and-bugle corps. I marched in all the parades all Mardi Gras long. We supported our drum-and-bugle corps by working at the New Orleans Jazz and Heritage Festival. From the time I was 12, we got to go to the Jazz Festival. We weren’t old enough to sell beer, so we picked ice. After four hours of picking ice we could go enjoy the Jazz Festival. Man, we got to see everybody. We saw Dr. John. Thousands of people were listening to Dr. John. And when he did ‘Right Place, Wrong Time,’ everybody raised their hands in the air and sang the ‘oos.’ It was amazing. I was in the drum-and-bugle corps with Paul Sanchez. We traveled all over the country. He brought his guitar and played Beatles songs. The girls would get in a circle around him and just swoon. I’d see that and say, ‘Damn. I want to do that.’ So, Paul Sanchez is the reason I play guitar. I played trumpet and French horn at Southeastern Louisiana University in Hammond and I played guitar in the pep band for basketball games. My professor told me to drop out. He had played trombone with Dr. John in the 1960s. He said, ‘Aren’t you from New Orleans? Look, you’re not going to learn what you want to learn here. Go home and get in a band. Play on Bourbon Street. You’re going to learn performance down there.’ And he was serious. I said, ‘OK.’ I was 18 and I’d already played at a place called Papa Joe’s. I had started hanging out with the street musicians in the Quarter when I was 15. Michael Sklar was my guitar hero. Michael and Red Priest were in J. Monque’D’s band. They had their own thing called New Orleans Blues Department. I fawned over them because they played the blues. Michael and I stayed in touch the whole time I lived in South Carolina and worked in ministry. He pushed me back into music and gave me my first gig. He said, ‘You need to come back. You need this.’” Keith Stone with Red Gravy plays Blues, Brews & BBQ in Violet at 2 p.m. Saturday, Oct. 6, and the Voice of the Wetlands Festival at 3:30 p.m. Saturday, Oct. 13 in Houma. —John Wirt
10
O
OCTOBER 2018
Five Questions with Walter “Wolfman” Washington
I
t’s a big year for Walter “Wolfman” Washington. In August and September, the classic New Orleans rhythm-and-blues artist toured with Trombone Shorty’s Voodoo Threauxdown. The all-star show’s 28 dates included SummerStage in New York City and the Greek Theatre in Los Angeles. In April, Los Angeles’ ANTI- Records released Washington’s acclaimed new album, My Future Is My Past. Produced by Galactic’s Ben Ellman, the project showcases the singer-guitarist in intimate performances backed by Jon Cleary, Ivan Neville, David Torkanowsky, James Singleton and Stanton Moore. Turning 75 on December 20, Washington has been in New Orleans music since he joined the Dew Drop Inn house band in 1959. In the 1960s, he toured with Lee Dorsey and Irma Thomas. Washington also worked with David Lastie’s Taste of New Orleans and he was Johnny Adams’ “personal” guitarist for more than a decade. In 2017, Washington marked the 30th anniversary of his own band, the Roadmasters. Who are some of the artists who helped you make a life in music? Johnny Adams, David Lastie. All these cats helped me through life. Especially when you decide you don’t want to do a day job. I decided that when I was 19 years old. Have the past few years of your career gone especially well? A lot of good things have happened. I found a new manager. I bought a house. I have three cars. I said, ‘Thank you, Jesus.’ How about touring with Trombone Shorty? Every time I went on stage I was given a standing ovation. Every show. I said, ‘Look at this. Lord, have mercy.’ It was really something to see. Voodoo Threauxdown includes Galactic, Preservation Hall Jazz Band, Cyril Neville, Kermit Ruffins and more. Does it feel like family? That’s it—and feeling proud because everybody’s holding their own weight. People wonder why New Orleans musicians get so much recognition. We play from our hearts, with compassion and understanding. Why did you take such an intimate approach for your new album? Ben Ellman said, ‘Man, I can’t really hear your voice on your records.’ So, he wanted to do a session on me. When I got to the studio, I felt comfortable because most of the cats I know. I got a chance to listen to myself and how the musicians play behind me. I could really concentrate on singing. I love the way it turned out. —John Wirt Walter “Wolfman” Washington performs October 6 at Algiers Fest, October 12 at the Voice of the Wetlands Festival, October 13 at the Crescent City Blues & BBQ Festival and every Wednesday at d.b.a. www.OFFBEAT.com
PHOTO: greg miles, courtesy of the artist
PHOTo courtesy of the artist
Keith Stone
FRESH
GETTING HIS DUE
Five Questions with Michael Allen Zell
The Legacy of Caesar Vincent PHOTO: thom bennett, courtesy of the artist
SOUNDCHECK
W
hen it comes to capturing the grit and allure of New Orleans’ dark side, no one is doing it with as much style and success as author Michael Allen Zell. He’s just published City Krystal Soulman, the third installment in his noir mystery novel series, which centers on New Orleans criminologist Bobby Delery. What kind of alchemy creates a Michael Allen Zell? The blend of an always-curious half business and half creative mind. I’ve always had a yearning to know what really makes things tick once you dig into the soft underbelly of propriety. Tennessee Williams, William Faulkner, Walker Percy, Anne Rice and many others have drawn inspiration from living here. Is New Orleans still a city for writers? Many writers seek inspiration from New Orleans by visiting. It is still a city for writers and artists to live in, but I think it now requires working harder due to cost of living and competition. You are a self-proclaimed noir nut. What three books/films would you say have influenced you the most? Chester Himes and Jim Thompson couldn’t be more dissimilar in style and locale, but Himes’ Harlem Detectives series and Thompson’s books influenced me the most. Add the ’70s to that, mostly 1973–1975—the vibe from movies with actors like Max Julien and Pam Grier, books by Holloway House authors such as Iceberg Slim and Emory Holmes II and that of music from the era. There’s a reason all the Bobby Delery series have an epigraph from Curtis Mayfield. Why do you think New Orleans lends itself to the noir genre? Because the city still operates by its own rules and on its own time. An author can’t outdo the headlines, though, so you have to proceed with a plan. Rearranging reality is boring. My approach is to cover the city but focus on the 9th Ward, so there are recurring characters throughout the series. Also, I operate on the idea that every one of us is utterly ridiculous, but we hide it as much as possible—and that in certain circumstances we're all capable of just about anything. Most authors don’t use quotations for characters’ thoughts, but I do because I value the unspoken as much as what is said aloud. Your new novel, City Krystal Soulman, is the third in a series centered on criminologist Bobby Delery. What can readers expect? In this book, a jazz musician is running a pyramid scheme with pastors to sell tickets for seats on an ark to be built for storm season. Also, the sister of Bobby Delery’s girlfriend has gone missing. So Delery’s thrown into the streets and finds solving the latter leads to the former. In each one of these books, Delery crosses another line. A new taboo. —Stacey Leigh Bridewell
12
O
OCTOBER 2018
C
aesar Vincent, the honoree of this year’s Festivals Acadiens et Créoles, will likely have Cajun music pundits scratching their heads. Caesar who? And for good reason—the enigmatic Vincent (1882–1970) was not a musician in any professional sense, never recorded commercially and never owned a car. Instead, he was a subsistence farmer who raised five children with his wife Olive. But what makes him astounding is his encyclopedic repertoire of ancient French songs, many stemming from the Middle Ages, all crammed inside his head. The eccentric balladeer sang practically everywhere, walking to the store, parties, funerals, often out of the blue unannounced. In 1953 he was recorded by educator Catherine Blanchet and four years later by LSU professor Dr. Harry Oster. One of the songs Oster recorded was “Travailler c’est trop dur,” which, melodically, is similar to “Rye Whiskey.” Somehow the song caught the attention of France’s Grand-Mère Funibus Folk (GFF) who recorded it in 1974. The recording engineer, not knowing the actual melody, inadvertently switched the lead and the harmony vocals in the mix, thus altering the melody line. That same year, Zachary Richard and Michael Doucet encountered GFF’s version in France, and they have recorded it multiple times throughout their respective careers. “Travailler c’est trop dur” became iconic in the Francophone world, largely due to French superstar Julien Clerc’s number one hit that was inspired by Richard’s rendition. It’s been recorded many times, including a reggae version by Africa’s Alpha Blondy. Familiar with the song and its notoriety, a year and a half ago ULL Professor Emeritus Barry Ancelet wondered if Vincent had sung anything else. “What are the chances he sang just one song?” Ancelet asked himself. So Ancelet went digging through ULL’s Archives and bam, found 37 songs Oster had recorded of Vincent. Add the 23 songs Blanchet recorded; eliminate the overlap and Vincent’s recorded output totaled 44. “I’m listening to these songs and they’re absolutely fascinating melodically, lyrically complex beautiful songs,” says Ancelet. “He didn’t have a trained voice but he held pitch.” Of this treasure trove, Ancelet had only previously heard “La fille aux oranges” and “Tobie Lapierre,” never realizing they, too, stemmed from Vincent. Intrigued, Ancelet gathered his usual suspects like Steve Riley, Roddie Romero, Bonsoir, Catin and others to reinterpret Vincent’s songs on an upcoming CD, Travailler, c’est trop dur: The Lyrical Legacy of Caesar Vincent, to be released at Festivals. “Now all these years later, he is finally going to get his due,” Ancelet states proudly. “Every year we find a new twist on this culture that has been around for hundreds of years,” says festival co-organizer Pat Mould. “And every time we think we’ve run out of stuff a Caesar Vincent shows up and you find there’s another layer to it. It’s like a cultural archeological dig, you know?” —Dan Willging Festivals Acadiens et Créoles: October 12–14, 2018, Girard Park, Lafayette www.OFFBEAT.com
FRESH
DEUTSCHES HAUS
Five Questions with pianist Danilo Pérez
Oktoberfest returns to New Orleans on Bayou St. John
PHOTO courtesy of the artist
SOUNDCHECK
“G
roove them out!” Danilo Pérez instructs musicians as a means of dealing with societal and political problems faced by the world today. “They mess with the groove that we create,” adds the Panama-born, Grammy-winning pianist, composer and educator, who will be performing at Jazz at the Sandbar and Snug Harbor this month. Pérez, master pianist as a leader, sideman and member of the Wayne Shorter Quartet, is also the founder of the Panama Jazz Festival and the Berklee Global Jazz Institute. You’re bring students from your institute to perform with you? What I’m doing is providing an amazing platform where youth can collaborate. The institute’s main goal is to give opportunities to gifted musicians to have enough experience to become ambassadors and social activists as well as artists. Did introducing the students to the birthplace of jazz play a part? Definitely it is a component. You cannot learn this music without having that experience. New Orleans is a fundamental city. They breathe jazz, they breathe music, they breathe culture. In order to change the world through jazz you have to have a foundation. It did change me when I went there for the first time. When I came to the United States from Panama [in the 1980s], I saw jazz as something that they do in New York. But when I went to New Orleans [for Jazz Fest 1998], New Orleans made me feel so welcome that I started researching the connection between New Orleans and Panama and found many. You've dedicated your life to education? My dad was my first teacher—all the fundamentals and everything I’m doing nowadays. My dad wrote a thesis in 1967 where he made a case that music should be used at a young age in the curriculums to teach other subjects—mathematics, science—not just music. My next teacher in jazz was Mr. Dizzy Gillespie and he taught me that jazz was the greatest tool for diplomacy and inter-cultural dialogue. Wayne [Shorter] taught me that music is for the betterment of humanity and that you can’t grow as a musician and not grow as a human being. What’s the instrumentation of the group? It’s a quartet—a woman from Australia is on drums, the tenor saxophonist is from the United States and the bassist is from South Africa. What will the repertoire be at Snug Harbor? We’re going to play music from my older and recent recordings like Panamonk, Panama 500, Motherland and Children of the Light. —Geraldine Wyckoff
14
O
OCTOBER 2018
O
ktoberfest 2018 takes place on the grounds of the new Deutsches Haus at 1700 Moss Street. A brand-new Deutsches Haus is almost ready, just not in time for Oktoberfest 2018. The original Haus structure on Galvez Street in Mid-City (dating to the early 1900s) was demolished to make room for the new hospital complex. The organization is a non-profit that is the “German Presence in the Gulf South,” relocated from its original location and temporarily moved to Kenner. Germans constitute the largest foreign minority of immigrants to New Orleans. But the new Deutsches Haus is rising anew on a beautiful oak tree–shaded 4.5-acre site overlooking Bayou St. John. “We’re still finishing the building interior,” said Jack Gonzales, Deutsches Haus Board President, “and we expect it to be finished in the fall, but not in time for our annual Oktoberfest. But all the activities of this year’s fest will be on the grounds of the new Haus.” The new Haus has a 500-person capacity event room, several bars (for great German beer), a commercial kitchen, a huge beer cooler, community room for movies and educational activities, offices for the local Honorary German Consul, administrative offices for the Haus staff and board meetings, and more. It also has a warehouse containing photos, artifacts and actual pieces of architecture from the old Haus that will be incorporated into the new building. The annual event will feature German food including brats, sauerkraut, schnitzel, sauerbraten, German cheeses and desserts and large Bavarian-style pretzels. There will be over 20 different German beers and over 20 different schnapps. Traditional German oompah music and special dance performances that will include the “chicken dance” will be presented each day. A beer stein–holding contest returns for both men and women (work on your biceps!). Oktoberfest is family and pet friendly, with a Schnauzer costume contest and parade (don’t worry, all breeds are welcome), and the annual Dachshund Races. Many children’s activities are planned, including crafts by the New Orleans Children’s Museum. On Saturday, October 6 at noon, the Oktoberfest two-mile run kicks off the event. —Ed. Hours: Friday: October 5, 12 and 19: 4p until 11p; Saturday: October 6, 13 and 20: 1p until 11p. Cost $8 (children 12 and under free). 1700 Moss Street. Donations benefit the Deutsches Haus (deutscheshaus.org). www.OFFBEAT.com
IN MEMORIAM
Lazy Lester
“T
hey call me lazy, goodness knows I’m only tired.” Leslie Johnson, better known as Lazy Lester, the last member of the pantheon of classic Louisiana swamp blues artists, died August 22 at his home in Paradise, California. He was 85. During the late 1950s until the mid-1960s, Lester made scores of recordings at J.D. Miller’s studio in Crowley, Louisiana, many of which were released on Nashville’s Excello label. He was also a key sideman for nearly all Miller-produced artists. Greg Izor, who before Katrina was one of New Orleans’ premier harmonica players, was a close friend and pupil of Lester. “Lester really brought blues and country together. He had a unique approach to words and writing.” Izor also reflected on Lester’s playing and temperament. “His style on harmonica was very unique and hard to play. He had an unusual way of syncopating things. He was a wonderful guy, funny and clever, and he also knew how he wanted things done. He was a thoughtful guy.” Lester Johnson was born in Torras, Louisiana, on June 20, 1933. By the time Lester reached his teens he was competent on guitar and harmonica. Little Walter—who Lester saw at the Temple Roof in Baton Rouge—became his major influence. By the mid-1950s, Lester often sat in with Guitar Gable’s band at the Blue Gardenia in Rayne. In 1958, he caught a break while
16
O
OCTOBER 2018
riding the bus towards Crowley, where J.D. Miller’s recording studio was. Lester happened to share the ride with Miller’s then-favorite recording artist, Lightnin’ Slim, who was on his way to a recording session. By chance, Lightnin’s harmonica player didn’t show and Lester was able to fill the slot. Three months later, Lester made his first record, “I’m Gonna Leave You Baby,” which like Lightnin’s, was released on Excello. It was Miller who came up with the Lazy Lester moniker as Lester often noted, “I was never in a hurry to do nuthin’.” Lester soon became indispensable in Miller’s studio. In addition to his records—the best-known being “I Hear You Knockin’,” “I’m A Lover, Not A Fighter” and “Sugar Coated Love”— he backed several of Miller’s other artists on harmonica, guitar and woodblocks. After 15 Excello singles, Lester put his harmonicas away and left Louisiana in 1966. He took manual labor jobs, and by 1970 he was living with Slim Harpo’s sister in Pontiac, Michigan. Lester pretty much stayed in musical retirement until 1987, when a host of fans convinced him to get back in the studio. The result was the acclaimed Rides Again. Lester often returned to Louisiana where he remained—or became—a fan favorite. He appeared at nearly all of the Ponderosa Stomps, an event named after Lester’s last Excello single. This past year he played at the New Orleans Jazz & Heritage Festival and the Baton Rouge Blues Festival. —Jeff Hannusch www.OFFBEAT.com
PHoto: jef jaisun
1933 – 2018
IN MEMORIAM
G.G. Shinn PHoto courtesy of the artist
1939 – 2018
G
regg Martinez, the soul-singing bus driver from Opelousas, Louisiana, has rubbed shoulders with the late Ed Bradley of 60 Minutes fame, Ivanka Trump and other celebrities. But Martinez says those encounters pale in comparison to the first time he saw G.G. Shinn. Fresh out of his teens, Martinez caught Shinn in 1975 at a club in Lafayette called After Dark. “He went up there and sang Major Harris’ ‘Love Won’t Let Me Wait,’” said Martinez. “My mouth dropped to the floor. I had never heard a white man sing like that in my life. He took over the whole stage. He’s the most larger-than-life person I’ve ever met. I’ve met Donald Trump, Patti LaBelle, the Four Tops and quite a few big stars over the years. He had that star power.” Martinez is missing the star power of Shinn, who died August 7 after a long illness. A memorial service was held August 13 at the Christ Church in West Monroe. Shinn, a Franklin native born in 1939, was buried in the Hasley Cemetery in West Monroe. For more than 50 years, Shinn was a shining star as a soul singer and trumpeter. In recent years, the Ponderosa Stomp, an annual celebration of classic blues, R&B, soul and rock ’n’ roll in New Orleans, featured Shinn in its “Blue-Eyed Soul Royalty in the Flesh” show. The event’s website called Shinn “a preeminent vocal stylist and the ultimate blue-eyed soul singer who has the vocal chops, range and phrasing rarely found in one package.” In 1963, Shinn kicked off his professional career as a member of the Boogie Kings. He is www.OFFBEAT.com
featured on the band’s album 1965, a prize among collectors. Shinn formed the Roller Coasters band in 1966 and recorded two albums before moving to Los Angeles. Chase, the Grammynominated jazz-rock band known for their 1971 hit, “Get It On,” hired Shinn for their 1972 Ennea album. The singer later enjoyed stints with TSC Trucking Company and the Hot Damn Band. Shinn ventured into the nightclub business in the 1970s in Lafayette. He later opened clubs in Lake Charles, Monroe and Alexandria before leaving the business in 2011. Those clubs helped launch the career of longtime friend and singer Charlene Howard, who learned from the always-debonair Shinn and his magnetic persona. “He had a charisma that when he got on stage, he commanded that audience,” said Howard. “He wasn’t just a singer and entertainer. He had the ability to reach out and just grab the hearts of people. He could take them and make them feel what he was singing.” —Herman Fuselier O CTO BER 2 018
O
17
CEAUX YOUNG
Dear New Orleans
U
nderneath the bridge where Claiborne Avenue meets Orleans Avenue, a mural devoted to New Orleans footwork electrifies what is otherwise a drab piece of urban infrastructure along the Claiborne corridor. It’s part of a revitalization effort led by the Cultural Innovation District and its creator is Ceaux Young, an artist whose work as a painter of walls and tattooer of skin has earned him enough accolades to make him one of the city’s preeminent creators. Of course, the inclusion of his Hollygrove mural of Lil Wayne—which appeared in Drake’s music video for “In My Feelings”—made the spotlight on Ceaux a little brighter. But for locals, he’s been a landmark since well before the superstar gave him shine, and his work in preserving the history of New Orleans can’t be compared to hits on YouTube. “It’s hard to fight developers when they’re throwing millions of dollars around. It’s hard to control the space you don’t own. My main job is to protect that footprint,” he says. “Some people write, some people make films. I understand my role in the visual part of that.” Born Courtney Buckley in 1983, Ceaux Young (whose name was inspired by a “Geaux Saints” calendar hanging on his grandmother’s wall) has lived in the Lower 9th Ward, Pigeon Town, Gert Town, New Orleans East and elsewhere across the city. By the time he enrolled at Sarah T. Reed, he was already a few years into honing his craft. “I think I was nine years old when my teacher made a big deal about my drawing,” he says. “Before that, I really thought everybody could draw. I didn’t know it was something involving talent. All I
18
O
OCTOBER 2018
did was draw trucks and Bart Simpson and Ninja Turtles. Me and my classmates used to challenge each other and there was a lightweight competition.” As a teenager, he began taking his talent outside of the classroom. “I used to write graffiti as a teenager. I veered off into characters and full production pieces and murals. I painted the whole inside back room of Cafe Brasil in 2002. I was around 17 at that time and got paid $300,” he says with justified pride. Around the same time, he became interested in an entirely different creative pursuit. “This is a little known fact: I’m way more passionate about music than art.” As Professor Bling, he produces for friends who rap is involved with Supreme Being, the hip-hop album covered By Amanda Mester
in this month’s “5 Questions” interview with M.A.Q. He also recently made his directorial debut, for rapper Paasky’s “Life Is Cheap.” It would be tattooing that would steer him towards a career in art. Faced with an exceedingly high cell-phone bill in 2003, Ceaux got industrious. “I tattooed six people in one day and made $500 day, off a whim. I was able to make that money because I needed it. I was 19 at that time, so I knew then that I’d never need a formal job and have never worked one.” His name in the world of ink has grown so large that today he’s booked a full two months in advance for tattoos. With 15 years of work behind him, Ceaux is now planning for an ambitious solo art show at Axiom Gallery, where he’ll open “Dear New Orleans” on October 6. “This
show is a small stretch from what I normally do. I usually do a lot of profiles and portrait style. I’m moving further into scenic type things and situations. It’s still in the same style that I do. I’m just trying to tell a story without having to speak it.” Works in the show are focused on a theme of nostalgia and in part to people who are not from New Orleans. “A lot of people move here and only know what they see. They have no idea what this place was and why people act the way they do. People who transplant here get used to the fun and the light stuff and they just think New Orleans is like that all the time. And it’s absolutely not.” To tell them the story of New Orleans, Ceaux will showcase pieces inspired by neighborhood scenes, high-school memories and what he calls “the bus-stop days.” In particular, he wants to encapsulate his commute to school. “As children, we rode the public bus to school. We didn’t have yellow school buses. Only the special-ed kids and field trips got those. I’m touching on how we were forced to grow up. These are images to remind people of the past. I’m writing a letter to the people who have no idea about the inner-city people who know about certain things.” Ceaux Young hopes to be commissioned to create the Jazz Fest poster. “I’m just trying to put my work out in the streets now so that, when it does happen, I can feel like I deserve it. I want people to feel like it’s warranted.” O Dear New Orleans by Ceaux Young will be on display at the Axiom Fine Art Gallery at 4613 Freret Street with an opening reception on Saturday, October 6 from 6-10 p.m. www.OFFBEAT.com
PHoto courtesy of the artist
Visual artist Ceaux Young pens stories without words.
JONATHON LONG
The Best High
S
ometimes it’s time for a change. Despite being known as “Boogie” since he was two, Baton Rouge singer-guitarist-songwriter Jonathon Long recently dropped his nickname. The title of his new album—produced by the on-therise New Orleans blues singerguitarist Samantha Fish—is simply Jonathon Long. “Having ‘Boogie’ in my name insinuates that I play boogiewoogie,” Long said a few days before his thirtieth birthday. “Which I do—but I don’t want to be categorized as anything.” That goes for blues, too, the genre he’s been identified with since his late teens. “But I’m always a blues guy,” Long admitted. “I can pull off Albert Collins, Albert King, Freddie King, Lightnin’ Malcolm. All that stuff. But I like variety.” Jonathon Long, the first release from Fish’s Wild Heart Records, showcases Long’s versatility. Soul, Southern rock and country join the album’s blues. All of it falls naturally into Long’s bailiwick. “I write folk music, bluegrass songs, country and blues, rock, soul and R&B,” he said. “But most of all I write stories.” Unlike Long’s previous two albums—2016’s Trying to Get There and 2013’s Jonathon Boogie Long and the Blues Revolution— Fish’s production work for Jonathon Long puts his songs and singing up front. “Some of my songs were complicated,” Long explained. “Samantha brought them down to a more understandable level. Samantha understands simplicity. You only play what needs to be played. On my first two albums, I got busy, because I like busy. But those albums are almost for musicians only. This record is for everybody.”
20
O
OCTOBER 2018
Of course, Fish also sought Long’s best studio performances. “She’d pull them out of me,” he said. “If I did something halfway, she told me to do it again. She had something to say about everything.” Rueben Williams, who manages both Fish and Long has considered Fish’s move into production for some time. “I’ve known Jonathon for years,” Fish said. “His songs are really well-crafted. He’s an incredibly talented guitar player and singer. So, Rueben and Jonathon brought me in to produce Jonathon’s album. It all fell together naturally, the way the best collaborations do. I wanted to take Jonathon’s vision for himself and make that become reality. I think that’s what a good producer does.” “It’s an honor,” Long said of being Fish’s first production. The album’s behind-the-scenes talent also includes Grammy-winners David Z (mixing) and Tony Daigle (mastering). Long’s path to festivals, clubs and theaters began at the Full By John Wirt
Gospel Baptist Church his family attended during his childhood. At age six, he received informal guitar instruction from some members of the congregation. He took formal guitar lessons later and, by his early teens, joined blues jams at such Baton Rouge venues as Tabby’s Blues Box and Heritage Hall, Phil Brady’s and Swamp Mama’s. At 14, he dropped out of school to tour with reggae and funk band Henry Turner Jr. and Flavor. “I told my parents, ‘I’m quitting school. I’m going to be a music superstar,’” Long said. Although he didn’t achieve superstardom, Long’s three years with Turner taught him how to run a band. He also performed with touring hip-hop group 2 Hypnotic, which included New Orleans drummer Terrence Houston, and became first-call guitarist for blues and R&B singer Luther Kent’s big band. When Long was about 15, Baton Rouge blues artist SunDanze Dunston encouraged
him to be more than a sideman. “SunDanze told me, ‘If you never open your mouth and sing, you’re just going to be another guitar player.’” Taking the advice seriously, Long worked his way up to being a frontman by the time he was 18. In 2011, Long, then 23, placed first among the more than 4,000 contestants who entered Guitar Center’s King of the Blues competition. He gives some credit for his win to the pastor’s suit he wore during the competition finals in Los Angeles. “I wore a nice suit and played the blues,” Long said. In 2013, Long got an even bigger thrill when he played 15 tour dates with B.B. King. During their first show together, the blues legend called Long on stage. King reintroduced Long to the audience and then, leaning away from the microphone, spoke privately to his young opening act. “B.B. said, ‘You play really good. I heard you from the bus. Yeah, I stole some of your licks.’ I said, ‘That’s alright. I stole all of your licks.’ So, I shared that moment with him. He was as cordial as he could possibly be. He truly was a gentleman.” Feeling upbeat about his new album and turning 30, Long’s eager for the world to hear Jonathon Long. “Everywhere we go, they always want us to come back,” he said. “So, we just want to be back out there. When I’m on a stage playing for people, I just get lost in it. It’s the best high there is.” O Jonathon Long performs Sunday, October 14 at the Voice of the Wetlands Festival in Houma and Sunday, October 21 at the Festival of the Lake in Mandeville. www.OFFBEAT.com
PHoto courtesy of the artist
Jonathon Long puts his songs and singing up front.
“I
think if I have any talent at all, it’s for picking good guys to play with to make me sound good,” Jon Cleary says, then laughs and takes another sip of his tea. The Grammy-winning pianist, vocalist and composer still retains that ritual of his British birthplace, though musically he’s long fully embraced the sounds of New Orleans, his residence since 1981. Cleary stands as the keeper of the flame in the remarkable lineage of pianists such as Professor Longhair, Allen Toussaint, Dr. John, James Booker and Henry Butler. He also faithfully revisits classics from rhythm and blues giants like guitarists Snooks Eaglin and Earl King and vocalists Ernie K-Doe and Lee Dorsey. As a pianist who also sings, Cleary is very much aware that it is up to him and others like Davell Crawford to keep the material from this city’s rhythm and blues heydays alive for future generations. “I used those solo gigs at d.b.a. to make sure that somebody is here playing and singing the New Orleans songbook,” Cleary explains. “A lot of the piano players that were around here when I was a kid coming up aren’t here anymore. There are some great piano players in town, but not very many people who play and sing. There is repertoire.” Surrounding himself with talented musicians has been Cleary’s signature from the time he first moved to the city and continues to today as heard on his formidable new album, Dyna-Mite, which is loaded with New Orleans top artists. Back in the day, when he was just starting to gig in New Orleans, he realized that it was the veteran musicians who, at the drop of a hat, could play the old songs with which he was familiar. Younger cats certainly might have been capable of playing them, though lack of a budget for rehearsals often thwarted that option. “I found if I called the old guys—like drummer Smokey Johnson and [bassist] Erving Charles—then I could call out a Little Willie John tune and they all knew it,” Cleary recalls, “and I knew a lot of old songs. I’d also get [bassist/vocalist] George Porter who has a great encyclopedic knowledge of old tunes because he came up playing with older musicians and has respect for the tradition. I could play with George.” Another essential for Cleary was that the members of his band were also vocalists. The guys in his first group, the Absolute Monster Gentlemen—bassist Cornell Williams, guitarist Derwin “Big D” Perkins and Jeffrey “Jellybean” Alexander—who came out of the gospel community, definitely fit that critique. The same can be said about the core artists on the new album as well as Cleary’s very busy touring band, which includes drummer/ vocalist A.J. Hall and longtime running mate bassist/vocalist Williams. “With three voices you can cover the essential ground to harmonize and paint a full picture,” Cleary says. When the budget allows, keyboardist, organist, and of course, vocalist Nigel Hall, who Cleary connected with after discovering their mutual admiration for vocalist Donny Hathaway, is also on the bill. “With four voices, the harmony really gets interesting,” he notes. www.OFFBEAT.com
“All of the musicians in my bands have to be able sing well,” Cleary confirms. “That’s very important to me. When your band sings it’s almost like you’re building a bridge that crosses the divide between the stage and the audience. People really respond to that. It’s kind of like a primeval thing that is part of our DNA. Also, I like playing songs. I think songs are important because they always have a catchy little hook.” Talk about “catchy little hooks”: The title cut embraces them—New Orleans style—in abundance rhythmically, melodically and lyrically. Cleary references the piano of Professor Longhair, plus there’s the Meters-esque guitar of Leo Nocentelli. Straight off the streets is the repeated refrain, “Don’t tell nobody,” that is most associated with the tune “I Got a Big Fat Woman.” Despite those and other elements that are highly associated with New Orleans, the song remains uniquely devoid of too often–used clichés. Cleary was able to accomplish this because of his deep knowledge and respect for the city, its music and its musicians. “When I first came here, I was aware that it was going to be a long process and the way to do it properly was to absorb it all—not just the music, but the food, the water,” he explains of grasping the inner workings of New Orleans music. “Then it just goes into your mental inventory of ideas. If you just continue to work at it, when it comes out it’s going to be honestly New Orleans. A lot of people play good copies of New Orleans tunes. I didn’t just want to be an imitation.” The proof of the success of Cleary’s concept to dig deeply and lovingly into all things New Orleans in order to access this city’s essence lives in the title tune as well as when he covers classics or creates original compositions. “I wrote ‘Dyna-Mite’ on a plane during the short moment between when you take a seat and have to turn off your phone,” Cleary remembers. “It has a silly play on words and I wanted to have a song that had that distinctly New Orleans groove because it’s great for the way I play piano. When you play that groove live, it doesn’t matter where in the world you are, it makes people feel good. It just works.” On the album, Cleary’s piano and vocals often enjoy the luxury of being backed by large ensemble complete with the duo rhythms of drummer/vocalist Jamison Ross with percussions supplied by A.J. Hall. The two outstanding musicians are teamed in the rhythm section with the solid bassist/vocalist Calvin Turner. When the horn section kicks in, as it does on the opener, it boasts a full complement of the essentials—trombone, saxophone and trumpet. Naturally, it’s financially impossible to take a band of this size on the road, yet Cleary says because of the song’s nature, it can hold its own in a smaller setting. “It’s an area where the piano is the perfect vehicle for implying what all the elements of the band do,” he explains. “Even if I play ‘Dyna-Mite’ solo, I’m implying what you hear the horns and drums or the [Mardi Gras] Indian percussionists play out in the street. Strip New Orleans funk down to its lowest common denominator and you get the street.” O CTO BER 2 018
O
23
CO V
ER S TOR Y
“I played guitar for a lot longer than I played piano. When you move from an instrument like a guitar to piano, it’s like going from a garden to a huge pasture because of the piano’s range.” In New Orleans there aren’t many people who think of Jon Cleary as a guitarist or have ever seen him wield the instrument. He has recorded with the guitar on earlier albums and here his guitar plays a major role. On the road, which has been his longtime home away from home, he’s also brought the instrument to the stage even in a trio setting. At one time, he admits, he didn’t really like guitar trios because when there was a guitar solo, the chords would drop out. He remembers thinking, “I’ve got to do this and I just need to find a way to make it work. It’s nice to have some variety.” “I played guitar for a lot longer than I played piano,” Cleary clarifies. “It was my first instrument. When you move from an instrument like a guitar to piano, it’s like going from a garden to a huge pasture because of the piano’s range. So when you’re used to having that all under your fingertips, to go back and pick up the guitar the picture seems to shrinks a little bit.” “Over the years, my piano playing has informed my guitar playing more,” he continues. “I think a lot of the good New Orleans guitar players always played a bit like piano players because New Orleans was never a guitar town. So Snooks [Eaglin] played like a piano player and Earl King played like a piano player quite often in the arpeggio of chords he used to play. Walter Washington has a beautiful way of voicing chords which is like what a piano would do.” Cleary’s piano and vocals continue to dominate the sound and groove of Dyna-Mite while he turns not only to the guitar but also the Hammond B-3, Wurlitzer, clavinet bass and even drums on numerous cuts.
24
O
OCTOBER 2018
In fact, on the humorously titled “Big Greasy” Cleary plays all of the above; Jamison Ross came into the studio to overdub the drums on top of Cleary’s creation that included a drum loop. It’s a little gem of a reggae number and of the album. It has all of the crucial elements—melodically, rhythmically, vocally, lyrically and basically stylistically—of what makes reggae reggae. “Yeah, ‘Big Greasy’ is me pretty much playing just about everything,” Cleary points out with a laugh. “All these things start out as just me pressing record and just playing. It began with a New Orleans kind of funk groove with a Jamaican style bass line and a lyric that I wrote while driving back from a gig in Memphis. I think I sang it into my iPhone, like two or three lines. I spend half my life just following red tail lights coming back home.” “‘Big Greasy’ is full of lots of little references that anybody who’s really into reggae will be able to spot. Reggae music was an important part of the soundtrack of my adolescence in England. In the late ’70s we got to see all the amazing Jamaican bands that came to England to play,” says Cleary, adding that during that era punk rock and reggae bands—like The Clash and Steel Pulse—would be double billed. “That’s what kids my age were listening to.” Like most reggae tunes, “Big Greasy” contains a social message, though it’s directed specifically to New Orleans rather than universally. “Don’t go messing up a good thing,” Cleary warns. “It’s the funk that holds it [New Orleans] together.” Though that line—a truism for many—might bring a smile, Cleary remains seriously concerned about some folks’ intent to “clean up” www.OFFBEAT.com
COVER STORY
the city, which they often see as closing down bars and joints with live music that in many cases have existed for years. “New Orleans was so funky that you either loved it or hated it,” Cleary says. “The people who hated it left and never came back and the people who loved it moved here so we were all kind of funky together and it was cool. Parts of the local populace always, it seems, want to clean it up—they were a little bit ashamed of the dirtiness. The song is like, okay, that’s cool but don’t sweep it all away. There seems to be a conspiracy to try to de-funkify it.” The atmosphere gets a bit more sophisticated on Cleary’s soul ballad “Best Ain’t Good Enough” that opens powerfully, with him advising, “If you’ve got a good thing my friend, mmm, mmm, hold on tight,” while his B-3 effectively backs his preaching. Its late night quality is reminiscent of a tune that could show up in the songbook of guitarist/vocalist Walter “Wolfman” Washington, who was an important factor in Cleary’s early career in New Orleans. “I wrote that song years ago— early 1990s,” Cleary explains. “At the time, I think I had been listening to a lot of Ray Charles and Walter was very influenced by Ray Charles. That probably was the musical common denominator there. I learned so much from Walter Washington. Walter influenced the way I sing and voice chords. We also share a love of Johnny Guitar Watson.” Cleary and Washington first met back in the winter of 1984 when the pianist was playing at Benny’s Bar with vocalist Mighty Sam McClain and Washington stopped by one night and sat in with the band. www.OFFBEAT.com
O CTO BER 2 018
O
25
CO V
ER S TOR Y
“The best New Orleans tunes always have great hooks... Toussaint’s tunes were clever, intelligent and well-produced.”
“We hit it off straight away and he asked me if I would come and play with him at Dorothy’s [Dorothy’s Medallion Lounge] with Johnny Adams,” Cleary remembers. The pianist made his first tour with Wolfman heading down the road in a station wagon to play small, black barrooms in Mississippi. The group, which included drummer Wilbert “Junkyard Dog” Albert, was first dubbed the Solar System band and then became, suitably, the Roadmasters. “Can you imagine how happy I was?” Cleary asks with the amazement of his incredible good fortune on being on the road—more accurately on the Chitlin’ Circuit—with Washington still in his voice. “I learned so much even from the jukeboxes in these places. Blues lovers in England were listening to John Lee Hooker and B.B. King. I was looking at the jukeboxes in these little joints and they had Johnnie Taylor, Denise LaSalle, Tyrone Davis—those were names I didn’t know. That really turned me onto Southern Soul. It was informed by the blues but it was more church-y and more musical to my ears.” “New Orleans was always more sophisticated than the music that came out Texas or Mississippi. This is where jazz came out of, so the music had complicated changes. It’s always been a broader musical palette than three-chord blues.” “I think I was hard-wired—or prewired—for certain things,” Cleary suggests. “It was almost like hearing something that I had to hear because my receiver was already tuned into that wavelength.” On listening to Dyna-Mite, or any of his recordings or live shows, those elements that perked up his everready ears become apparent as they’ve become a part of him. Cleary was just a youngster when he was introduced to the power of vocalist/guitarist/composer Taj Mahal, who would later play a major role in his life. He offers a bow to the legendary bluesman by including a tune on Dyna-Mite that they wrote together, the swaying “21st Century Gypsy Singing Lover Man,” a lament on leaving a sweetheart when the road and music calls. The tune was on Mahal’s 1997 Señor Blues with Cleary on piano. “I first heard Taj on record when I was a little kid at my grandma’s house and my uncle said, ‘Sit down, I want to play you something and I want you to really listen to it.’ So he put on a record called Recycling the Blues & Other Related Stuff. The song was a version of “Sweet Home Chicago” with the Pointer Sisters singing with him. I was
26
O
OCTOBER 2018
mesmerized. It was the loveliest thing I ever heard. So over the years, I started getting everything I could by Taj.” “When I left school, I got my first job as a laborer on a building site to save money to come to New Orleans,” Cleary continues. “I took my mom to see Taj with my first pay packet. That just fit me like an old comfortable jacket—I just dug it hugely.” Years later when Cleary was in England and trying to get a visa to return to the States, he got a message from record producer John Porter, to whom he had previously sent rough cassette demos. As Cleary tells it, Porter said “I’m doing a record with Taj and I played him a few of your songs and would you mind if he did them on the record?” Naturally, Cleary was delighted and even more so when Porter called back and said, “You know what, Taj has asked if you could come play on the record.” Cleary hit it big time with that offer. Not only would he be recording with Taj Mahal, who he had admired for so long, but it also enabled him to get the visa to return the U.S. and thus get back to New Orleans. “I think he just dug the fact I that I had the same taste as him—and it wasn’t just limited to blues. There was Cuban music, Latin music, jazz and various aspects of R&B. As I said, a lot of my musicality was informed as a little kid by Taj records so I really knew his stuff very well.” Cleary’s piano and vocals are at the heart of most of the material on DynaMite, though he doesn’t often take center stage as a soloist. Perhaps that’s what makes it somewhat amusing that at the very end of the final cut, the lively and very catchy, “All Good Things,” he takes it out with a fullminute of solo piano. Cleary also takes full advantage of all the great singers in the band’s ranks. The harmonies really give the tune meat. “It felt like the right thing to do,” says Cleary of the solo. “It somehow fit in with the sentiment of the song. I wrote that years ago and recorded it a couple of times. I think if a song has a hook that non-musicians can pick up on very easily, that, to me is a pop song. The best New Orleans tunes always have great hooks—Ernie K-Doe’s ‘T’aint It the Truth’ and Lee Dorsey’s tunes always had great hooks. Just because it’s popular doesn’t mean it’s bad although a lot of stuff that is popular is crap. It doesn’t have to be corny. Toussaint’s tunes were clever, intelligent and well-produced. It’s good to aspire to do the same thing.” www.OFFBEAT.com
RY STO VER O C
Many Cleary fans might consider him already having achieved “classic” status for his song “When You Get Back” off his 2002 album with the Absolute Monster Gentlemen. “That really resonates with a lot of people—the ladies really like that one,” says Cleary with a laugh. “When they request it, some people say ‘Cha Cha All Night Long’ or ‘She Lied.’” Cleary describes his recent touring schedule—which includes performances with longtime associate Bonnie Raitt both nationally and internationally—as being “a bit of a blur.” He’s been jumping from country to country and city to city playing barrooms with a capacity of approximately 60 patrons to being in front an audience of 60,000 at London’s Hyde Park. He describes performing in an over2000-year-old amphitheater in Pompeii as totally mind-boggling. It could be considered a lucky break that Cleary will be home in New Orleans long enough to do two shows in October. On Friday, October 5, he’ll celebrate Dyna-Mite’s release at the Maple Leaf at a gig dubbed “Jon Cleary & Friends.” Drummers Jamison Ross—who’s on the album though he no longer tours with Cleary as his solo career skyrocketed—and A.J. Hall will be on the scene, as well as bassist Cornell Williams. All of the horn players blowin’ on the disc are invited to jump onboard. The following day, Cleary and his trio head across the river to perform at the Algiers Fest with special guest Walter “Wolfman” Washington. While Cleary might drink a cup of hot tea on a sweltering summer afternoon rather than an iced sweet tea, the British native speaks of this city and its music much like a native son. “There have been a couple of occasions in the last century when New Orleans became fashionable,” says Cleary, who, in part, was certainly making reference to this city’s rhythm and blues heydays of the late 1950s and 1960s. “When the business goes away it’s not like people stop playing music down here. You do it anyway because it is an important part of the culture. If you’re a good musician and start playing music you don’t stop. You can do other things but you keep playing music.” “Here it’s almost like a bodily function—it’s like breathing oxygen. You don’t think about it, you just play music. The hope is that you can do it well and surround yourself with other good players and have fun doing it. If you can make a living at it, even a meager living, that’s the icing on the cake. The evidence is that every time we play—and I take New Orleans musicians out around the world—by the time we’ve done our job, everybody walks out with big smiles on their faces. New Orleans music works every time. It’s medicine, it makes you feel good. The essence of New Orleans music is that they’ll still be doing it in 100 years.” “One time I was with [Ernie] K-Doe outside of the Mother-inLaw [Lounge] on Claiborne and a car came past and all you could hear was the drums and the bass like some hip-hop thing coming out of huge woofers in the trunk. He said, ‘Hear that groove? That ain’t nothing new. We’ve been doing that for 100 years.’ And he was right. There was that street beat groove that is the essence of New Orleans music.” O www.OFFBEAT.com
O CTO BER 2 018
O
27
FOOD HALLS
Communal Bites PHoto: ELSA HAHNE
New Orleans continues to digest the national food hall trend.
Jennifer Sherrod-Blackwell of Elysian Seafood at Auction House Market
I
n 2013, Jennifer SherrodBlackwell, Martinique Bistro’s veteran GM and sommelier, and her husband, Brandon Blackwell, a former sous chef at Upperline and butcher at Cleaver & Co., combined their culinary experience to launch a pop-up called Splendid Pig. A common first step for food industry entrepreneurs with dreams of opening their own restaurant, the pop-up provided the couple with a low-risk, affordable way to test out their concept and develop a small following. Traditionally, the next step might have been brick-andmortar restaurant ownership. But in a culinary market defined by competition-fueling restaurant openings, high commercial real estate prices and complex staffing challenges, other options have started to emerge.
30
O
OCTOBER 2018
Rather than invest all their resources into opening their own restaurant, the Splendid Pig team applied and was accepted to Central City’s Roux Carré, an open-air food market designed to support wouldbe restaurateurs in their efforts. When the mini–food hall found its opening delayed by construction issues, Sherrod-Blackwell and Blackwell launched a second venture, Elysian Seafood, at St. Roch Market in 2015. An outpost at St. Roch Market Miami, operated by the folks behind the market on St. Claude Avenue, followed in late February. Six days later, they opened a third location at Auction House Market (801 Magazine Street), one of two new food halls to arrive in New Orleans this year. “They asked us if we want to open oyster bars in future locations as well,” says Sherrod-Blackwell, By Jennifer Odell
adding that they accepted the offer and hope to expand along with Will Donaldson and Barre Tanguis, whose St. Roch Market revitalization continues to grab national headlines and accolades. The food hall trend dates back a decade or more in larger cities, but New Orleans, which was still in recovery mode 10 years ago, has definitely caught up—and not just because of Donaldson’s and Tanguis’ efforts. Shortly after Auction House debuted in the CBD, Pythian Market opened a mile and a half away at 234 Loyola Avenue. Both halls represent a larger trend the real estate firm Cushman & Wakefield have dubbed “the sharing economy for restaurants.” After a few years of major growth across multiple parts of the country, including the South, the firm predicted in its 2018 report that the market for gourmet-style
food halls “will have tripled in size” in the next five years if it continues growing at its current rate. Like other food halls across the country, Auction House and Pythian Market occupy the ground floor of sleek and newly refurbished mixed-use buildings. They’re also both operated by industry pros who specialize in that particular format and have experience working with real estate developers as well as culinary entrepreneurs. Both spaces feature renovated, spacious and bright interiors, plus local vendors scattered around an upscale, centrally located cocktail and wine bar. Recent weeknight visits to each hall revealed modest yet bustling crowds taking advantage of the bars, food stalls and laptop-friendly tables inside—even on a Sunday. Both markets offer familiar New Orleans vendors, from established www.OFFBEAT.com
DH FO O
food trucks like La Cocinita—which offers an expanded menu that includes arepas and brunch options as well as tacos at Pythian Market— to Elysian Seafood, whose larger Auction House space combines the oyster and seafood setups that remain separate at St. Roch. St. Roch Market staples EmpanadaNOLA, Coast Roast Coffee and the Mayhaw bar have stalls at Auction House, too, as do newcomers showcasing options like poke and sushi (Aloha Lei), North African and Mediterranean (Alpha), Louisiana-focused sandwiches (SoLA Deli) and healthconscious salads and breakfasts. Over at Pythian Market, which has expanded to 13 vendors since it opened, diners can choose from wood-fired pizzas to Vietnamese to fresh juices and salads. “The food hall movement is just that, a movement,” says Donaldson. “A food hall represents a way for an entrepreneur to reduce the barrier of entry to the food and beverage industry. It’s really expensive to start a restaurant and there’s a ton of risk involved.” Explaining that the mission behind St. Roch Market was to be the go-between for chefs and foodies interested in getting a business idea off the ground without losing their house in the process, Donaldson says more than half of his original St. Roch vendors now have stand-alone locations. The Blackwells, however, seem to have found their sweet spot by juggling three locations within Donaldson’s and Tanguis’ food halls. “It’s a low investment and the terms of the agreement are short so if your concept isn’t working out, you don’t have a multi-year contract or rent to deal with, so you can get out without losing a ton of money. That’s how we’ve been able to expand,” Sherrod-Blackwell explains. www.OFFBEAT.com
S ALL
They don’t bear the burden of paying for restaurant hardware like plateware, furniture or service to the cooking equipment. Combined, the advantages are far outweighing those of launching a stand-alone location right now for Elysian Seafood. At this point, Sherrod-Blackwell says, expanding their business within the food hall format seems like a stronger option than opening their own restaurant. While Elysian Seafood’s food hall success has allowed them to set up shop outside the state, chef Lisa Brefere, the curator of Pythian Market, says she focused on maintaining as many regional connections as possible in the three years it took to open the food hall. “When you go to a place and you’re like, ‘I’m going to create something,’ you have to know where you are, too. We used local furniture, reclaimed wood, we have this beautiful mural [by Bmike Odums] that celebrates the history of the building. You conform to where you are,” she says, noting that she’s also curated food halls in New York, California and other states, as well as Louisiana. Looking ahead, Brefere cautioned that Pythian Market was still in “launch phase” as of the end of the summer and was trying out different ideas including happy hours and a jazz brunch. Over at Auction House Market, Donaldson was planning to launch a supper club. While Brefere admitted food halls would have to continue reinventing themselves over time “so they don’t get stale,” she ultimately believes they’re not going anywhere. Citing aspects of the concept like the communal vibe, open seating and the options for making food halls a social gathering place, she said, “I think they’re here to stay.” O O CTO BER 2 018
O
31
EATS
M
att Ray (MR): “We wanted to create a cocktail that would honor the spirit of Three Keys, our bar and performance venue.” Sonali Fernando (SF): “The venue is named after the James Booker song, so we were thinking of all the great piano people of New Orleans and wanted to honor Isidore ‘Tuts’ Washington, who is lesser-known because he refused to record, but he influenced everyone—from Fats Domino to Professor Longhair to James Booker. He was born in 1907 and started playing at the age of 10. He was known for boogiewoogie and blues, but also for pop music and for reading a crowd. Since we’d named our venue after a piano man, we wanted to take it a step further with this cocktail.” MR: “I wanted to make a drink that’s reminiscent of a smoky jazz
32
O
OCTOBER 2018
bar. So brandy, rum, something tropical... We added Curaçao and banana liqueur, and I wanted it to have a little heat to it, so we added some Hellfire bitters. The drink comes in two versions—you can only get the frozen version, called the Frozen Tuts, at Three Keys, while the King Tuts is available in our lobby. The frozen version has a little bit of coconut water in it, but other than that they’re the same—almost a classic version of a sour. My favorite thing about this cocktail is that the bitters at the end brings a little heat so you want to take another drink to dispel the heat and then it comes back at the end—a perfect cycle of drinking.” SF: “Agreed!” MR: “We also tried some stuff that didn’t work as well. Failure is part of all creation and even when you succeed, you’re always
By Elsa Hahne
second-guessing yourself. ‘This could be better, this could be a little bit better.’ So even if you accidentally land on the final version early, you’ll still never admit to yourself that that’s the final version.” SF: “He texted me at one in the morning! ‘Hey, can you bring some Palo Santo?’ So I brought a stick.” MR: “Palo Santo is a bark that’s traditionally used for cleansing spirits, like sage. Also, I wanted the cocktail to look a little dangerous.” MR: “It reminds me of Sonali’s office.” SF: “I do Palo Santo in the office quite a bit...” MR: “For the drink, you could probably just burn some Palo Santo in the room—once it’s in the air, you’re going to smell it, taste it every time you take a sip.”
King Tuts 1/2-ounce Korbel brandy 1/2-ounce La Favorite Rhum Blanc 1/2-ounce Tempus Fugit Crème de Banane liqueur 1/2-ounce Pierre Ferrand Dry Curaçao liqueur 3/4–ounce fresh lemon juice 1/4-ounce ginger syrup (made with equal parts simple syrup and fresh ginger juice) 2 dashes Bittermens Hellfire Habanero Shrub Palo Santo (optional) Shake liquids with ice, and strain over fresh crushed ice. Burn some Palo Santo, if desired. www.OFFBEAT.com
photos: Elsa Hahne
Matt Ray & Sonali Fernando/Ace Hotel
FRENCH Café Degas: 3127 Esplanade Ave., 945-5635 La Crepe Nanou: 1410 Robert St., 899-2670
GERMAN Bratz Y'all: 617-B Piety St., 301-3222
GROCERY STORES Breaux Mart: 3233 Magazine St., 262-6017; 2904 Severn Ave. Metarie, 885-5565; 9647 Jefferson Hwy. River Ridge, 737-8146; 315 E Judge Perez, Chalmette, 262-0750; 605 Lapalco Blvd., Gretna, 433-0333 Mardi Gras Zone: 2706 Royal St., 947-8787
ICE CREAM/CAKE/CANDY Aunt Sally’s Praline Shops: 2831 Chartres St., 944-6090 Bittersweet Confections: 725 Magazine St., 523-2626 Sucré: 3025 Magazine St.,520-8311 Tee-Eva’s Praline Shop: 4430 Magazine St., 899-8350
AFRICAN Bennachin: 1212 Royal St., 522-1230
INDIAN
AMERICAN
Nirvana: 4308 Magazine St., 894-9797
Barcadia: 601 Tchoupitoulas St., 335-1740 Brown Butter Southern Kitchen: 231 N Carrollton Ave., 609-3871 Poppy’s Time Out Sports Bar & Grill: 1 Poydras St., 247-9265 Port of Call: 838 Esplanade Ave., 523-0120
JAPANESE/KOREAN/SUSHI/THAI
COFFEE HOUSE
LOUISIANA / SOUTHERN
CREOLE/CAJUN Cochon: 930 Tchoupitoulas St., 588-2123 Cornet: 700 Bourbon St., 523-1485 Galatoire’s: 209 Bourbon St., 525-2021 Gumbo Shop: 630 St. Peter St., 525-1486 K-Paul’s Louisiana Kitchen: 416 Chartres St., 524-7394 New Orleans Creole Cookery: 508 Toulouse St., 524-9632 Restaurant Rebirth: 857 Fulton St., 522-6863
DELI Stein’s Market and Deli: 2207 Magazine St., 527-0771
FINE DINING Bombay Club: 830 Conti St., 586-0972 Broussard’s: 819 Conti St., 581-3866 Commander’s Palace: 1403 Washington Ave., 899-8221 Compere Lapin: 535 Tchoupitoulas St, 599-2119 Josephine Estelle: Ace Hotel, 600 Carondelet St., 930-3070
34
O
OCTOBER 2018
Fulton Alley: 600 Fulton St., 208-5593 Mondo: 900 Harrison Ave., 224-2633 Praline Connection: 542 Frenchmen St., 943-3934
MEDITERRANEAN Byblos: 3218 Magazine St., 894-1233 Mona’s Café: 504 Frenchmen St., 949-4115 Saba: 5757 Magazine St, 324-7770 Shaya: 4213 Magazine St, 891-4213
MEXICAN/CARIBBEAN/SPANISH Barú Bistro & Tapas: 3700 Magazine St., 895-2225 El Gato Negro: 81 French Market Place, 525-9846; 300 Harrison Ave., 488-0107; 800 S Peters St., 309-8804 Juan’s Flying Burrito: 2018 Magazine St., 569-0000
MUSIC ON THE MENU Banks Street Bar & Grill: 4401 Banks St., 486-0258 B.B. King’s Blues Club: 1104 Decatur St., 934-5464 Buffa’s: 1001 Esplanade Ave., 949-0038 Chickie Wah Wah: 2828 Canal St., 304-4714 Dmac’s Bar & Grill: 542 S Jefferson Davis Pkwy, 304-5757
PIZZA Midway Pizza: 4725 Freret St., 322-2815 Pizza Delicious: 617 Piety St., 676-8482 Slice Pizzeria: 1513 St. Charles Ave., 525-7437 Theo’s Pizza: 4218 Magazine St., 894-8554; 4024 Canal St., 302-1133; 1212 S Clearview, 733-3803
SEAFOOD Basin Seafood and Spirits: 3222 Magazine St., 302-7391 Crazy Lobster Bar & Grill: 1 Poydras St. 569-3380 Deanie’s Seafood: 841 Iberville St., 581-1316; 1713 Lake Ave. Metairie, 834-1225 Pier 424 Seafood Market: 424 Bourbon St., 309-1574 Royal House Oyster Bar: 441 Royal St., 528-2601
SOUL Praline Connection: 542 Frenchmen St., 943-3934
STEAKHOUSE La Boca: 870 Tchoupitoulas St., 525-8205
VIETNAMESE Namese: 4077 Tulane Ave., 483-8899
WEE HOURS Buffa’s Restaurant & Lounge: 1001 Esplanade Ave., 949-0038 Mimi’s in the Marigny: 2601 Royal St., 872-9868
The Dish
Adolfo’s: 611 Frenchmen St., 948-3800
The Joint: 701 Mazant St., 949-3232 Café du Monde: 800 Decatur St., 525-4544 Morning Call Coffee Stand: 56 Dreyfous Dr., (504) 300-1157
Biscuits and Buns on Banks: 4337 Banks St., 273-4600 Cake Café: 2440 Chartres St., 943-0010 Cowbell: 8801 Oak St., 298-8689 Dat Dog: 601 Frenchmen St., 309-3362; 5030 Freret St., 899-6883; 3336 Magazine St., 324-2226 Live Oak Cafe: 8140 Oak St., 265-0050 Lucy’s Retired Surfers Bar & Restaurant: 701 Tchoupitoulas St., 523-8995 Parkway Bakery and Tavern: 538 Hagan Ave., 482-3047
ITALIAN
Chiba: 8312 Oak St., 826-9119 Mikimoto: 3301 S. Carrollton Ave., 488-1881 Sukho Thai: 4519 Magazine St., 373-6471; 2200 Royal St., 948-9309 Wasabi: 900 Frenchmen St., 943-9433
BARBECUE
NEIGHBORHOOD JOINTS
Sammy’s Food Services: 3000 Elysian Fields Ave., 948-7361 Tracey’s: 2604 Magazine St., 897-5413 Ye Olde College Inn: 3000 S. Carrollton Ave., 866-3683
Chef Kelly Fields on Willa Jean’s BBQ Shrimp Toast
Which dish on your menu says the most about you? Our BBQ Shrimp Toast.
Why is that? We all come from fine dining here, so we’re used to tiny little plates. For the first two years of Willa Jean, I had to keep saying, ‘We can’t be afraid to feed people. Make it bigger. Make it a little nastier.’ This dish is homemade sourdough and we grill it, cover it in burrata, make it toasty by melting the cheese and then finish it with New Orleans barbecued shrimp. It’s tipping our hat to the tradition of New Orleans while also being bakery-forward, so it’s a combo, with me wanting to make it about bread. And if you can put burrata on something, why wouldn’t you? When we make the sauce and roast all the shrimp shells—I grew up in Charleston, and it smells like my backyard. I grew up on the water and with the low tide, that was the smell. We’ve had this on our menu for about two years now. We make it all day long. And like me, it’s both nourishing and a little bit nasty [laughs]. —Elsa Hahne www.OFFBEAT.com
Photo: ELSA HAHNE
Kingfish: 337 Chartres St., 598-5005 Mr. B’s Bistro: 201 Royal St. 523-2078
Cocina de Liberación at Fontaine Palace: 218 S. Robertson St, 525-9775 Gattuso’s: 435 Huey P Long Ave., Gretna, 368-1114 Hard Rock Café: 125 Bourbon St., 529-5617 House of Blues: 225 Decatur St., 412-8068 Howlin’ Wolf’s Wolf Den: 907 S. Peters St., 529-5844 Le Bon Temps Roule: 4801 Magazine St., 895-8117 Little Gem Saloon: 445 S. Rampart St., 267-4863 Maison: 508 Frenchmen St., 289-5648 Mid City Lanes Rock ‘N’ Bowl: 4133 S. Carrollton Ave., 482-3133 NOSH: 752 Tchoupitoulas St., 581-7101 Palm Court: 1204 Decatur St., 525-0200 Rivershack Tavern: 3449 River Rd., 834-4938 Siberia Lounge: 2227 St. Claude Ave., 265-8865 Southport Hall: 200 Monticello Ave., 835-2903 Snug Harbor: 626 Frenchmen St., 949-0696 Three Muses: 536 Frenchmen St., 298-8746
DINING OUT
Restaurant R'evolution With so many new restaurants opening up all the time all over New Orleans, a first visit anywhere can be accompanied by a mélange of excitement and anxiety. Ambitious endeavors and good ideas are often compromised when the seemingly ever-increasing demand for skilled kitchen personnel far exceeds local supply. Opening a new restaurant can be a life-changing investment, so walking away from a first meal somewhere with a mouthful of “Nah...” leads to a bitter aftertaste, with repercussions far beyond one’s own digestion. When chef-owners John Folse of Donaldsonville and Rick Tramonto of Chicago opened Restaurant R’evolution inside the Royal Sonesta Hotel six years ago (reportedly a six-million-dollar investment), the pressure was undoubtedly on to satisfy a large variety of palates. This led to a potentially
www.OFFBEAT.com
schizophrenic menu approach—part Italian trattoria, part American steakhouse, plus the usual promise of re-envisioning CreoleCajun city-meets-country cuisine. My guess, however, is that nobody wants their millions back at this point, as Restaurant R’evolution might be the best classic restaurant in the city (offering gumbo, turtle soup, bisque, oysters, frog legs, red fish, doberge, etc.). A friend and fellow diner recently requested that his steak be served bleu, meaning almost raw. What he’s (always) looking for is for the cook to grab a searing hot pan and give the meat what amounts to a jump-scare (rare! and rarer still to find someone willing and able to do it). R’evolution followed his instructions to a T, and my friend was absolutely delighted. There are many delightful details overall, such as the extravagant caviar service and more affordable salumi and cheese selections. Your fancy purse gets its own seat at the table, the truffle butter contains actual truffle and when you order wine off of what might be the largest wine list in the city (served up on iPads) it arrives at a suitable temperature and not until your attentive server has sampled just a few drops—a fantastic idea for both diners and establishment as less-than-tasty wine
Photo: ELSA HAHNE
EATS
Revolutionary raw oysters with cucumber-lemon granita and tangerine salsa never gets poured and servers learn to make better recommendations to guests over time. At Restaurant R’evolution, you’ll spend a good bit of money, but you also won’t have to worry about a thing. It’s restaurant therapy at its finest. —Elsa Hahne 777 Bienville Street; 5:30-10p Mon-Thur & Sat, 11:30a-2:30p & 5:30-10p Fri, 10:30a-2p & 5:3010p Sun; revolutionnola.com; (504) 553-2277
O CTO BER 2 018
O
35
REVIEWS
Reviews When submitting CDs for consideration, please send two copies to OffBeat Reviews, 421 Frenchmen Street, Suite 200, New Orleans, LA 70116
CDs reviewed are available now at 421 Frenchmen Street in the Marigny 504-586-1094 or online at LouisianaMusicFactory.com
A homage to his musical heroes
Jon Batiste Hollywood Africans (Verve) Those who only know Jon Batiste as the gregarious leader of the band Stay Human that appears weeknights on the television show The Late Show with Stephen Colbert will experience different sides of the talented pianist, vocalist and composer on his new release Hollywood Africans. For one, on most of the album he’s at the piano alone or with his voice as his only accompaniment. The lively “Kenner Boogie,” which is named for his hometown of Kenner, Louisiana, stands as a good choice to kick off the album. It really shows off Batiste’s virtuosity and often uniquely quirky take on rhythm and space. By the end, he goes wild, his right hand flying across the keys while his left maintains that boogiewoogie bottom. Batiste’s sense of humor, which is evident on TV, comes in to close out the song. The quietude of many of the tunes, including covers of “What a Wonderful World” and “The Very Thought of You,” allows one to really appreciate the richness of Batiste’s voice. While beautifully presented, a few remakes like “St. James Infirmary” and “Smile” seem somewhat superfluous. The highlights of the album come from Batiste’s pen, including
36
O
OCTOBER 2018
the Latin-tinged “Nocturne No. 1 in D Minor,” on which a taste of percussion is added. He and the piano are joined by a choir and an organ on the soulful, old-school style ballad “Is It Over.” The tune speaks of the New Orleans church where the album, produced by the noted T Bone Burnett, was recorded. There is further orchestration on the strong closer, “Don’t Stop,” that Batiste co-wrote with prolific Steve McEwan. At first the piano suggests a classical melody that is emphasized by the string section. The song builds in intensity with the lyrics transporting it to today. The versatile Jon Batiste turns boogie-woogie piano man and soul singer on Hollywood Africans and that works. —Geraldine Wyckoff
Keith Stone with Red Gravy Blues with a Taste of New Orleans (Independent) You can’t argue that New Orleans is world famous for its tantalizing cuisine, but as Stone points out with his band moniker Red Gravy, there’s Italian–Creole cooking predicated on tomato sauce affectionately dubbed “red gravy.” Though his 2016 The Prodigal Son Returns release was respectable enough, Stone’s latest all-original affair is a quantum leap beyond that—the guitarist has finally found his secret sauce with talented pianist/producer/ arranger Tom Worrell and Crescent City favorite son drummer Eddie Christmas. If there is a front-running hit here, it’d be the rollicking “Red Gravy,” already in rotation at some area restaurants. It’s a classic contemporary New Orleans foodie’s delight with Worrell
brilliantly channeling the legendary Professor Longhair. The New Orleans personality basks throughout, never staying contained but strutting jovially when the spirit ignites, such as on the jaunty, Meters-esque “Love Done Put Me Down.” Gravy’s bluesy side has good vitals as well. On “You Ain’t Got Nothing,” a rhythmic riff becomes a full-fledged, unhurried jam with Stone and saxophonist Jimmy Carpenter mining a deep groove. Even better is the major belly-rubbin’ “Hard to Have the Blues,” where Stone does his best string shredding of the disc. But Stone saves the best for last with “Something in the Water.” Towards the end, Gravy shifts from the funky parade ambience into a quasi-reckless improv that’s almost like what the Dead would sound like if cayenne was mixed in their weed. But the wheels never completely fall off—you see, they are glued on with red gravy. —Dan Willging
Buddy Guy The Blues Is Alive and Well (Silvertone/RCA) Blues star Buddy Guy reunites with producer, songwriter and drummer Tom Hambridge for their sixth album together. The title—The Blues Is Alive and Well—doesn’t lie. Guy, the Pointe Coupee Parish
native who boarded a train in Baton Rouge for Chicago in 1957, delivers an album that shows him at peak blues power. His strong, supple voice, frenzied guitar and stage-stalking presence don’t miss. Celebrity guests Mick Jagger, Keith Richards and Jeff Beck, all friends and fans of Guy’s, plus the gospel group the McCrary Sisters, complement the blues master. As usual, the Nashville-based Hambridge co-wrote most of the songs. The producer’s impressive co-writers include Jamey Johnson, Gary Nicholson, Mac Davis and Richard Fleming. The song’s lyrics and music fit Guy closely enough to be autobiographical. As Guy says of Hambridge, “He’s the type of guy who feels what I’m gonna do.” The Blues Is Alive and Well begins with the intimate plea “A Few Good Years.” The lyrics sound as if they come straight from the 81-year-old Guy’s heart. “I’ve been mighty lucky,” he confides. “I’ve traveled everywhere. Made a ton of money. … A few good years is all I need right now. Please, please Lord, send a few good years on down.” Autobiography returns in “Somebody Up There.” The life stories of many blues men are tales of woe and early demise, but Guy prevailed, living well and long enough to sing about it. Accompanied by the relaxed swing www.OFFBEAT.com
REVIEWS in “End of the Line,” he notes his good fortune again and celebrates it with a blistering guitar solo. “Well, I’m way past 71, but I still can get this damn job done,” he sings. The Blues Is Alive and Well gains added appeal from guest appearances by Rolling Stones Mick Jagger and Keith Richards and electric guitar great Jeff Beck. Jagger adds complimentary harmonica riffing to “You Did the Crime.” Beck and Richards add guitar licks to “Cognac,” a warm and shuffling ode to French brandy. “Come on in here, Beck,” Guy says. “Stretch your neck.”
Pity any blues artist who gets a Grammy nomination alongside Guy. The Blues Is Alive and Well, a testament to his continued prowess, surely will be a contender. —John Wirt
Charles Lloyd & The Marvels + Lucinda Williams Vanished Gardens (Blue Note) At first glance, it might seem that pairing jazz artist Charles Lloyd with Lucinda Williams was a decidedly
Easygoing Southern Soul Eric Lindell Revolution In Your Heart (Alligator Records) Eric Lindell’s return to Chicago’s Alligator Records finds him in a soulful state of mind. Most of Revolution in Your Heart pursues a lively neo-soul tract, with Lindell referencing 1960s and ’70s Memphis and Muscle Shoals soul. He adds undercurrents of funk, too, and veers into roots country with “Millie Kay” and Chuck Berry–style country-rock and roll with “The Sun Don’t Shine.” Recorded at one of Louisiana’s classic studios—Studio in the Country in Bogalusa—Revolution in Your Heart benefits from a warm and vibrant production. Most of the album’s dozen songs, all composed by Lindell, run compactly at less than three minutes. Co-producers Lindell and Benjamin Mumphrey keep the performances of Lindell’s wellconstructed, often breezy and grooving songs straightforward. Opening track “Shot Down” pairs animated music with lyrics about ups, downs and carrying on in the face of adversity. “Inspiration comes in many ways,” Lindell sings in an understated vocal style that recalls Prince. “It don’t always come on sunny days. Shot out the saddle on Sunday, back on top on Monday.” Similar sentiment informs “Revolution,” an almost-ballad. “Don’t let a mindless fool get a hold of you,” Lindell advises. “You got to keep pushing and let love rule. Start a revolution in your heart.” Nostalgia is another of the album’s themes. In “Pat West,” Lindell frames warm memories of the good old days in easygoing Southern soul. The buoyant drums and guitar riffs that accompany the nostalgic “Kelly Ridge” sound as if they were modeled on the Fats Domino classic “I’m Walkin’.” More fond remembrances surface in countryoriented “Grandpa Jim” and “Claudette.” Everything Lindell and drummer Willie McMains bring to Revolution In Your Heart sounds good. But the unavoidably limited palette this two-man band can provide grows redundant. Because horns are so essential to classic soul, the inclusion of even a few horn arrangements in Lindell’s soul-dominated new album would have nicely enhanced the overall package. —John Wirt
38
O
OCTOBER 2018
www.OFFBEAT.com
REVIEWS
eclectic choice, but in many ways they have a deep, spiritual connection that spans decades. Both share Southern roots: Charles Lloyd hails from Memphis, Tennessee; Lucinda was born in Lake Charles, Louisiana, before living in New Orleans, Baton Rouge, Mississippi, Arkansas, Georgia and Tennessee. They are also both lifelong musicians; Charles has been playing since he was nine years old, Lucinda has been writing since she was six and playing guitar since the age of twelve. They have both recorded live at the legendary Fillmore in San Francisco. Furthermore, they have both collaborated with musicians Bill Frisell and Greg Leisz, current members of the Marvels. After meeting a few years back, they formed a natural bond that Lloyd claims to have been providence— “Southern crossroads met”—and recorded Bob Dylans’ blunt anthem “Masters Of War” a couple of years ago, setting the template for their current collaboration, Vanished Gardens. They entered the studio with no fixed ideas—only a spiritual connection, and mutual appreciation for each other’s musical artistry. The opening track, “Defiant,” sets the tone with an instrumental that draws the listener in for what proves to be an ethereal, mystical journey with Frisell’s muted atmospherics ballasted by Reuben Rogers’ hypnotic basslines and drummer Eric Harland’s deft accents, which give rise to Charles Lloyd’s soul-stirring flourishes on tenor saxophone. Lucinda Williams enters the fray on the gorgeous “Dust,” with her bluesy, burnished, barrel-aged voice complemented by the vivid jazz expressionism of the Marvels. She revisits her masterpiece “Ventura” (from her 2003 www.OFFBEAT.com
recording World Without Tears) punctuated by Frisell’s crystalized phrasing and Greg Leisz’s sublime pedal steel accompaniment as she emotes lines like: “I wanna watch the ocean bend/ The edges of the sun, then/ I wanna get swallowed up/ In an ocean of love...” “We’ve Come Too Far To Turn Around” comes across as a Civil Rights–inspired anthem deeply influenced by the Staple Singers and Dylan, its message clearly inspired by current events: “We’ve been victims of wrath/ And we’ve wavered from the path/ But we have come too far to turn around.” The title track is Charles Lloyd at his finest. Lithe, and effortlessly graceful, it’s clear that after six decades as a musician, Lloyd still approaches music with an uncluttered, open mind. “Monk’s Mood” is a super chill duet with Lloyd entering after a delicate introduction from Frisell, who also really shines on “Ballad of the Sad Young Men.” At nearly 12 minutes long, “Unsuffer Me” is a full-on purge and everyone’s completely committed and clearly inspired by the relentless emotional intensity brought forth by Williams. The closing track “Angel” finds Williams at her most introspective and confessional. It’s as gentle as a lullaby and the perfect closer. Those that have followed her career will notice a transformation in her voice. It’s no longer as fiery and clear as it once was. Vanished Gardens is a masterful work by a well-seasoned ensemble steeped in the mystery and majesty of blue-gray shades of jazz. —Michael Dominici
Dr. C & The Gris Gris Hexes With Axes (Doctor C Music) Never try to outguess a band’s music solely based on its name. Dr. C & the Gris Gris isn’t the latest, emerging New Orleans–styled party funk bunch but rather a Lafayette hard rock trio influenced by Pearl Jam, Soundgarden and Rage Against the Machine. Dr. Ryan Cazares, O CTO BER 2 018
O
39
REVIEWS
the band’s Dr. C namesake, wrote these 11 originals with his guitar playing being the sonic centerpiece. The album is densely packed with textures and tones that constantly shift between sludgy, heavy, searing and distorted, all rendered with myriad effects. On most tracks Cazares dubbed in a second guitar for a full-frontal onslaught. Yet, it isn’t all about guitars. Substantial effort was devoted to harmonies, background vocals and energy-infusing rock ’n’ roll screams in addition to Cazares’ otherwise world-weary pipes. There’s often an outlaw-ish ambience to Cazares’ songwriting (“The Saloon,” “Fuckin’ Gone”). “Song to Sing” feels a little more personal—a struggling songwriter battling writer’s block because his life is devoid of a certain someone. But in the end, Cazares seems most content spending time with his beloved axe, as evidenced on “Play Guitar,” the disc’s best string shredder, replete with space-traveling effects. Whereas indy hard rock albums are often unbalanced and overly loud, engineer Chad Fouquier did a commendable job in pulling it all together for a tight, crisp sound. No hexes here. —Dan Willging
Jamie Lynn Vessels Storm Coming (Independent) Among his other talents, Paul Sanchez is quite a talent scout, and when he told me to check out Jamie Lynn Vessels I stuck that info into my “in” file. Not long after I was walking up Esplanade from the river and a block away from
40
O
OCTOBER 2018
Checkpoint Charlie I could hear some hellfire rock bursting out into the night. I poked my head in and there stood Vessels, a statuesque 72 inches tall clad in black leather, belting out the blues in front of a small band and accompanying herself on a crunching Les Paul. I had to sit down and check this out and there was no question she was the real thing and then some. It’s one thing to sound that good live and quite another to get it all down in the studio. I am happy to report that Vessel’s second album, Storm Coming, is every bit as compelling as she is live. Reviewers are quick to make comparisons and some of those are not very useful but the oft-mentioned resemblance between Vessels and Bonnie Raitt makes sense, at least vocally. Raitt is the more skillful stringbender but Vessels writes big, open chord anthems that match her outstanding voice. Her songwriting is deceptively good—she begins with the massive title track, stacks up a series of really sharp relationship songs, then twists the drama deeper and deeper as the album progresses. Beginning with “The Devil In Your Eyes” and proceeding through the terrific “Witness,” Vessels rewrites some deep blues mythology: “Came to the crossroads/ Said my goodbyes/ I wrote you a letter/ And then I burned it sky high/ Let me be your witness to this story/ Take your money to your grave, I’ll keep my life.” But finishing the narrative isn’t easy, as “Done Me Wrong” and “Fool Me Twice” confirm before Vessels blasts one over the fence again with “Whiskey Blues,” a dramatic account of a 30-day bender that scans like The Lost Weekend: “Thirty days in the wind/ Someone told me, start again/ Whiskey filling up my glass/ Whiskey had me repeating the past.” “I got trouble,” Vessels confesses, but not as much as the subject of the album’s most beautiful and disturbing song, “Burn,” which could be a suicide or murder ballad with a dramatic string arrangement, but always seems like something a little bit more: “It might take me time/ Till I can draw the line/ Between sorrow and life/ Till I can be fine... but I’ll never be fine.” www.OFFBEAT.com
REVIEWS
At this point it’s clear that Vessels is far more than just another blues rocker. She closes the album with a heartbreaking tribute to a beleaguered friend, “For Kim,” and I’m guessing I know who she’s referring to but I’m not going to say it here. Why? “Because no one knows, no one could know /The pain and the fear and the loss” But I’m heartened, as much as I’m sure Kim is, by the last line of the song, and the album: “Baby, this too, shall pass/ And all is not lost.” —John Swenson
Steve Murrell Elysian Fields (Independent) Steve Murrell’s Elysian Fields was a long time in the making and features all original songs from Murrell and company. Things kick off with “All That I Needed,” in which Murrell delivers a vocal performance that conjures up images of that classic Dylan-esque contemptuous sneer. It’s an all-out rocker that prominently features some nice six-string work. Things slow down on “Like Stars.” The music fits nicely with Murrell’s lyrics and lets choir member Natalye Howard shine. “The Cream Will Rise To The Top” features the aforementioned choir as well as Al McSpadden on horns. Murrell stays in this mode for “Memphis Tonight (1962).” On “I’ll Go Back Home” Murrell paints a scene similar to Robert Hunter’s “Black Muddy River,” and while these songs are solid and feature nice arrangements, Murrell really shines when he picks up the tempo and allows everyone to cut loose. “Poor Man’s Son” was clearly informed by the many years www.OFFBEAT.com
Murrell lived in Louisiana and it swaggers like classic Tony Joe White—it is atmospheric and swampy and drips with south Louisiana funk. “Lonesome, Restless, and Blue” feels like a classic road trip song as Lebron Scott and Sean O’Rourke (bass and drums respectively) push and pull the music forward as Murrell leads us down long-forgotten highways traversed in years past. “Jezebel” continues the funky groove and is augmented nicely by McSpadden’s horn work. —Christopher Weddle
Lil’ Nathan & the Zydeco Big Timers Live at El Sid O’s Zydeco & Blues Club (Cha Cha Records) Hot on the heels of Lil’ Nathan’s late-2017 Unpaused release comes this CD/DVD recorded live at his uncle Sid Williams’ zydeco club. Comparatively speaking, these two releases are as different as night and day. Unpaused aimed at a national market while El Sid O’s is more modern zydeco–centric, paying homage to one of the last zydeco temples still standing. Knowing the backstory makes this especially meaningful. El Sid O’s was where a teenaged Lil’ Nate recorded his Zydeco Ballin’ debut. Decades prior, the venue also launched the career of his father Nathan, Sr. as Nathan & the Zydeco Cha Chas. While the DVD gives you a good sense of being there with dancing crowd shots and the band happily performing to a packed house, there are also insightful interviews with Sid and Nate talking about their career beginnings. Musically, Nate’s songs range from autobiographical career reflections to themes dealing with every facet imaginable regarding relationships. Enveloped in a beautiful, sentimental ambience, “We Shouldn’t Be Doin’ It” expresses a protagonist’s guilt for continuing the sexual side of a relationship that’s otherwise defunct. “Just a Friend” pleads for the opportunity to go beyond just friendship. Though it’s a revisitation of previously released O CTO BER 2 018
O
41
REVIEWS
material, the DVD provides a worthy snapshot of Nate uniting his hometown crowd while never forgetting where he came from. —Dan Willging
Tom Hambridge The NOLA Sessions (Independent) Grammy-winning blues and roots music producer Tom Hambridge’s eighth solo album, The NOLA Sessions, brought him to the Parlor Recording Studio in New Orleans. Hambridge collaborated with New Orleans musicians, including Allen Toussaint, Ivan Neville and the Naughty Horns, as well as Lafayette slide guitar master Sonny Landreth. Toussaint’s contribution to the album, recorded shortly before the pianist-producer-songwriter’s death, is an obvious highlight. He not only plays characteristically intricate, delightful piano on “Blues Been Mighty Good to Me,” he joins Hambridge in an engaging vocal duet. The song’s expression of gratitude to music suits the evergracious Toussaint very well indeed. Although Toussaint appears on only one song, Landreth’s multiple guest spots include the blues-rock track “This End of the Road,” the reggae-ish “Whiskey Ghost” and the contemporary-country road song “Me and Charlie.” New Orleans guitarist John Fohl steps in for “Bluz Crazy,” another of the album’s blues-rockers. As producer, Hambridge’s many production credits include Johnny Winter, Kenny Neal, Mike Zito, Ana Popovic, Devon Allman, Royal Southern Brotherhood, Susan Tedeschi, George Thorogood, Steve Cropper and Felix Cavaliere.
42
O
OCTOBER 2018
His most high-profile studio collaborations have been with Chicago blues star and Louisiana native Buddy Guy. The NOLA Sessions, like albums Hambridge produced for Guy, features his songwriting, drumming and production work. But it’s also more stylistically diverse than Guy’s blues records. That’s not always a good thing. As natural a songwriter as the Nashville-based Hambridge is, he can too obviously follow countryradio formula. “I Love Everything” is a NOLA Sessions song that especially shows New Orleans influences. Pianist David Torkanowsky, the Naughty Horns and Hambridge’s popping drums help him summon the influence of Toussaint, Professor Longhair, Wardell Quezergue and other local artists. And Ivan Neville’s B-3 Hammond organ and the Naughty Horns enhance the contemplative “What You Leave Behind” beautifully. Some NOLA Sessions songs veer far from anything the album’s title suggests. Hambridge’s collaborations with local talent, however, are worth hearing, especially the album’s piece de resistance, his duet with Toussaint. —John Wirt
Fabulous Poodles Mirror Stars: Complete Pye Recordings 1976-1980 (Cherry Red, UK) Okay how many of you remember the Fabulous Poodles opening for Tom Petty at the Warehouse in 1979? That was the band’s only New Orleans appearance, but frontman and principal songwriter Tony De Meur has played here numerous times in the ensuing years, including a residence at Melvin’s when that club first opened, several gigs at the Kerry Irish Pub and a legendary sit-in with the Tin Men minus Alex McMurray when Alex was on sabbatical as a Japanese pirate. The Poodles arrived in the midst of the British punk rock conflagration of 1977, a loud and proud quartet with a bent
for satire that pissed off many of the “we’re-so-serious, oh-soserious” punks. It was an era of slam dancing and gobbing at the band, and the Poodles gave it back to the audience as good as they got it. De Meur performed with an oversized mock razor blade “slicing” his head in two. Nobody in the music industry except the brilliant British radio host and tastemaker John Peel seemed to
get it, but the macabre humorist John Entwistle, on holiday from his duties playing bass for The Who, enjoyed the band so much he produced its first album and even played on it. Highlights of this snappy debut included the great on-the-dole anthem “Workshy,” the hard rocking “Bike Blood,” the marijuana anthem “Roll Your Own” and cameo pieces like “Pinball Pin Up,” “Mr. Mike” and
Living the Blues Jonathon Long Jonathon Long (Wild Heart) Jonathon Long, the Baton Rouge singer, guitarist and songwriter formerly known as Jonathon “Boogie” Long, did his homework. After learning gospel songs in his early childhood, the teen-aged Long studied blues at jam sessions with Kenny Neal, Henry Gray, Larry Garner and two Slim Harpo band veterans, James Johnson and Rudy Richard. At 14, Long left school to tour with reggae and funk artist Henry Turner Jr. In 2011, he won Guitar Center’s King of the Blues competition, besting 4,000 contestants. Long’s second album, 2016’s Trying to Get There, showed his expansion beyond blues. Now, album number three—a self-titled projected released by New Orleans blues-rock artist Samantha Fish’s Wild Heart label—sustains Long’s stylistic shift and dedication to songwriting. Classic rock, Southern rock, soul, blues and, perhaps by default, modern country, are all here. Long’s new songs are good enough to be a source of material for fellow recording artists. His classic rock and Southern rock–leaning songs may be especially appealing to contemporary country acts. Opening song “Bury Me,” a Southern-rock anthem, elevates the struggles of common men and women into the sphere of majesty. More social commentary appears in “Living the Blues,” a frank depiction of the drowning middle-class. “You’re either rich or you’re living the blues, trying to stretch each dollar to the last damn dime,” Long declares. “Shine Your Love,” a downhome, heartfelt homage to lost loved ones, is ripe for country radio. “Natural Girl” effectively inhabits the classic and Southern–rock territory of Lynyrd Skynyrd, Foreigner, Bachman–Turner Overdrive and Foghat. Long and Fish, the album’s producer and guest star, venture into Memphis soul with “That’s When I Knew.” In “Pour Another Drink,” they conjure darkly humorous traditional jazz. But another stylistic departure, the Bruce Hornsby–ish “The Light,” suffers from overactive drumming. Throughout Jonathon Long, the attention Long gives his vocals does his well-crafted songs justice—especially when Fish and Long sing a duet of Kenny Tudrick’s “The River.” It’s the only song on the album Long didn’t write. Given a grand production, “The River” sounds destined for arena stages. —John Wirt www.OFFBEAT.com
REVIEWS
“When the Summer’s Through.” De Meur’s sensibility was informed by the Everly Brothers, Ray Davies and Leiber-Stoller in equal measure, and his bite-size songs were all gems. The band’s second album for Pye included the hit “Mirror Star” and more delectable cameos like “Chicago Boxcar (Boston Back),” “’B’ Movies,” “Tit Photographer Blues” and “Suicide Bridge.” The Poodles eventually signed with Epic records in the U.S., which gave the group a big push but consolidated its first two albums into one disc, Mirror Stars. The third and last Poodles album, Think Pink, finally pulled their U.K. and U.S. identities into focus, unleashing such goodies as “Bionic Man,” “Suicide Bridge,” “Cossack Cowboy,” “Anna Rexia” and a terrific cover of the Everlys’ “Man With Money.” This package includes all three albums, each on its own disc, with a lot of extra material, including some live tracks from the Bottom Line in New York which will certainly jog your memory if you happened to have been in the audience at the Warehouse the night they played there. —John Swenson
Neslorchestra The Primordial Epiphany (Independent) Not all records can combine gonzo, dystopian conspiracy narratives and heartfelt pretty playing, but somehow longawaited Neslorchestra record makes these seeming opposites work. It might be due to leader Rick Trolsen, trombonist and bandleader, whose music includes late night French Quarter standards and the early www.OFFBEAT.com
days of the bone-in meaty rock of Bonerama. Trolsen and engineer Tim Stambaugh recorded this over the course of two years. The challenge is to keep it coherent, and to their credit it never rides off the rails except when it wants to. Trolsen employs 27 of the great unsung musicians of New Orleans to execute his vision of overdriven Zappa-esque fusion, tight 1970s big band charts, and lovely melodies and harmonies. In between songs, Trolsen’s narrative details secret experiments and the desperate plight of humanity in his best Vincent Price meets the Central Scrutinizer voice. Even though there is a great deal of craziness in the playing, the songs never lose their structure. They always seem to be going in a direction and trying to express something. Even when the double whammy combination of the two of the wildest songs, “Maniacal Hysteria” and “Naked Frustration,” brings the record to a great climax, the Neslorchestra brings it back onto the rails to end with the uplifting anthem of “The Gift.” —David Kunian
Wess “Warmdaddy” Anderson, Mark Rapp, Chris Burroughs and David Ellington Natural History (Jangly Records) Natural History gets off to a happy start with the members of this collaborative ensemble— saxophonist Wess “Warmdaddy” Anderson, trumpeter Mark Rapp, organist/pianist David Ellington and drummer Chris Burroughs—all clapping their hands and cheerfully repeating the album’s title. Everyone in the band except Burroughs has an affiliation with New Orleans having played and/or attended school here. Anderson, of course, remains active on the scene. Burroughs makes an immediate impression, jumping in with skillful exuberance before the two horns play the memorable melody in unison. The drummer again becomes fully involved in the tune he co-wrote with Anderson. This O CTO BER 2 018
O
43
REVIEWS
selection deserves its place as the title cut as it is at once exploratory and boasts a rhythm you can dance to. That makes sense as this group of musicians was inspired to record together after doing a tribute to the great boogaloo master, saxophonist Lou Donaldson at Dizzy’s Club in Lincoln Center.
“Stroke Blues” kicks off the more swinging elements and features the fine organ of Ellington providing a sound reminiscent of when organ trios ruled barrooms across the land. Accenting that mood is Rapp’s muted, lightsdown-low trumpet. That aura continues on Anderson’s lighthearted “Rosie Posie,” which finds the saxophonist and trumpeter exchanging friendly bars. Natural History evolves from a dance groove to toe-tapping swing to the oh-so-slow, laid-back “Dem Dirty Blues.” It moves along organically with a sense of genuine humanity. Warmdaddy, who wrote or co-wrote the material, did, after all, get that handle for a reason. —Geraldine Wyckoff
R&B Diva Shemekia Copeland America’s Child (Alligator Records) Shemekia Copeland is a fullscale blues/R&B diva in her prime, the inheritor of a tradition that stretches back to Bessie Smith and beyond. In a world of small voices, this is a woman who could fill an auditorium with the power of her singing without amplification. Her performances at the New Orleans Jazz & Heritage Festival are already legendary and she should add to the legend at this year’s Crescent City Blues and BBQ Festival. Copeland is no throwback, though. She is as cutting edge as it gets, one of the stars of the Americana movement, and America’s Child features a strong supporting cast of Americana figures led by producer/ guitarist Will Kimbrough and featuring contributions from John Prine, Rhiannon Giddens, Mary Gauthier, Emmylou Harris, Steve Cropper, J.D. Wilkes and Al Perkins. The album comes 20 years after her debut Turn the Heat Up and shows how far she’s come in that time. Copeland has grown from working through traditional blues and R&B standards to personalized life observations and inspirational statements. On America’s Child she steps up to the plate to address the ills of our fractured society and offer hope for the future in the statement-ofpurpose opener “Ain’t Got Time for Hate.” She shows her sensitivity in a spectacular duet with Prine, “Great Rain,” and once again pays tribute to her father, the great blues vocalist/guitarist/songwriter Johnny Copeland, with a cover of his “Promised Myself” featuring Cropper. The alwaysunpredictable Shemekia goes well into left field for a powerful rendition of the Ray Davies classic “I’m Not Like Everybody Else,” coining an instant blues classic. At a moment in music history when a lot of people are wondering what happened to the verities of great singers singing great songs, Shemekia shows that we’re still not that far from home. —John Swenson
44
O
OCTOBER 2018
www.OFFBEAT.com
Find complete listings at offbeat.com—when you’re out, use offbeat.com/mobile for full listings on any cell phone.
Listings
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-new-listings or send an email to listings@offbeat.com.
AF African AM Americana BL Blues BU Bluegrass BO Bounce BB Brass Band BQ Burlesque KJ Cajun CL Classical CR Classic Rock CO Comedy CW Country CB Cover Band DN Dance DX Dixieland DB Dubstep EL Electro FO Folk FK Funk GS Gospel GY Gypsy HH Hip-Hop HS House IN Indian Classical ID Indie Rock IL Industrial IR Irish JB Jam Band
MJ Jazz Contemporary TJ Jazz Traditional JV Jazz Variety KR Karaoke KZ Klezmer LT Latin MG Mardi Gras Indian ME Metal RB Modern R&B PO Pop PK Punk RE Reggae RC Rockabilly RK Rock RR Roots Rock SS Singer/ Songwriter SK Ska PI Solo Piano SO Soul SW Spoken Word SP Swamp Pop SI Swing VR Variety ZY Zydeco
MONDAY OCTOBER 1
Buffa’s: A2D2 with Arsene DeLay and Antoine Diel (VR) 6p d.b.a.: Michot’s Melody Makers (KJ) 10p Hi-Ho Lounge: Bluegrass Pickin’ Party (BU) 8p, Lynn Drury (FO) 10p Kerry Irish Pub: Patrick Cooper (FO) 8:30p Maison: Chicken and Waffles, Aurora Nealand and the Royal Roses, Sierra Green and the Soul Machine (VR) 4p Maple Leaf: Nola Reggae with Renard Poche (RE) 10p Snug Harbor: Charmaine Neville Band (JV) 8 & 10p Starlight: Brad Webb (MJ) 5p, Joshua Benitez and friends (RK) 8p, Mi Casa with DJ Anthony Tony (VR) 11:30p Three Keys (Ace Hotel): Drinks and Diversions (VR) 7p Three Muses: Bart Ramsey (JV) 5p, Washboard Rodeo (JV) 8p Tropical Isle Original: Graham Robinson Band (RK) 5:15p, Trop Rock Express (RK) 9:15p
TUESDAY OCTOBER 2
Buffa’s: You Got This Presents Taco Tuesdays (VR) 5p, Tacos, Tequila and Tiaras with Vanessa Carr (VR) 8p d.b.a.: Dinosaurchestra (JV) 7p, Treme Brass Band (BB) 10p Funky Pirate: Blues Masters (BL) 8:30p Howlin’ Wolf (the Den): Comedy Beast (CO) 9p Jazz Playhouse: James Rivers Movement (JV) 8p Kerry Irish Pub: Jason Bishop (FO) 8:30p Maple Leaf: Rebirth Brass Band (RK) 10p
46
O
OCTOBER 2018
Siberia: Piano Night with Anuraag Pendyal (PI) 9p SideBar NOLA: Skin and Bone feat. Mark Magrain and Simon Lott (VR) 9p Snug Harbor: Stanton Moore Trio (JV) 8 & 10p Starlight: Ryan Hanseler (PI) 7p, Asher Danziger (CW) 10p Three Keys (Ace Hotel): Claptrap (CO) 9p Three Muses: Sabine McCalla (FO) 5p, Mia Borders (SO) 8p Tropical Isle Original: the Hangovers (RK) 5:15p, F.A.S.T. (RK) 9:15p
WEDNESDAY OCTOBER 3
Algiers Point Ferry Landing: Soul Rebels (BB) 5:30p Buffa’s: Open Mic Night with Nattie Sanchez (SS) 7p Cove at UNO: Jazz at the Sandbar presents Ellis Marsalis (JV) 7p d.b.a.: Tin Men (RR) 7p, Walter “Wolfman” Washington and the Roadmasters (BL) 10p Funky Pirate: Blues Masters (BL) 8:30p Gasa Gasa: Kate Teague, Julie Odell, Lo Beam (SS) 9p Hi-Ho Lounge: Delta Revues (BL) 6p, Ginger and the Bees, Tin Star, Pierce Penniless (RK) 10p Kerry Irish Pub: Tim Robertson (FO) 8:30p Maple Leaf: Johnny Sketch and the Dirty Notes (RR) 10p Palm Court Jazz Café: Lars Edegran and Topsy Chapman with Palm Court Jazz Band (JV) 8p Rock ‘n’ Bowl: G and the Swinging Gypsies (SI) 8p SideBar NOLA: Susanne Ortner, James Singleton and Nahum Zdybel (VR) 9p Snug Harbor: Uptown Jazz Orchestra with Delfeayo Marsalis (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: Tom McDermott (PI) 5p, Tuba Skinny (JV) 8p Three Keys (Ace Hotel): Helen Gillet (MJ) 9p Three Muses: Andre Bohren (JV) 5p, Hot Club of New Orleans (JV) 8p Tropical Isle Original: Debi and the Deacons (RK) 5:15p, Late As Usual (RK) 9:15p UNO Lakefront Arena: the Miseducation of Lauryn Hill 20th Anniversary Tour (SO) 7p
THURSDAY OCTOBER 4
Buffa’s: Darcy Malone and Amasa Miller (VR) 5p, Tom McDermott and Chloe Feoranzo (JV) 8p Covington Trailhead: Rockin’ the Rails feat. the New Orleans Mystics (VR) 5p d.b.a.: Alexis and the Samurai (ID) 7p, Malevitus, Jesse Tripp and the Night Breed (RK) 10p Dragon’s Den: Throwback Thursday feat. Rapbaum, Khromethesia, Harbinger Project (HH) 10p House of Blues: Hobo Johnson and the Lovemakers (HH) 6:30p Howlin’ Wolf (the Den): Comedy Gumbeaux (CO) 9p Kerry Irish Pub: Beth Patterson (FO) 8:30p Maple Leaf: Johnny Vidacovich and special guests (JV) 10p Ogden Museum of Southern Art: Sabine McCalla (FO) 6p
Palm Court Jazz Café: Duke Heitger with Crescent City Joymakers (JV) 8p Rock ‘n’ Bowl: Nathan and the Zydeco Cha Chas (ZY) 8:30p Saturn Bar: Alex McMurray and his Band (RK) 8p Siberia: Eastern Bloc Party feat. Backyard Balkan Brass Band (KZ) 9p SideBar NOLA: Songwriters’ Circle with Kristina Morales, Mario Palmisano and Keith Burnstein (VR) 9p Snug Harbor: Phil DeGruy CD-release party (JV) 8 & 10p Spotted Cat: Up Up We Go (JV) 2p, Miss Sophie Lee (JV) 6p, Jumbo Shrimp (JV) 10p Starlight: Oscar Rossignoli (PI) 5p, Sam Price (FK) 8p Three Keys (Ace Hotel): Roland Guerin (JV) 9p Three Muses: Tom McDermott (JV) 5p, Debbie Davis (JV) 8p Tropical Isle Bourbon: Wild Card (RK) 5p, Debi and the Deacons (RK) 9p Vaughan’s Lounge: DJ Black Pearl (VR) 9p, Corey Henry and the Treme Funktet (FK) 10p
FRIDAY OCTOBER 5
Buffa’s: Davis Rogan (VR) 6p, New Blue Devils (JV) 9p d.b.a.: Swinging Gypsies (JV) 6p, Dave Jordan and the NIA, Darcy Malone and the Tangle (RR) 10p Deutsches Haus: Oktoberfest feat. Prost, the Brats (VR) 4p House of Blues: Mayday Parade (RK) 6p Howlin’ Wolf (the Porch): Machine Kid, Paper Bison, the First of Mays (ID) 10p Jazz Playhouse: Cyril Neville and Swamp Funk (FK) 7:30p, Trixie Minx’s Burlesque Ballroom feat. Romy Kaye and the Mercy Buckets (BQ) 11p Kerry Irish Pub: Tim Robertson (FO) 5p, Kennedy Kuntz and Vincent Marini (FO) 9p Little Gem Saloon: John Mooney and Marc Stone with Chuck Campbell (BL) 7:30p; Mahalia Jackson Theater: Sweet Soul Music Tour feat. Betty Wright and others (SO) 9p Maison: Swinging Gypsies, Shotgun Jazz Band, Soul Project, Buena Vista Social Latin Night, Big Easy Brawlers (VR) 4p Maple Leaf: Jon Cleary (FK) 10p Palm Court Jazz Café: Kevin Louis and Palm Court Jazz Band (JV) 8p Siberia: Drift Mouth, Luke Spurr Allen, Natalie Mae, Mishka Shubaly (FO) 10p SideBar NOLA: Banjovi with Martin Krusche, David Bandrowski and Doug Garrison (VR) 9p Snug Harbor: Ellis Marsalis Quintet (JV) 8 & 10p Starlight: DJ Derrick Smoker presents Groove City (FK) 5p, Jack Sledge (RK) 8:30p, Lost Then Found presents Our House (EL) 11:59p Three Muses: Royal Roses (JV) 5:30p, Russell Welch (JV) 9p Tipitina’s: Kudzu Kings, Young Valley (VR) 10p Tropical Isle Original: the Hangovers (RK) 5:15p, Late As Usual (RK) 9:15p
SATURDAY OCTOBER 6
Buffa’s: Ukulele School of New Orleans (VR) 4p, Gimmie Shelter Benefit for Covenant House Homeless Youth Shelter (VR) 6p d.b.a.: Jazz Vipers (JV) 7p, Little Freddie King (BL) 11p
Deutsches Haus: Oktoberfest feat. Die Musikanten, Matt Tolentino and his Royal Klobasneks, the Brats (VR) 1p Dew Drop Social and Benevolent Hall: Jason Marsalis Vibes Quartet (JV) 6:30p Dos Jefes: Sunpie and the Louisiana Sunspots (ZY) 10p Gasa Gasa: Ayotemi and IRIE, Jank Setup, Ella Blue and the Darelilies (JV) 10p House of Blues: Bustout Burlesque (BQ) 7:30p Howlin’ Wolf (the Den): the Grass Is Dead (CR) 10p Howlin’ Wolf (the Porch): Terror, Harms Way, Backtrack, Year of the Knife, Candy (RK) 7p Joy Theater: Dirty Heads, Jukebox the Ghost, Just Loud (RK) 9p Kerry Irish Pub: Dave Hickey (FO) 5p, Hurricane Refugees (FO) 9p Little Gem Saloon: Cole Williams (RK) 11p; Ramp Room: Anais St. John is Lulu White: Queen of Storyville (JV) 8p Maple Leaf: Marc Stone’s 25th Nolaversary with Reggie Scanlan, Walter “Wolfman” Washington and special guests (BL) 11p Palm Court Jazz Café: Will Smith and Palm Court Jazz Band (JV) 8p Siberia: Kuwaisiana, Klezmer All-Stars, George Elizondo (VR) 9p Snug Harbor: Evan Christopher and Evan Arntzen Soprano Summit (JV) 8 & 10p Spotted Cat: Antoine Diel and the New Orleans Power Misfits (JV) 2p, Panorama Jazz Band (JV) 6p, Davis Rogan Band (JV) 10p Starlight: Ven Pa CA Flamenco (LT) 5p, Shawan Rice (SO) 7p, Sam Friend Band (RK) 10p Three Keys (Ace Hotel): Hustle! with Soul Sister (FK) 11:30p Three Muses: Chris Christy (JV) 5p, Linnzi Zaorski (JV) 6p, Shotgun Jazz Band (JV) 9p Tipitina’s: Khris Royal’s Birthday Bash feat. Erica Falls (FK) 10p Tropical Isle Bourbon: Rhythm and Rain (RK) 5p, Debi and the Deacons (RK) 9p
SUNDAY OCTOBER 7
Buffa’s: Some Like It Hot (TJ) 11a, Pfister Sisters (JV) 4p, Steve Pistorius Quartet (JV) 7p d.b.a.: Palmetto Bug Stompers (JV) 6p, Deltaphonic (FK) 10p Funky Pirate: Mark and the Pentones (BL) 4p, Willie Lockett Band (BL) 8p Howlin’ Wolf (the Den): Hot 8 Brass Band (BB) 10p Jazz Playhouse: Germaine Bazzle (JV) 8p Kermit’s Mother-in-Law Lounge: Kermit Ruffins and the BBQ Swingers (JV) 5:30p Kerry Irish Pub: Traditional Irish Session (IR) 5p, Patrick Cooper (FO) 8p Maison: NOLA Jitterbugs, Reid Poole Trio, Nickel-A-Dance (JV) 10a, Tuba Skinny, Higher Heights (VR) 7p Maple Leaf: Mikey B3 (FK) 10p Palm Court Jazz Café: Gerald French and Sunday Night Swingsters (JV) 8p Republic: Jungle (FK) 8p Snug Harbor: Jason Marsalis and the 21stCentury Trad Band (JV) 8 & 10p Spotted Cat: Jamey St. Pierre and the Honeycreepers (JV) 2p, Kristina Morales
www.OFFBEAT.com
LIVE LOCAL MUSIC Farewell Show (JV) 6p, Pat Casey and the New Sound (JV) 10p Starlight: Dile Que NOLA (LT) 7p, Gabrielle Cavassa Jazz Jam (JV) 10p Three Keys (Ace Hotel): Blues Night with Marc Stone (BL) 9p Three Muses: Raphael et Pascal (JV) 5p, the Clementines (JV) 8p Tropical Isle Bayou Club: Roland Cheramie and friends (KJ) 5p, Faubourg Ramblers (KJ) 9p
MONDAY OCTOBER 8
Buffa’s: A2D2 with Arsene DeLay and Antoine Diel (VR) 6p Circle Bar: Dem Roach Boyz (RB) 7p, Gene Black and friends (JV) 9:30p d.b.a.: Michot’s Melody Makers (KJ) 10p Fontaine Palace: Rahim Glaspy and the Great Glaspy Experience (FK) 5p House of Blues: Escape the Fate, Slaves, Stepping Sideways, Famous Last Words, Picturesque, Set to Stun (ME) 8p Howlin’ Wolf (the Den): Tenth Mountain Division (FO) 9p Jazz Playhouse: Shannon Powell (JV) 8p Kerry Irish Pub: Two Sheets to the Wind (FO) 8:30p Maple Leaf: George Porter Jr. Trio (FK) 10p Rock ‘n’ Bowl: West Coast Swing Party (SI) 7p 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, Jazz Vipers (JV) 10p Starlight: Brad Webb (MJ) 5p, Joshua Benitez and friends (RK) 8p, Mi Casa with DJ Anthony Tony (VR) 11:30p Three Keys (Ace Hotel): Too Trill Trivia (VR) 6p Three Muses: Monty Banks (JV) 5p, Danny Burns (JV) 8p Tropical Isle Bayou Club: Cajun Drifters (KJ) 7p
TUESDAY OCTOBER 9
Buffa’s: You Got This Presents Taco Tuesdays (VR) 5p, Zombie Prom with Dr. Sick (VR) 8p Café Negril: John Lisi and Delta Funk (FK) 10p Columns Hotel: the NOLA String Kings with Don Vappie, Matt Rhody and John Rankin (JV) 8p d.b.a.: Dinosaurchestra (JV) 7p, Treme Brass Band (BB) 10p Funky Pirate: Blues Masters (BL) 8:30p Gasa Gasa: Windhand, Satan’s Satyrs (ME) 9p Howlin’ Wolf (the Den): Comedy Beast (CO) 9p Kerry Irish Pub: Jason Bishop (FO) 8:30p Lafitte’s Blacksmith Shop: Lucky Lee (SS) 9p Little Tropical Isle: Mark Pentone (RK) 5p, Frank Fairbanks (RK) 9p Maple Leaf: Rebirth Brass Band (RK) 10p One Eyed Jacks: King Khan and the Shrines, Gabriella Cohen (RK) 8p Siberia: Piano Night with Alex Pianovich (PI) 9p Snug Harbor: Stanton Moore Trio (JV) 8 & 10p Spotted Cat: Andy J. Forest (JV) 2p, the Little Big Horns (JV) 6p, Smoking Time Jazz Club (JV) 10p Starlight: Ryan Hanseler (PI) 7p, Asher Danziger (CW) 10p Three Keys (Ace Hotel): Think Less, Hear More feat. the Matrix (VR) 8:30p Three Muses: Arsene DeLay (JV) 5p, Joshua Gouzy Quartet (JV) 8p Tropical Isle Original: the Hangovers (RK) 5:15p, F.A.S.T. (RK) 9:15p
WEDNESDAY OCTOBER 10
Algiers Point Ferry Landing: Muevelo (LT) 5:30p Buffa’s: Open Mic Night with Nattie Sanchez (SS) 7p Cove at UNO: Jazz at the Sandbar presents Don Byron (JV) 7p d.b.a.: Tin Men (RK) 7p, Walter “Wolfman” Washington and the Roadmasters (BL) 10p Howlin’ Wolf (the Porch): Project Pat (HH) 9p Kerry Irish Pub: Tim Robertson (FO) 8:30p
48
O
OCTOBER 2018
Maple Leaf: Johnny Sketch and the Dirty Notes (RR) 10p Palm Court Jazz Café: Lars Edegran and Topsy Chapman with Palm Court Jazz Band (JV) 8p Siberia: Eastern Bloc Party feat. Salt Wives (KZ) 9p SideBar NOLA: Mike Dillon and James Singleton (VR) 9p Smoothie King Center: Fall Out Boy, Machine Gun Kelly (VR) 7p Snug Harbor: Uptown Jazz Orchestra with Delfeayo Marsalis (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: Tom McDermott (PI) 5p, Frog and Henry (JV) 8p, Andrew Sheppard (CO) 11p Three Keys (Ace Hotel): Maggie Belle Band (SO) 9p Three Muses: Leslie Martin (JV) 5p, Hot Club of New Orleans (JV) 8p Tropical Isle Original: Debi and the Deacons (RK) 5:15p, Late As Usual (RK) 9:15p
THURSDAY OCTOBER 11
Buffa’s: Gumbo Cabaret (JV) 5p, Tom McDermott and Darcy Malone (JV) 8p Chickie Wah Wah: Clinically Happy Hour with Phil DeGruy (SS) 6p Covington Trailhead: Rockin’ the Rails feat. Big Daddy O, Uneven Ground (VR) 5p d.b.a.: Alexis and the Samurai (ID) 7p, Zydefunk feat. Charlie Wooten (FK) 10p Gasa Gasa: Pile, the Spirit of the Beehive (PK) 9p Howlin’ Wolf (the Den): Comedy Gumbeaux (CO) 9p Kerry Irish Pub: Chip Wilson (FO) 8:30p Maison: Good For Nothin’ Band, Roamin’ Jasmine, Dysfunktional Bone (VR) 4p Maple Leaf: Johnny Vidacovich and special guests (JV) 10p Ogden Museum of Southern Art: Helen Gillet record-release show (MJ) 6p One Eyed Jacks: Phil Cook, Andy Jenkins (VR) 8p, Fast Times ‘80s and ‘90s Night (VR) 10p Palm Court Jazz Café: Duke Heitger with Crescent City Joymakers (JV) 8p Rock ‘n’ Bowl: Geno Delafose (ZY) 8:30p Saturn Bar: Alex McMurray and his Band (RK) 8p Snug Harbor: Don Byron Quartet (JV) 8 & 10p Starlight: Shea Pierre (PI) 5p, Amanda Walker and friends (FO) 8p Three Keys (Ace Hotel): Little Cosmicana (FO) 9p Three Muses: Tom McDermott (JV) 5p, St. Louis Slim (JV) 8p Tropical Isle Original: the Hangovers (RK) 5:15p, Late As Usual (RK) 9:15p Vaughan’s Lounge: DJ Black Pearl (VR) 9p, Corey Henry and the Treme Funktet (FK) 10p
FRIDAY OCTOBER 12
Buffa’s: Cole Williams (JV) 6p, Soul o’ Sam (VR) 9p Chickie Wah Wah: Ever More Nest CD-release party (FO) 8p d.b.a.: Hot Club of New Orleans (JV) 6p, Kenny Brown, Little Freddie King (BL) 10p Deutsches Haus: Oktoberfest feat. Das ist Lustig, the Brats (VR) 4p Fontaine Palace: Dirty Bourbon River Show Band (GY) 9p House of Blues: the Reverend Peyton’s Big Damn Band (CW) 8p; UB40 (PO) 8p Howlin’ Wolf (the Den): It’s Trivial Comedy Game Show Live Recording feat. Grant Fletcher (CO) 10p Howlin’ Wolf (the Porch): Soundclash 10th Anniversary Concert (HH) 10p Jazz Playhouse: Cyril Neville and Swamp Funk (FK) 7:30p, Trixie Minx’s Burlesque Ballroom feat. Romy Kaye and the Mercy Buckets (BQ) 11p Joy Theater: RuPaul’s Drag Race: Werq the World (CO) 9p Kerry Irish Pub: Beth Patterson (FO) 5p, Will Dickerson (FO) 9p
Little Gem Saloon: John Mooney and Marc Stone with Alfred “Uganda” Roberts (BL) 7:30p Maple Leaf: Noah Young Band (RR) 10p New Orleans Jazz Museum (Old U.S. Mint): Russell Gully (VR) 2p One Eyed Jacks: DJ Soul Sister presents Soulful Takeover (FK) 10p Palm Court Jazz Café: Kevin Louis and Palm Court Jazz Band (JV) 8p Saenger Theatre: Ron White (CO) 7p Smoothie King Center: MercyMe (VR) 7:30p Snug Harbor: Ellis Marsalis Quintet (JV) 8 & 10p Spotted Cat: Andy J. Forest (JV) 2p, Washboard Chaz Blues Trio (JV) 6p, James Martin Band (JV) 10p Starlight: DJ Derrick Smoker presents “Grrove City” (FK) 5p, Bobbi Rae (SO) 8p, Lost Then Found presents Our House (EL) 11:59p Three Keys (Ace Hotel): DJ Nice Rack and Unicorn Fukr (VR) 11p Three Muses: Matt Johnson (JV) 5:30p, Doro Wat Jazz Band (JV) 9p Tropical Isle Original: the Hangovers (RK) 5:15p, Late As Usual (RK) 9:15p UNO Lakefront Arena: RBRM: Ronnie, Bobby, Ricky and Mike (RB) 8p
SATURDAY OCTOBER 13
Buffa’s: Ukulele School of New Orleans (VR) 4p, Asylum Chorus (VR) 6p, Walter “Wolfman” Washington (BL) 9p d.b.a.: Tuba Skinny (JV) 7p, Papa Mali and Skeeterleg, Leyla Musslewhite (RR) 11p Deutsches Haus: Oktoberfest feat. Prost, Das ist Lustig, the Brats (VR) 1p Fontaine Palace: Yocho Latin Band (LT) 9p Frenchmen Hotel: Valerie Sassyfras (VR) 9p House of Blues (the Parish): Welshly Arms (RK) 7p House of Blues: Tamia (RB) 8p Howlin’ Wolf: Ronny Chieng (CO) 7:30p Jazz Playhouse: Alicia “Blue Eyes” Renee (JV) 8p Kerry Irish Pub: Vali Talbot (FO) 5p, Beth Patterson (FO) 9p Little Gem Saloon: Kermit Ruffins and the BBQ Swingers (JV) 7 & 9p, Cole Williams (RK) 11p Maple Leaf: New Orleans Suspects (FK) 11p Old Ursuline Convent: Spirit of the Vieux Carre Gala feat. Sunpie Barnes and the Louisiana Sunspots (ZY) 6p Orpheum Theater: Brockhampton (VR) 9p Palm Court Jazz Café: Will Smith and Palm Court Jazz Band (JV) 8p SideBar NOLA: Helen Gillet and friends (VR) 9p Snug Harbor: Chris Thomas King (JV) 8 & 10p Spotted Cat: Shotgun Jazz Band (JV) 2p, the Catahoulas (JV) 6p, Jazz Vipers (JV) 10p Starlight: Ven Pa CA Flamenco (LT) 5p, Shawan Rice (SO) 7p, Gina Marie Leslie and Klezervation Hall (FO) 10p Three Keys (Ace Hotel): NOJO 7 (JV) 9p Three Muses: Chris Christy (JV) 5p, Dan Cutler and Mike Westin (JV) 6p, Shotgun Jazz Band (JV) 9p Tipitina’s: Jason Neville’s Birthday Bash (FK) 10p Tropical Isle Original: the Hangovers (RK) 5:15p, Late As Usual (RK) 9:15p
SUNDAY OCTOBER 14
Buffa’s: Some Like It Hot (TJ) 11a, Nattie Sanchez Songwriter Circle (SS) 4p, Steve Pistorius Quartet (JV) 7p d.b.a.: Palmetto Bug Stompers (JV) 6p, Lightnin’ Malcolm (BL) 10p House of Blues (the Parish): Dying Fetus (ME) 6p Howlin’ Wolf (the Den): Hot 8 Brass Band (BB) 10p Howlin’ Wolf (the Porch): Coast to Coast Live Hip-Hop Showcase (HH) 10p Kermit’s Mother-in-Law Lounge: Kermit Ruffins and the BBQ Swingers (JV) 5:30p
Kerry Irish Pub: Beth Patterson (FO) 8p Maple Leaf: Joe Krown Trio feat. Walter “Wolfman” Washington (JV) 10p Palm Court Jazz Café: Mark Braud and Sunday Night Swingsters (JV) 8p Snug Harbor: Donna’s Revisited with Leroy Jones and Craig Klein (JV) 8 & 10p Spotted Cat: Giselle Anguizola and the Swinging Gypsies (JV) 2p, Robin Barnes and the FiyaBirds (JV) 6p, Pat Casey and the New Sound (JV) 10p Starlight: Margie Perez (SO) 7p, Gabrielle Cavassa Jazz Jam (JV) 10p Three Keys (Ace Hotel): Marc Stone Band, Marilyn Barbarin and the Soul Finders (BL) 8p Three Muses: Raphael et Pascal (JV) 5p, the Clementines (JV) 8p Tropical Isle Bourbon: Rhythm and Rain (RK) 5p, Debi and the Deacons (RK) 9p
MONDAY OCTOBER 15
Buffa’s: A2D2 with Arsene DeLay and Antoine Diel (VR) 6p d.b.a.: Michot’s Melody Makers (KJ) 10p Funky Pirate: Willie Lockett Band (BL) 8p Gasa Gasa: Counterparts, Being As An Ocean, Have Mercy, Varials (ME) 8p Hi-Ho Lounge: Bluegrass Pickin’ Party (BU) 8p, Chip Yamaba Band (FO) 10p Kerry Irish Pub: Kim Carson with Buckshot Willie CD-release show (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 (VR) 4p Maple Leaf: Eric McFadden (FK) 10p 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, Jazz Vipers (JV) 10p Starlight: Brad Webb (MJ) 5p, Kathryn Rose Wood and Mikayla Braun (FO) 8p, Mi Casa with DJ Anthony Tony (VR) 11:30p Three Keys (Ace Hotel): Movement Monday (VR) 5p Three Muses: Bart Ramsey (JV) 5p, Russell Welch (JV) 8p Tipitina’s: the Dead South, Whiskey Shivers, Del Suelo (VR) 9p Tropical Isle Original: Graham Robinson Band (RK) 5:15p, Trop Rock Express (RK) 9:15p
TUESDAY OCTOBER 16
Buffa’s: You Got This Presents Taco Tuesdays (VR) 5p, Tacos, Tequila and Tiaras with Vanessa Carr (VR) 8p Columns Hotel: Washboard Chaz and John Rankin (JV) 8p d.b.a.: Dinosaurchestra (JV) 7p, Treme Brass Band (BB) 10p Funky Pirate: Blues Masters (BL) 8:30p House of Blues (the Parish): Lily Allen (PO) 7p Howlin’ Wolf (the Den): Comedy Beast (CO) 9p Kerry Irish Pub: Jason Bishop (FO) 8:30p Maison: Cyrus Nabipoor Quartet, Gregory Agid Quartet, Gene’s Music Machine (VR) 4p Maple Leaf: Electric Voodoo (FK) 7:30p, Rebirth Brass Band (FK) 10p Rock ‘n’ Bowl: Latin Night (LT) 7p Snug Harbor: Jason Marsalis and the 21stCentury Trad Band (JV) 8 & 10p Spotted Cat: Andy J. Forest (JV) 2p, the Little Big Horns (JV) 6p, Smoking Time Jazz Club (JV) 10p Starlight: Ryan Hanseler (PI) 7p, Asher Danziger (CW) 10p Three Keys (Ace Hotel): Sinking City Selects: Yanni Thunders (VR) 6p Three Muses: Sam Cammarata (JV) 5p, Leo Forde (JV) 8p Tropical Isle Bourbon: Wild Card (RK) 5p, Jezebels Chill’n (RK) 9p
www.OFFBEAT.com
LIVE LOCAL MUSIC
WEDNESDAY OCTOBER 17
Algiers Point Ferry Landing: Scorpedos, Big Sam and the Krewe (VR) 5:30p Buffa’s: Open Mic Night with Nattie Sanchez (SS) 7p Circle Bar: the Iguanas (RK) 7p, the Darelilies (ID) 9:30p Cove at UNO: Jazz at the Sandbar presents Mark Turner and Ethan Iverson (JV) 7p d.b.a.: Tin Men (RK) 7p, Walter “Wolfman” Washington and the Roadmasters (BL) 10p Howlin’ Wolf (the Den): Courted Halloween Edition starring Alison Logan, the Original Classy Broad (CO) 8p Kerry Irish Pub: Tim Robertson (FO) 8:30p Maple Leaf: Khris Royal (FK) 10p Palm Court Jazz Café: Lars Edegran and Topsy Chapman with Palm Court Jazz Band (JV) 8p Rock ‘n’ Bowl: G and the Swinging Gypsies (SI) 8p Siberia: Eastern Bloc Party feat. Sages of Khelm (KZ) 9p Snug Harbor: Uptown Jazz Orchestra with Delfeayo Marsalis (JV) 8 & 10p Southport Hall: Glass Houses, Sink the Ship, Hollow City, Raccoon City Massacre (VR) 8p Starlight: Yoshitaka Tsuji (PI) 5p, Tuba Skinny (JV) 8p Three Keys (Ace Hotel): SONO presents the Shape of Jazz to Come (JV) 9p Three Muses: Leslie Martin (JV) 5p, Schatzy (VR) 8p Tropical Isle Original: Debi and the Deacons (RK) 5:15p, Late As Usual (RK) 9:15p
THURSDAY OCTOBER 18
Buffa’s: Mark Carroll and Ed Wise (VR) 5p, Tom McDermott and Aurora Nealand (JV) 8p Bullet’s: Kermit Ruffins and the BBQ Swingers (JV) 7p Chickie Wah Wah: Phil DeGruy (SS) 6p Covington Trailhead: Rockin’ the Rails feat. the Rick Samson Project, Leroux (VR) 5p d.b.a.: Robert Walter’s 20th Congress (RK) 10p Funky Pirate: Mark and the Pentones (BL) 4p, Blues Masters (BL) 8:30p House of Blues (the Parish): We Were Promised Jetpacks (RK) 7p Howlin’ Wolf (the Den): Comedy Gumbeaux (CO) 9p Howlin’ Wolf (the Porch): Maddie and Tae, Stephanie Quayle (CW) 9p Kerry Irish Pub: Dave Hickey (FO) 8:30p Maple Leaf: the Trio feat. Johnny Vidacovich (JV) 10p Nunemaker Auditorium (Loyola University): New Orleans Divas: Germaine Bazzle and Leah Chase (JV) 7:30p Ogden Museum of Southern Art: Smoking Time Jazz Club (JV) 6p Old Point Bar: Valerie Sassyfras (RK) 8p Palm Court Jazz Café: Duke Heitger with Crescent City Joymakers (JV) 8p Rock ‘n’ Bowl: Horace Trahan and Ossun Express (ZY) 8:30p Saenger Theatre: Flatley Lord of the Dance: Dangerous Games (DN) 8p Saturn Bar: Alex McMurray and his Band (RK) 8p Smoothie King Center: Kevin Hart (CO) 7p Snug Harbor: Mark Turner and Ethan Iverson Duo (JV) 8 & 10p Spotted Cat: Up Up We Go (JV) 2p, Miss Sophie Lee (JV) 6p, Jumbo Shrimp (JV) 10p Starlight: Shea Pierre (PI) 5p, Amanda Walker and friends (FO) 8p Three Muses: Tom McDermott (JV) 5p, Esther Rose (JV) 8p Tipitina’s: Tauk, Funk You (VR) 9p Tropical Isle Bourbon: Wild Card (RK) 5p, Debi and the Deacons (RK) 9p Vaughan’s Lounge: DJ Black Pearl (VR) 9p, Corey Henry and the Treme Funktet (FK) 10p
FRIDAY OCTOBER 19
Buffa’s: Susanne Ortner and Nahum Zdybel (JV) 5p, Jeremy Joyce (VR) 9p d.b.a.: Smoking Time Jazz Club (JV) 6p
www.OFFBEAT.com
Deutsches Haus: Oktoberfest feat. Die Musikanten, Alex Meixner (VR) 4p Dew Drop Social and Benevolent Hall: Gospel Night feat. My Covenant Church Choir and Shades of Praise (GS) 6p House of Blues: Beartooth (RK) 6:30p Howlin’ Wolf (the Den): Jenna Guidry and the Levee (SS) 10p Howlin’ Wolf (the Porch): Bollywood Dance Party (VR) 10p Jazz Playhouse: Cyril Neville and Swamp Funk (FK) 7:30p, Trixie Minx’s Burlesque Ballroom feat. Romy Kaye and the Mercy Buckets (BQ) 11p Kerry Irish Pub: Will Dickerson (FO) 5p, Roux the Day (FO) 9p Little Gem Saloon: John Mooney and Marc Stone with Papa Mali (BL) 7:30p Maple Leaf: Dave Jordan and the NIA (RR) 11p New Orleans Jazz Museum (Old U.S. Mint): Frog and Henry (VR) 7p Palm Court Jazz Café: Will Smith and Palm Court Jazz Band (JV) 8p Snug Harbor: Ellis Marsalis Quintet (JV) 8 & 10p Southport Hall: Saving Abel, Akadia (VR) 8p Spotted Cat: Andy J. Forest (JV) 2p, New Orleans Cottonmouth Kings (JV) 6p, Shake ‘Em Up Jazz Band (JV) 10p Starlight: DJ Derrick Smoker presents “Grrove City” (FK) 5p, Anne Elyse and Matt Bartels (CW) 9p, Lost Then Found presents Our House (EL) 11:59p Three Muses: Royal Roses (JV) 5:30p, Doro Wat Jazz Band (JV) 9p Tropical Isle Bourbon: Wild Card (RK) 5p, Debi and the Deacons (RK) 9p
SATURDAY OCTOBER 20
Abita Springs Town Hall: Abita Springs Opry feat. Three Rivers Cooperative, Slick Skillet Serenaders, Affordable Bluegrass Act, Cotton Mouth Kings (VR) 7p Backstreet Museum: LoveFest Fundraiser for Sylvester Francis feat. Crescent City Cultural Icons (MG) 3p Buffa’s: Ukulele School of New Orleans (VR) 4p, the Royal Rounders (VR) 6p, Dirty Rain Revelers (VR) 9p Champions Square: Trombone Shorty’s Hometown Threauxdown (JV) 6p d.b.a.: Tuba Skinny (JV) 7p, Brass-A-Holics (BB) 11p Deutsches Haus: Oktoberfest feat. Die Musikanten, Prost, Alex Meixner (VR) 1p Fontaine Palace: Mofongo Latin Band (LT) 9p Gasa Gasa: the Dude Ranch: Blink 182 Tribute (PK) 10p House of Blues: John Hiatt (BL) 8p Howlin’ Wolf (the Porch): Decrepit Birth, Arsis, Internal Bleeding, Pyrexia, Angelmaker, Organectomy (ME) 7:30p Kerry Irish Pub: Betsy McGovern (FO) 6p, Van Hudson and friends (FO) 9p Little Gem Saloon: Cole Williams (RK) 11p Mahalia Jackson Theater: Dance Theatre of Harlem (DN) 8p Maison: Chance Bushman and the Ibervillainaires, Eight Dice Cloth, Smoking Time Jazz Band (JV) 1p, Big Easy Brawlers, King of Brass, Next Level Nightclub Experience feat. DJ Dizzi (VR) 10p Maple Leaf: Funk Monkey (FK) 11p Rock ‘n’ Bowl: Wayne Toups, Foret Tradition (ZY) 9:30p Saenger Theatre: Hannibal Buress (CO) 8p Siberia: Tumbling Wheels, Chelsea Lovitt and Boys, Fimone (FO) 10p Snug Harbor: Davell Crawford (JV) 8 & 10p Starlight: Ven Pa CA Flamenco (LT) 5p, Shawan Rice (SO) 7p, Khalif Neville and Glen David Andrews (FK) 10p Three Keys (Ace Hotel): Muevelo, Mambo Orleans (LT) 9p Three Muses: Chris Christy (JV) 5p, Kris Tokarski (JV) 6p, Shotgun Jazz Band (JV) 9p O CTO BER 2 018
O
49
LIVE LOCAL MUSIC Tipitina’s: the Low End Theory Players (VR) 10p Tropical Isle Bourbon: Rhythm and Rain (RK) 5p, Debi and the Deacons (RK) 9p
SUNDAY OCTOBER 21
Art Klub: Billie Davies Perspectives: A Gathering (VR) 8p Buffa’s: Some Like It Hot (JV) 11a, Tim Paco with Ukulele School of New Orleans Showcase (VR) 4p, Steve Pistorius Quartet (JV) 7p d.b.a.: Palmetto Bug Stompers (SI) 6p, Bo Dollis Jr. and the Wild Magnolias (MG) 10p Howlin’ Wolf (the Den): Hot 8 Brass Band (BB) 10p Jazz Playhouse: Germaine Bazzle (JV) 8p Kermit’s Mother-in-Law Lounge: Kermit Ruffins and the BBQ Swingers (JV) 5:30p Kerry Irish Pub: Chip Wilson (FO) 8p Maple Leaf: South Jones (RK) 10p One Eyed Jacks: Marina Orchestra (VR) 9p Palm Court Jazz Café: Mark Braud and Sunday Night Swingsters (JV) 8p Snug Harbor: Henry Butler Tribute (JV) 8 & 10p Spotted Cat: John Lisi and Delta Funk (JV) 2p, James Martin Band (JV) 6p, Dana Abbott (JV) 10p Starlight: Dile Que NOLA (LT) 7p, Gabrielle Cavassa Jazz Jam (JV) 10p Three Keys (Ace Hotel): Marc Stone Band (BL) 8p Three Muses: Raphael et Pascal (JV) 5p, the Clementines (JV) 8p Tropical Isle Bourbon: Rhythm and Rain (RK) 5p, Debi and the Deacons (RK) 9p
MONDAY OCTOBER 22
Buffa’s: A2D2 with Arsene DeLay and Antoine Diel (VR) 6p d.b.a.: Michot’s Melody Makers (KJ) 10p Dragon’s Den: Monday Night Swing feat. Catie Rodgers and Her Swing Orchestra (GY) 8p, AudioDope with DJ Ill Medina (VR) 9p Funky Pirate: Willie Lockett Band (BL) 8p Howlin’ Wolf (the Den): Haunted Like Human, Justin Dye, Toby O’Brien (FO) 9p Jazz Playhouse: Nayo Jones Experience (JV) 8p, Tribute to Irma Thomas, Allen Toussaint and Louis Armstrong by Nayo Jones Experience with Kermit Ruffins (JV) 10p Kerry Irish Pub: Kim Carson (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 (VR) 4p Maple Leaf: Slugger (FK) 10p Snug Harbor: Charmaine Neville Band (JV) 8 & 10p Southport Hall: Doyle, Misled, the Bald Dog Project (VR) 7p Spotted Cat: Royal Street Winding Boys (JV) 2p, Dominick Grillo and the Frenchmen St. All-Stars (JV) 6p, Jazz Vipers (JV) 10p Starlight: Brad Webb (MJ) 5p, Joshua Benitez and friends (RK) 8p, Mi Casa with DJ Anthony Tony (VR) 11:30p Three Muses: Monty Banks (JV) 5p, Beth Patterson and Josh Paxton (JV) 8p Tropical Isle Bayou Club: Cajun Drifters (KJ) 7p
TUESDAY OCTOBER 23
Buffa’s: You Got This Presents Taco Tuesdays (VR) 5p, Tom Worrell (VR) 8p d.b.a.: Dinosaurchestra (JV) 7p, Treme Brass Band (BB) 10p Dos Jefes: Tom Hook and Wendell Brunious (JV) 9p Dragon’s Den: Hector Gallardo’s Cuban Jazz Band (LT) 9p; Upstairs: the All-Star CoveredDish Country Jamboree (CW) 9p Funky Pirate: Blues Masters (BL) 8:30p Howlin’ Wolf (the Den): Comedy Beast (CO) 9p Jazz Playhouse: Tribute to Fats Domino, Dixie Cups by Ron Jones and the Big Easy Horns (JV) 8:30p Kerry Irish Pub: Jason Bishop (FO) 8:30p Maple Leaf: Rebirth Brass Band (FK) 10p Saenger Theatre: Alice in Chains (RK) 8p
50
O
OCTOBER 2018
Siberia: Piano Night with Josh Wexler (PI) 9p SideBar NOLA: Dougie-Doo feat. Doug Garrison and Doug Belote (VR) 9p Snug Harbor: Spencer Bohren (JV) 8 & 10p Spotted Cat: Andy J. Forest (JV) 2p, the Little Big Horns (JV) 6p, Smoking Time Jazz Club (JV) 10p Starlight: Ryan Hanseler (PI) 7p, Asher Danziger (CW) 10p Three Muses: Salvatore Geloso (JV) 5p, Mia Borders (SO) 8p Tropical Isle Original: the Hangovers (RK) 5:15p, F.A.S.T. (RK) 9:15p
WEDNESDAY OCTOBER 24
Algiers Point Ferry Landing: Valerie Sassyfras and the Sasshay Dancers, Amanda Shaw and the Cute Guys (VR) 5:30p Buffa’s: Open Mic Night with Nattie Sanchez (SS) 7p Cove at UNO: Jazz at the Sandbar presents Danilo Perez (JV) 7p d.b.a.: Tin Men (RK) 7p, Walter “Wolfman” Washington and the Roadmasters (BL) 10p Gasa Gasa: the Pack A.D. (RK) 9p Hi-Ho Lounge: Kero Kero Bonito, Tanukichan (ID) 8p Howlin’ Wolf (the Porch): Z-Ro (HH) 9p Jazz Playhouse: Tribute to Louis Prima by Lena Prima and Band (JV) 8:30p Kerry Irish Pub: Patrick Cooper (FO) 8:30p Maple Leaf: Johnny Sketch and the Dirty Notes (RR) 10p Palm Court Jazz Café: Lars Edegran and Topsy Chapman with Palm Court Jazz Band (JV) 8p Rock ‘n’ Bowl: G and the Swinging Gypsies (SI) 8p Saenger Theatre: Maxwell, Marsha Ambrosious (SO) 8p SideBar NOLA: Aurora Nealand and James Singleton (VR) 9p Snug Harbor: Uptown Jazz Orchestra with Delfeayo Marsalis (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: NOVAC Film Festival Party (VR) 7p Three Muses: Leslie Martin (JV) 5p, Leo Forde (JV) 8p Tropical Isle Bourbon: Jezebels Chill’n (RK) 5p, Debi and the Deacons (RK) 9p
THURSDAY OCTOBER 25
Buffa’s: Gumbo Cabaret (JV) 5p, Tom McDermott and Aurora Nealand (JV) 8p Bullet’s: Kermit Ruffins and the BBQ Swingers (JV) 7p Chickie Wah Wah: Phil DeGruy (SS) 6p Covington Trailhead: Rockin’ the Rails feat. Tyler Kinchen and the Right Pieces (VR) 5p d.b.a.: Alexis and the Samurai (ID) 7p, Little Freddie King (BL) 10p Dragon’s Den: Throwback Thursday feat. Rapbaum, Khromethesia, Harbinger Project (HH) 10p; Upstairs: Crescent Fresh Stand-Up (CO) 7p, Juan Tigre (RK) 11p Funky Pirate: Mark and the Pentones (BL) 4p, Blues Masters (BL) 8:30p House of Blues: Mike Shinoda (RK) 7p Howlin’ Wolf (the Den): Comedy Gumbeaux (CO) 9p Jazz Playhouse: Tribute to Musical Legends by the Brass-A-Holics with Tonya Boyd-Cannon (JV) 8:30p Kerry Irish Pub: Chip Wilson (FO) 8:30p Le Bon Temps Roule: Soul Rebels (BB) 11p Maple Leaf: the Trio feat. Johnny Vidacovich (JV) 10p Ogden Museum of Southern Art: Ever More Nest (FO) 6p Palm Court Jazz Café: Leroy Jones and Katja Toivola with Crescent City Joymakers (JV) 8p Rock ‘n’ Bowl: Terry and the Zydeco Bad Boys (ZY) 8:30p
Saturn Bar: Alex McMurray and his Band (RK) 8p SideBar NOLA: Mike Dillon and friends (VR) 9p Snug Harbor: Danilo Perez (JV) 8 & 10p Spotted Cat: Up Up We Go (JV) 2p, Miss Sophie Lee (JV) 6p, Jumbo Shrimp (JV) 10p Starlight: Oscar Rossignoli (PI) 5p, Amanda Walker and friends (FO) 8p, the Living Street (FO) 11p Three Muses: Tom McDermott (JV) 5p, Arsene DeLay (VR) 8p Tipitina’s: Here Come the Mummies (VR) 9p Tropical Isle Bayou Club: Cajun Drifters (KJ) 5p, Faubourg Ramblers (KJ) 9p Vaughan’s Lounge: DJ Black Pearl (VR) 9p, Corey Henry and the Treme Funktet (FK) 10p
FRIDAY OCTOBER 26
Buffa’s: Dayna Kurtz (VR) 5p, Dr. Sick and the Late Greats (VR) 9p Circle Bar: Natalie Mae (CW) 7p, Alex McMurray and his Band, the Geraniums (RK) 9:30p d.b.a.: Aurora Nealand and the Royal Roses (JV) 6p, DJ Quickie Mart with Ricky B (VR) 2a Dos Jefes: Sunpie and the Louisiana Sunspots (ZY) 10p Fontaine Palace: Afro Beat Night with DjoJay and Kodjo Bensa (AF) 9p Hi-Ho Lounge: River Dragon (RK) 6p, Bruno Mars Tribute feat. Calvin Johnson (FK) 10p Jazz Playhouse: Cyril Neville and Swamp Funk (FK) 7:30p, Trixie Minx’s Burlesque Ballroom feat. Romy Kaye and the Mercy Buckets (BQ) 11p Kerry Irish Pub: Patrick Cooper (FO) 5p, Hurricane Refugees (FO) 9p Little Gem Saloon: John Mooney and Marc Stone with Mike Dillon (BL) 7:30p Maple Leaf: Flow Tribe (FK) 11p New Orleans Jazz Museum (Old U.S. Mint): Christian Bold (VR) 2p Nunemaker Auditorium (Loyola University): That’s Not Tango: Astor Piazzolla, A Life In Music (LT) 7:30p Palm Court Jazz Café: Kevin Louis and Palm Court Jazz Band (JV) 8p Portside Lounge: DiNola (RK) 9p Saenger Theatre: Lauren Daigle (SS) 7:30p Snug Harbor: Ellis Marsalis Quintet (JV) 8 & 10p Southport Hall: the Entourage, 5th Ward Weebie (VR) 9p Starlight: DJ Derrick Smoker presents “Grrove City” (FK) 5p, Carol Deminksi Trio (JV) 7p, Lost Then Found presents Our House (EL) 11:59p Three Keys (Ace Hotel): Raj Smoove (HH) 10p Three Muses: Matt Johnson (JV) 5:30p, Doro Wat Jazz Band (JV) 9p Tipitina’s: the Polish Ambassador and the Diplomatic Scandal, Mikey Pauker (VR) 11p Tropical Isle Bayou Club: Faubourg Ramblers (KJ) 5p, T’Canaille (KJ) 9p
SATURDAY OCTOBER 27
Buffa’s: Marc Stone (BL) 6p, Marina Orchestra (VR) 9p d.b.a.: New Orleans Cottonmouth Kings (JV) 7p, Soul Rebels (BB) 11p Fontaine Palace: Muevelo (LT) 10p Funky Pirate: Mark and the Pentones (BL) 2p, Blues Masters (BL) 8:30p Gasa Gasa: Mike Dillon, James Singleton, Jonathan Freilich, Brad Walker (MJ) 9p Jazz and Heritage Center: George French Band (JV) 8p Jazz Playhouse: Tribute to Musical Legends by Chucky C and Clearly Blue (JV) 8p Kerry Irish Pub: Beth Patterson (FO) 5p, Paintbox with Dave James and Tim Robertson (FO) 9p Little Gem Saloon: Kermit Ruffins and the BBQ Swingers (JV) 7 & 9p, Cole Williams (RK) 11p Maple Leaf: the Iceman Special (FK) 10p Mardi Gras World: Hell’s Gala 2018:10-Year Anniversary feat. Illenium (EL) 10p Morning Call City Park: Billy D. Chapman (JV) 10a
Nunemaker Auditorium (Loyola University): That’s Not Tango: Astor Piazzolla, A Life In Music (LT) 7:30p One Eyed Jacks: Lost Bayou Ramblers, Givers (VR) 9p Palm Court Jazz Café: Will Smith and Palm Court Jazz Band (JV) 8p Rock ‘n’ Bowl: AsheSon (LT) 9:30p Snug Harbor: Larry Sieberth with Yolanda Robinson (JV) 8 & 10p Starlight: Ven Pa CA Flamenco (LT) 5p, Shawan Rice (SO) 7p, Davis Rogan (PI) 10:30p Three Keys (Ace Hotel): Where Y’acht (RK) 9p Three Muses: Chris Christy (JV) 5p, Debbie Davis (JV) 6p Tipitina’s: DJ RQ Away, Cavalier, Ray Wimley (VR) 11p Tropical Isle Original: the Hangovers (RK) 5:15p, Late As Usual (RK) 9:15p
SUNDAY OCTOBER 28
Art Klub: Billie Davies Perspectives: A Gathering (VR) 8p Buffa’s: Some Like It Hot (TJ) 11a, Madeline Ford Trio (JV) 4p, Steve Pistorius Quartet (JV) 7p d.b.a.: Palmetto Bug Stompers (JV) 6p, Dave Catching’s Ranch de la Lunatics (RK) 11p Funky Pirate: Mark and the Pentones (BL) 4p, Willie Lockett Band (BL) 8p Hi-Ho Lounge: BateBunda (AF) 10p Howlin’ Wolf (the Den): Hot 8 Brass Band (BB) 10p Jazz Playhouse: Germaine Bazzle (JV) 8p Kermit’s Mother-in-Law Lounge: Kermit Ruffins and the BBQ Swingers (JV) 5:30p Kerry Irish Pub: Will Dickerson (FO) 8p Maison: NOLA Jitterbugs, Nickel-A-Dance (JV) 10a, Brad Walker, Higher Heights (VR) 7p Maple Leaf: Joe Krown Trio feat. Walter “Wolfman” Washington (JV) 10p One Eyed Jacks: MC Chris Is Dead Tour, Dual Core, Lex the Lexicon Artist (VR) 8p Palm Court Jazz Café: Mark Braud and Palm Court Jazz Band (JV) 8p Siberia: United Bakery Records Presents People Museum, Toonces (ID) 9p Snug Harbor: Christien Bold and Soul Swing (JV) 8 & 10p Spotted Cat: Robin Barnes and the FiyaBirds (JV) 6p, Pat Casey and the New Sound (JV) 10p Starlight: Combsy (JV) 7p, Gabrielle Cavassa Jazz Jam (JV) 10p Three Keys (Ace Hotel): Marc Stone Band (BL) 8p Three Muses: Raphael et Pascal (JV) 5p, the Clementines (JV) 8p Tropical Isle Original: the Hangovers (RK) 5:15p, Late As Usual (RK) 9:15p
MONDAY OCTOBER 29
Buffa’s: A2D2 with Arsene DeLay and Antoine Diel (VR) 6p d.b.a.: Michot’s Melody Makers (KJ) 10p Funky Pirate: Willie Lockett Band (BL) 8p Gasa Gasa: Iron Chic (PK) 9p Hi-Ho Lounge: Bluegrass Pickin’ Party (BU) 8p, Instant Opus Improvised Series (FO) 10p Kerry Irish Pub: Beth Patterson (FO) 8:30p Maison: Chicken and Waffles, Aurora Nealand and the Royal Roses, Sierra Green and the Soul Machine (JV) 4p Maple Leaf: Trifunkta (FK) 10p SideBar NOLA: Instant Opus Improvised Music Series (VR) 9p 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, Jazz Vipers (JV) 10p Starlight: Brad Webb (MJ) 5p, Joshua Benitez and friends (RK) 8p, Mi Casa with DJ Anthony Tony (VR) 11:30p
www.OFFBEAT.com
LIVE LOCAL MUSIC Three Muses: Davis Rogan (JV) 5p, Gal Holiday and the Honky Tonk Revue (CW) 8p Tropical Isle Original: Graham Robertson (RK) 5:15p, Trop Rock Express (RK) 9:15p
Sept. 29 The Vive Feliz festival celebrates Hispanic heritage in Dutch Alley featuring live music and family activities. FrenchMarket.org
TUESDAY OCTOBER 30
Oct. 5-6, 12-13, 19-20 Deutsches Haus presents three weekends of German food, music and beer during Oktoberfest. OktoberfestNola.com
Buffa’s: You Got This Presents Taco Tuesdays (VR) 5p, Charlie Wooten Project (VR) 8p d.b.a.: Dinosaurchestra (JV) 7p, Treme Brass Band (BB) 10p Howlin’ Wolf (the Den): Comedy Beast (CO) 9p Kerry Irish Pub: Jason Bishop (FO) 8:30p Maison: Samantha Pearl Quartet, Gregory Agid, Soul Project (VR) 4p Maple Leaf: Rebirth Brass Band (FK) 10p Siberia: Ditrani Brothers and Hammer of Spring, Mama T and Da Tots, Arthur Buezo, Zeaira Quinn (FO) 10p SideBar NOLA: Dayna Kurtz and Robert Mache (VR) 7p, Mike Dillon, Aurora Nealand and James Singleton (VR) 9p Snug Harbor: Stanton Moore Trio (JV) 8 & 10p Spotted Cat: Andy J. Forest (JV) 2p, the Little Big Horns (JV) 6p, Smoking Time Jazz Club (JV) 10p Starlight: Ryan Hanseler (PI) 7p, Asher Danziger (CW) 10p Three Muses: Sam Cammarata (JV) 5p, Joshua Gouzy Quartet (JV) 8p Tropical Isle Original: the Hangovers (RK) 5:15p, F.A.S.T. (RK) 9:15p
WEDNESDAY OCTOBER 31
Buffa’s: Open Mic Night with Nattie Sanchez (SS) 7p Cove at UNO: Jazz at the Sandbar presents Ashlin Parker (JV) 7p d.b.a.: Tin Men (RK) 7p, Walter “Wolfman” Washington and the Roadmasters (BL) 10p Dos Jefes: Carl LeBlanc (JV) 9p Dragon’s Den: World Vybz Wednesdays feat. DJ FTK (VR) 10p; Upstairs: DJ G Cue (VR) 10p Howlin’ Wolf (the Den): Kurt Travis, Brent Walsh, Makari (RK) 8p, Halloween Night with Valerie Sassyfras feat. T-Rex and the Sasshay Dancers, And Then Came Humans (VR) 10p Kerry Irish Pub: Van Hudson (FO) 8:30p Maple Leaf: Johnny Sketch and the Dirty Notes (RR) 10p Morning Call: Krewe du Two (VR) 1p One Eyed Jacks: Quintron and Miss Pussycat, Jeff the Brotherhood (VR) 8p Palm Court Jazz Café: Lars Edegran and Topsy Chapman with Palm Court Jazz Band (JV) 8p Snug Harbor: Johnny Sansone’s Blues Party (BL) 8 & 10p Southport Hall: Goatwhore, the Casualties, Black Tusk, Great American Ghost, Morthereon (VR) 6p Spotted Cat: Chris Christy (JV) 2p, Shotgun Jazz Band (JV) 6p, Antoine Diel and the New Orleans Power Misfits (JV) 10p Starlight: Yoshitaka Tsuji and Haruka Kikuchi (JV) 5p, Gal Holiday and the Honky Tonk Revue (CW) 7p, Tom McElvain (CW) 10p Superdome: Ed Sheeran, Snow Patrol, Lauv (SS) 7p Three Muses: Leslie Martin (JV) 5p, Salvatore Geloso (JV) 8p Tipitina’s: Galactic (FK) 10p Tropical Isle Original: Debi and the Deacons (RK) 5:15p, Late As Usual (RK) 9:15p
FESTIVALS Sept. 28-29 Bogalusa Blues and Heritage Festival features live music, a kids’ zone, food and drink vendors, and arts and crafts. BogalusaBlues.com
www.OFFBEAT.com
Oct. 6 Acadia Music Fest in Thibodaux showcases local and regional bands. AcadiaMusicFest.net Oct. 6 Algiers Fest celebrates at Federal City the military and the community with live music, food trucks, drink vendors and kids’ activities. Facebook.com/AlgiersFest Oct. 6 Beignet Fest in New Orleans City Park features live music, beignet dishes, kids’ activities and an art market. BeignetFest.com Oct. 11-14 Festival Acadiens et Creole features live music, regional cuisine, arts and crafts, and kids’ activities. FestivalsAcadiens.com Oct. 12-14 The Crescent City Blues and BBQ Festival at Lafayette Square features blues music, regional barbecue and an arts market. JazzAndHeritage.org/Blues-Fest Oct. 12-14 Voice of the Wetlands Festival in Houma includes Cajun cuisine, arts and crafts, and live music. VoiceOfTheWetlands.org Oct. 17-25 The New Orleans Film Festival includes screenings, panel discussions and parties. NewOrleansFilmSociety.org Oct. 19-21 The Andouille Festival in Laplace features regional cuisine, live music, arts and crafts, and a kids’ tent. AndouilleFestival.com Oct. 26-28 The Voodoo Music + Arts Experience in New Orleans City Park features live music, an arts market, food and drink vendors, and art installations. VoodooFestival.com
SPECIAL EVENTS Oct. 16 & 23 WYES celebrates a Season of Good Tastes with paired dinner fundraisers at Trinity Restaurant (Oct. 16) and Rosedale (Oct. 23), and others in the fall and winter. WYES.org Oct. 20 The Boo Carre Halloween Haunt features live music and kids’ activities. FrenchMarket.org Oct. 20 The Krewe of Boo parades through the French Quarter beginning at Elysian Fields Avenue at 6:30 p.m. KreweOfBoo.com Oct. 20 The LoveFest fundraiser for Sylvester Francis begins at 3 p.m. at the Backstreet Museum and features performances and appearances by Mardi Gras Indians and many other cultural icons. BackstreetMuseum.org Oct. 20 The New Orleans Ballet Association presents the Dance Theatre of Harlem at the Mahalia Jackson Theater. NOBADance.com O CTO BER 2 018
O
51
BACKTALK
O Crescent City Blues & BBQ Festival October 13
Shemekia Copeland
talks back
S
he’s a second-generation blues artist with a lot to say. In August, Shemekia Copeland released America’s Child, her ninth album. Her 22-month-old son, Johnny Lee CopelandSchultz, inspired the topical collection of songs. An all-star group of guests—including John Prine, Rhiannon Giddens, Mary Gauthier, Emmylou Harris and Steve Cropper— complements Copeland’s straight-to-the-point America’s Child performances. This year is the 20th anniversary year of Copeland’s debut album, Turn the Heat Up. Released when she was 18, the album shadowed the singer’s decision to follow her father, Johnny “Clyde” Copeland, into the music business. Since then, she’s earned a flood of Blues Music Awards and Living Blues Awards and three Grammy nominations. Copeland’s other honors include her 2012 participation with Buddy Guy, Troy “Trombone Shorty” Andrews, B.B. King, Mick Jagger, Jeff Beck, Gary Clark Jr. and more in In Performance at the White House: Red, White and Blues. She spoke to OffBeat in advance of her October 13 show at the Crescent City Blues & BBQ Festival.
PHOTO: joseph a. rosen, courtesy of the artist
2018 is the 20th anniversary year of your debut album. Oh, my God. I know. People keep telling me that. I don’t want to hear it. The past 20 years are a complete blur. Seriously, where did the time go? How do you feel about how far you’ve come in 20 years? I grew up in this business. I’ve evolved and changed so much. And I’ve been able to do that on record. Not too many people can say that.
But it was still tough. I was on the road all the time. Sometimes I wonder why my little body hurts now, and then I remember all my years of traveling and sleeping on top of luggage.
You were 18 when you released Turn the Heat Up. What were your early years of touring and being a young blues artist like? It was tough times. I lost my father in 1997 and that was really tough. I was going through that when I was about to enter into this business with all of these grown men. But I had a good team around me. Without that you can get swallowed up and chewed up.
The music business has changed so much since 1998. There was no way then to know that there would be no record stores, that people would stop buying CDs and download music and buy streaming subscriptions. And social media, that’s a whole new animal. Artists make their careers on social media. I’ve had 20 years of ups and downs, but it’s been great. I don’t mind the rollercoaster life—but I definitely don’t want to get on a real rollercoaster.
www.OFFBEAT.com
By John Wirt
You’ve co-written many songs, but you don’t actually think of yourself as a songwriter. Why not? I’ve written songs with John Hahn (her longtime manager and co-writer), Dr. John and people like that. But there’s a difference between a songwriter and somebody who writes songs. I cook dinner for my family. That doesn’t make me a chef. I’m so blessed to work with Mary Gauthier, Will Kimbrough, Oliver Wood, Dr. John. They’re better writers than I’ll ever be. How did Louisiana native Mary Gauthier enter your creative sphere? Isn’t she brilliant? John Hahn introduced me to her music. And she knew about John and I. O CTO BER 2 018
O
53
B AC
KTA
LK
“A few weeks ago, I went to go see Foreigner and Whitesnake. I heard so much blues in their show. If you strip away the hair and lower the volume, it’s blues.” Her writing is so honest and so real. She puts it together like art, not just words on a page. America’s Child is the fourth album you’ve recorded in Nashville. Rather than phone their vocals in, nearly all of your guests joined you in the studio for the project. That’s the nice thing about recording in Nashville. Everybody’s there. And it’s not about genre. They just want play good music. All these people who sang on my record, nobody was thinking, ‘Oh, we’re going to go sing on a blues record.’ It was just about the songs and the message. I was a giddy schoolgirl in the studio when John Prine sang next to me. He’s one of the greatest. And watching Rhiannon Giddens play African banjo was like, ‘Whoa.’ It felt real and awesome. Dr. John, a.k.a. Mac Rebennack, produced your 2002 third album, Talking to Strangers. He wrote songs on the album, played piano and sang a duet with you of “The Push I Need.” Did Dr. John and your father know each other? He and my dad were great friends. That album was probably like the experience would have been if I’d made a record with my father. It felt like dad was working through Mac. And I just love Mac. ‘The Push I Need’ is the perfect song for us. And Mac really did give me the push I needed. He was so involved in making the record and then so involved after it was made. We did a lot of stuff together. And then 12 years after Talking to Strangers, you sang a duet of “Sweet Hunk O’ Trash” with Dr. John for his 2014 album, Ske-Dat-De-Dat: The Spirit of Satch. We recorded that together in New Orleans. But we couldn’t hardly get any work done because we were too busy telling stories about my dad. I took my mom with me and we had a ball down there. Of course, your father is Johnny Copeland. When did you decide to follow in his footsteps? I had no intentions of doing that. Because I watched my dad and thought, ‘Wow. He travels
54
O
OCTOBER 2018
And suddenly you felt confident about performing? God provides people with their gifts. But for years I didn’t think anyone wanted to listen to me. I’m not one of those singers who does all the vocal acrobatics. But you know what? I’m not like everybody else. I sound different. And I thought about Mavis Staples. That woman can move you with a moan. All she has to do is go ‘Hmm.’ So, it’s not about how many notes you sing.
That was the craziest two days of my life. I’m at the White House. We’re rehearsing. It’s actually Presidents’ Day and the show is the next day. Jeff Beck and Buddy Guy are rehearsing their song and, of course, they’re loud. Obama comes downstairs to hang out and listen to the rehearsal. The next day I’m sitting there with B.B. King. He tells me, ‘I’ve been to the White House for every president since Gerald Ford. I’m so proud and happy to be here now.’ And then I’m standing in line behind Buddy Guy to get my picture taken with Obama. Buddy almost ruined my picture! He says, ‘I can’t believe this. From the cotton fields to the White House.’ And I thought to myself, ‘Buddy is in his late seventies. This is his first time at the White House. How blessed am I to be here in my thirties!’ And my eyes start welling up. I’m like, ‘Why is Buddy doing this to me! Ahh!’ I was so upset! But I did get my picture taken with Obama and I look fine. But I didn’t look fine because of Buddy Guy!
You were actually a professional singer when were child, weren’t you? I was eight and my father was on stage at the Cotton Club. He saw me in the audience and started playing a song that he and I sang around the house. I knew he was going to call me on stage. And he did. I was horrified. But after I was up there for a while, dad could see me getting more comfortable. I got a little regular gig out of that, singing with Ann Sinclair at the Cotton Club gospel brunch on Sundays.
You’re appearing at the Americana Music Festival in Nashville for the first time. Are you still a blues artist or are you an Americana artist now? Blues is the oldest form of music. Everything comes from this genre. That’s nothing anyone hasn’t heard before. A few weeks ago, I went to go see Foreigner and Whitesnake. I heard so much blues in their show. It was amazing to me. If you strip away the hair and lower the volume, it’s blues.
Your son was born December 24, 2016. Has becoming a mom affected your outlook? There’s a lot of social commentary on America’s Child. Are you concerned about the state of the union? I’m hopeful. I love my country. Do I think my country needs to go through extensive rehab? Absolutely. You can hear my frustration on the album. But I’m hopeful for my child that things will get better. We’re not great now, but I know how great we can be.
Are you looking forward to playing the Crescent City Blues and BBQ Festival on October 13? I’m bringing my husband, our little boy, my mom, my aunt, my brother and sister-inlaw. Two of my best friends are coming, too. We’re going to have a ball.
all the time. He’s working so hard and not making any money.’ I thought, ‘Hmm. I can’t do that. That’s insane.’ And I saw how powerful and amazing my dad was on stage. I didn’t have the confidence to do anything like that. But I used to go sit in with him. And I’d sing the first set for him. But I didn’t think I would be an entertainer. And then, before he died, something came over me. I got a calling. It said, ‘You gotta put your big-girl panties on. This is what you’re supposed to do.’
Was participating in In Performance at the White House: Red, White and Blues in 2012 among the greatest things you’ve done?
And you do like barbecue, don’t you? What human being upon Earth does not like barbecue?! My father is from Texas. My mom is from North Carolina. Growing up, I was right in the middle of that conversation about who has the best barbecue—North Carolina or Texas? I like it all. I don’t discriminate with my barbecue or anything else. O www.OFFBEAT.com