OffBeat Magazine August 2016 by OffBeat Magazine

Ooh Poo Pah Doo Gary Giddins Victor Goines Peter Frampton Trombone Shorty Jonté Mayon Wayne Toups Lawrence Cotton

Satchmo

Summer Fest PULL-OUT GUIDE INSIDE!

Ruler of Treme

Benny Jones Sr.

LOUISIANA MUSIC, FOOD & CULTURE—AUGUST 2016 Free In Metro New Orleans US $5.99 CAN $6.99 £UK 3.50

BLAST FROM THE PAST

The Last of the Sixth Ward

“The Treme Brass Band: Makin’ & Breakin’ The Tradition”

Treme Brass Band’s Benny Jones Sr. is what New Orleans is all about. Page 32

THE NEW ICONS

MOJO MOUTH

Troy “Trombone Shorty” Andrews has achieved a plateau of excellence that most artists never reach in a lifetime.

FRESH

LETTERS

Five Questions with John Broven, author of Rhythm & Blues in New Orleans; Playlist: Ten Louis Armstrong Landmarks; My Music with Michael Paz; Donna’s Revisited and more.

OBITUARY

POPS AND BING 13 14 16 18

Louis Armstrong embodied the folksy sophistication that marks New Orleans.

JAZZ OF ALL SEASONS

Peter Frampton thanks The Advocate’s John Georges at Champions Square.

Justin Gehrmann of Kingfish mixes up the Rocking Chair for Buckwheat Zydeco.

Chris French (of Roddie Romero and the Hub City All-Stars) is In the Spot at Pho Cam Ly and Peter Thriffiley reviews Imperial Woodpecker Sno-Balls.

REVIEWS

Wayne Toups, Cowboy Mouth, Swingin’ Melatauns, Smoke N Bones, Dick Deluxe, Matt Babineaux and more.

Victor Goines’ first appearance at Satchmo SummerFest.

FRAMPTON COMES ALIVE

IN THE SPIRIT

OFFBEAT EATS

Judy Hill: I Wanna Tell You About Ooh Poo Pah Doo.

YOU BLOWS WHO YOU IS

Gary Giddins revisits New Orleans and Louis Armstrong.

Jazz Ascona

JUST JUDY

Jonté Mayon’s pillars of sound.

Michael James Joseph

PHOTO OP

OLD SOUL

REWIND

C.C. Adcock hits rewind on his eponymously titled 1994 debut, which defined who he is as an artist.

LISTINGS

BACKTALK with Lawrence Cotton

By Jonathan Tabak, January 1996 “Brass Band music will always be played here,” says Benny Jones, Sr., the 52-year-old snare drummer and leader of the Treme Brass Band. He’s referring to the band’s namesake and possibly the most musical area in the country: the Treme neighborhood, where New Orleans jazz is more a tradition than a diversion. For more, this issue can be purchased at offbeat.com/ issues/january-1996/. AU G U ST 2016

Letters

“I feel that by purchasing the album, I’m helping that artist—albeit in a small way—continue to be able (financially) to create this music that I love.” —Richard Grogan, West Chesterfield, New Hampshire

Tbone Seeing y’all play [Treme Funk: Corey Henry’s Universe, July 2016] in Missoula, Montana, was such a treat. I’ve picked up the Tbone after 50 years and am working on trumpet and harmonica, too. Thanks to inspirations like you and Shorty (who will be playing here in September), NOLA! —Adam James, Missoula, Montana

Supporting Music The following letter is in response to Jan Ramsey’s blog post “Making A Living Making Music,” asking: “Do you think all music should be free and accessible to the public? Or are you willing to pay something to have your music on demand?” I believe that if we want something to exist and continue to do what we love, we must support it financially, whether that is a local nonprofit organization, our favorite author, the musicians we enjoy, or even our favorite publications. Specific to music, I pay a subscription fee to a streaming service, but if I listen to something more than a couple of times, I purchase the album from iTunes. I feel that by purchasing the album, I’m helping that artist—albeit in a small way—continue to be able (financially) to create this music that I love. Though I live in an out of the way place, I also get to as many live shows as possible! —Richard Grogan, West Chesterfield, New Hampshire

Satchmo SummerFest’s Move These letters are in response to Sam D’Arcangelo’s web post, “Satchmo SummerFest moves to Jackson Square,” and Jan Ramsey’s blog post, “Satchmo, Not in Armstrong Park. Again.” I’m disappointed in the move. I used to love that I could pop inside the air-conditioned U.S. Mint when the heat became oppressive. I understand that they want to grow the fest, but I liked it the way it was. —Howard J. Turoff, Barryville, New York

Personally, I prefer the festivals located at the Mint or Jackson Square. I love Armstrong Park and get the connection, but for me, logistically I prefer being in the Quarter where it’s easier to do other things between music sets. —Aaron Mestayer, Lafayette, Louisiana

Louisiana Music on Tour The following letter is in response to a photo news post of the New Orleans Suspects and Glen David Andrews in Washington D.C. Glen David and his band stopped by my sleepy little town of Winchester, Virginia to treat us to his funkified magic at a crawfish boil at the best Cajun/Creole restaurant outside of the 504 and 337 area codes: Sweet NOLA’s Southern Food Lounge. It was awesome. —Jerry Sirbaugh, Winchester, Virginia

Hometown Press I just wanted to thank you for running Michael Sklar’s obit in the July issue of OffBeat Magazine, and for running the review of my CD in the same issue. It was very special. I had a four-star review in last month’s DownBeat Magazine, but for me nothing compares to hometown press—to have it in the same issue as your best friend/mentor’s remembrance, precious. —Keith Stone, New Orleans, Louisiana

Learning Jazz Thank you [Jan Ramsey] for teaching me about jazz. Through the interview I learned that jazz isn’t always loud and quick. Now I know a lot about jazz since I interviewed with you. Thank you for giving me the time to talk with you about New Orleans jazz. It’s pretty cool that you know a lot about jazz. I think jazz is pretty cool. I play superbone and baritone. My favorite instrument is the baritone. I hope I can visit there some day and listen to New Orleans jazz. —Shajol Kailukiak, Fairbanks, Alaska

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.

AUGUST 2016

Louisiana Music, Food & Culture

August 2016 Volume 29, Number 9 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 Laura DeFazio, Frank Etheridge, Robert Fontenot, Elsa Hahne, Holly Hobbs, David Kunian, Tom McDermott, Brett Milano, Ian Monroe, John Swenson, Peter Thriffiley, Michael Patrick Welch, Dan Willging, John Wirt, Geraldine Wyckoff, Michael Allen Zell Cover Emma Dugas Art Director/Food Editor Elsa Hahne, elsahahne@offbeat.com Web Team Sam D'Arcangelo, sam@offbeat.com Mary Graci, mary@offbeat.com Copy Editor Theo Schell-Lambert, theo@offbeat.com Advertising Sales Jennifer Forbes, jennifer@offbeat.com Camille A. Ramsey, camille@offbeat.com Advertising Design PressWorks, 504-944-4300 Business Manager Joseph L. Irrera Interns Natalie Barman, Jasmine Bethune, Emma Dugas, Ian Monroe, Eden Tokatly 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 facebook.com/offbeatmagazine twitter.com/offbeatmagazine Copyright © 2016, 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

Dwindling Resources By Jan Ramsey

t’s been a long time coming, but the handwriting is on the wall. For media, that is. Unless you have the resources to operate in multi-media (print, television, radio, video, social media, and of course, the internet), your days could be seriously numbered. Take the case of WWOZ, for example. WWOZ started as a community radio station, and it’s been the city’s go-to for fans of New Orleans and Louisiana music for decades. With the station’s streaming audio, ’OZ has also brought local music to the world. (Well, not all local music; at the present, you don’t hear any local hip-hop or rap, but that’s another story, and it could be remedied.) Most of those fans and ’OZ supporters are probably also Jazz Fest–goers, if you consider the hordes of people who buy Brass Passes for Jazz Fest annually (a Brass Pass automatically makes its purchaser a WWOZ member). So the Jazz Fest Brass Pass incentive must be huge for WWOZ in terms of revenue generation. Frankly, though, there probably should be a separate fee for Brass Passes and WWOZ membership; I’m sure that most people wouldn’t mind bumping up their Brass Pass fee to get ’OZ membership. But back to multi-media… During the tenure of ’OZ General Manager David Freedman, whose vision and operating style saw WWOZ as the ultimate portal into the music scene, WWOZ made tremendous strides in fundraising, and in the services that it provided to its listeners: streaming internet, a more professional website and mobile app, audio programs and podcasts, and finally, the hiring

AUGUST 2016

of an expert team to produce professional videos. All of these services come at a big cost, primarily labor. We know, because just the expense of keeping our website and e-newsletter going, printing and mailing (an expense that ’OZ does not have), and paying our staff of six, plus all the writers, photographers and designers who create OffBeat’s content, take literally all of our revenues— which means we have to work very hard to keep this media alive; we don’t have the resources to hire staff to create videos, multiple mobile apps and audio programming.

ability to do this has all been a function of major support from sponsors such as the New Orleans Tourism Marketing Corporation that supported the creation of a new audio program called “New Orleans Calling,” an iteration of the original audio program “New Orleans All the Way Live.” But George Ingmire, the producer of these programs, who has roughly 240 one-hour programs in the can, was told that his function with the station was not going to continue because the cost of the shows didn’t have the monetary support required to continue production.

Post-Katrina, a lot of money came in to support cultural institutions, WWOZ and OffBeat included. But Katrina is now in the distant past, and a new wave of residents has moved into the city— some of whom aren’t exactly keyed into why supporting these institutions and local music is important to the cultural integrity of New Orleans. It all comes down to money. According to its website, WWOZ currently has a paid staff of 22, not counting the deejay/ programmers who select and play the music that is the basis of the station’s content, and that created its reputation. All of these programmers are volunteers. WWOZ has been very successful at raising money to finance new non-radio audio and video programming. Their

It’s a shame because Ingmire has the passion for the city’s music and musicians that everyone at WWOZ (and OffBeat) has. But it’s simply a matter of monetary support. It’s just not there anymore. Not all the shows have aired on WWOZ, or on the radio stations where the program has been distributed; it remains to be seen whether “New Orleans Calling” will continue being produced and

aired on WWOZ or may even land at another station. Again: It’s all a matter of money. Post-Katrina, a lot of money came in to support cultural institutions, WWOZ and OffBeat included. But Katrina is now in the distant past, and a new wave of residents has moved into the city—some of whom aren’t exactly keyed into why supporting these institutions and local music is important to the cultural integrity of New Orleans. Plus, now there’s the added layer of social media and the web, that’s eroded a lot of revenue sources for traditional media. It’s a tough world for all media these days: There’s only so much money to go around, and advertisers and sponsors are leaning more and more towards targeted marketing via social media to get their message across. Moreover, the public is less likely to want to spend more than a minute or two listening to a radio broadcast that’s an hour long, unless it has a deep, deep appeal. If you are a long-time consumer of OffBeat, you’re sure to notice that the articles we publish now are substantially shorter than the features we published when we first started. The public’s attention span has shortened by an incredible amount. The features are shorter; the online news stories we publish are short; readers (or listeners) have maybe one-tenth the tolerance they used to have (not good for relationships, business or personal, IMHO). So the question is: What will entities like WWOZ and OffBeat— who have almost identical missions—do to keep the musical and cultural flame alive? Can or should they share resources and labor? What’s the answer? O www.OFFBEAT.com

FRESH

OffBeat.com

Five Questions with John Broven, author of Rhythm & Blues in New Orleans

ohn Broven has loved American music since he was a student at Bexhill Grammar School in Sussex, England. Broven’s distinguished writing career began in 1963 with the debut of Blues Unlimited magazine, co-founded by Bexhill alumni Mike Leadbitter and Simon Napier. The issue featured Broven’s story about J.D. Miller, Slim Harpo’s Crowley, Louisiana–based producer. Following visits to New Orleans in 1970 and 1973, Broven wrote his groundbreaking book about New Orleans R&B, Walking to New Orleans. Gretna’s Pelican Publishing Company issued the first American edition in 1978 as Rhythm & Blues in New Orleans. A revised one appeared earlier this year. Why did you do a major revision of Rhythm & Blues in New Orleans? For a long time, I was content that this book stood as a testament to music history and record research in the 1970s. But 42 years on, it was time to update the basic biographical data. More importantly, I interviewed New Orleans artists post-publication. Those interviews are in the new edition. In the final chapter, I bring the New Orleans rhythm and blues story up to date. Do you have a favorite New Orleans artist? Fats Domino. The book’s primary focus was on Fats. With the new edition, I’ve been able to widen the net and emphasize the importance of others. At this year’s Satchmo Symposium, you’ll speak about songs recorded by Fats that previously were recorded by Louis Armstrong. ‘Blueberry Hill’ was a hit for Louis Armstrong in 1949. In effect, Louis gave Fats his biggest hit. I also want to emphasize the continuity of New Orleans music. Whether it’s Louis or Fats, it’s New Orleans music, isn’t it? Did your goals for Walking to New Orleans include drawing renewed attention to New Orleans artists? I made my first trip to New Orleans in 1970 with Mike [Leadbitter] and Simon [Napier]. We met Archibald, Professor Longhair and Huey ‘Piano’ Smith. All of them were in desperate situations. That was the impetus for me to say to myself, ‘Let’s do something about this.’ And then Mike said, ‘When are you going to write a book?’ I said, ‘What about?’ He said, ‘New Orleans, surely.’ What makes New Orleans rhythm and blues so special? Warmth exudes from Fats Domino’s records. That is the keystone. Rhythm is another factor. That derives from the streets. And, as we all know, it’s about everybody having a good time. Americans don’t realize how much their music is revered overseas. Not just New Orleans music. American rhythm and blues and rock ’n’ roll records in general. But New Orleans music, in particular, has an uplifting quality. John Broven will present Fats Domino Meets Satchmo at 1:30 p.m. Saturday, August 6, at Le Petit Théatre du Vieux Carré. —John Wirt

AUGUST 2016

SWEET TWEETS @bigfreedia My new album will be so different and hot. This one for mom. @jeffalbert My family came to the first set last night. 10-year-old daughter described my band’s music as “listenable.” FTW @mpatrickwelch This Brexit deal is EXACTLY like when Gretna voted to discontinue their ferry. @maenadjess I need it to rain really freakin’ hard because the garbage truck leaked horrible smelling garbage juice all over and my hose doesn’t reach the street. @carlonuccio Sorry, Mitch, after my visit to OPP, I will never wear orange again. @AmyTrailSongs Love for a child is the most bearable of all the unrequited loves. @aaronneville America has been mortally wounded because of hate and bigotry... @ItsMystikal In the wake of the horrible news going on here in Baton Rouge, I really needed this moment with my kids.

www.OFFBEAT.com

Photo: BOB ADAMEK

Brass-A-Holics play Virginia’s 27th Annual Bayou Boogaloo

SOUNDCHECK

FRESH

MY MUSIC

Michael Paz

“E

verything centers around music in my life. I’ve been blessed to work in this industry, to make a good living at it, and to love what I do. Every day is different. I’ve been working at Essence [Fest] for the past three years. My job is to take it from the point of contract with an artist, to take the rider and advance it with management and make it all run smoothly and happily. I was working the Superlounges, which is in my groove because it’s local bands, up-andcoming bands. My son, in one of those right place, right time situations, was able to come in and do his DJ GQ in one of the Superlounges for a few thousand people. This past year, they offered me the main stage, so I was able to do five stages in the Superdome. It was fun. I’m production manager for Bowery Presents—been with them ever since they first started doing shows at the Civic [Theatre] in fall 2012. What a great gig, man, to have all these world-class musicians come to my house to play. I’m the music producer for the New Orleans Live TV show; I’ve been doing that dating back to its Louisiana Jukebox days. We won three CableACE Awards and came back last September and did 43 bands in seven days. We have some surprises we’re working on now that we’re really excited about. Jazz is one of the things that drove me to New Orleans. My mom and I came here after leaving home in Honduras and visited my aunt, who lived at Octavia and St. Charles. She took us to Preservation Hall. Fast forward 40 years and I’m working as a tour manager for Preservation Hall. Mitchell Player is my partner in the Ella and Louie Tribute Band project. He approached me a year ago and asked if I was interested in managing it because he wanted to take the band to the next level. The names Ella [Fitzgerald] and Louis [Armstrong] are names that command attention. This is music that appeals to a lot of people, and it’s very compelling to get them out there. One of our goals was to record an album, which we did [Timeless, recorded February/March this year at the Ellis Marsalis Center]. Leon “Kid Chocolate” Brown plays trumpet and sings Louis, and Eileina Dennis sings Ella. Eileina has such a remarkable voice, powerful. I was drawn in to this whole concept by how exceptional her voice is. We’re playing this year at Satchmo Fest on the Red Beans and Ricely Yours Stage. I’m so busy doing music production that I never perform out. We have huge networks of friends and family that gets together on weekends, holidays, to play and that’s great. But really, the last thing we need in New Orleans is another band.” —Frank Etheridge www.OFFBEAT.com

AU G U ST 2 016

FRESH

EINE “KLEIN” NACHTMUSIK

Donna’s Revisited

onna’s Bar & Grill, a North Rampart Street nightspot owned by Donna and Charlie Sims, was a special place. The club, which closed in August 2010, presented some of New Orleans’ finest jazz musicians in a warm and welcoming atmosphere. On Saturday nights trumpeter and vocalist Leroy Jones led his quintet with trombonist Craig Klein by his side on the front line. It proved to be an exceptional pairing backed by the solid rhythm section of pianist Paul Longstreth, bassist Mitchell Player and drummer Gerald French. On August 4, the quintet will be reunited at Snug Harbor for a gig that has been dubbed Donna’s Revisited. “We haven’t played as the original Leroy Jones Quintet for a long time and I was just missing doing that,” says Klein, who organized the reunion. “Playing with Leroy was like melted butter—it just flowed.” The idea came to Klein after doing a Jazz Fest set when, with most of the band intact, it backed vocalist Tricia “Sista Teedy” Boutté. “Ooh, I’d like to do this again,” Klein remembers thinking. For the gig at Snug, the group will hit on many of Jones’ original tunes from the trumpeter’s albums released during its “Donna’s era,” like 1994’s Mo’ Cream from the Crop and 1996’s Props for Pops, his tribute to Louis Armstrong. “A lot of those Leroy songs haven’t been played since back in those times,” says Klein, adding that the other musicians will also be featured. “Paul is going to sing some and I’m going to do a few of my tunes, like ‘Shake Your Rugalator.’” “One thing we’ve gotta do is ‘On Green Dolphin Street’—that was Charlie’s favorite,” Klein declares. “We’ll play it and send it out to him.” Klein laughs when he talks about the scene at the club that was also famous for being a great late-night hang, especially for musicians coming off of gigs. He remembers Charlie, who was the chief, holding court in the kitchen where there would be chicken and joints smokin’. “Charlie’s kitchen was the Green Room and Donna was behind the bar. So as a musician you went from the stage to the bar to the kitchen. It was the Holy Trinity.” “I think Donna and Charlie were probably the main ingredients of it all,” says Klein of what made Donna’s so popular with musicians and patrons alike. “They made Donna’s the place to play, the place where bands were created, where music was created, where musicians developed. It was just a very fertile environment.” “We feel very honored that they would continue to think about us,” says Donna. “Saturday was just a magic night with Sparky [Klein] and Leroy. We also appreciate Snug Harbor for hosting the event.” —Geraldine Wyckoff

AUGUST 2016

TEN LOUIS ARMSTRONG LANDMARKS

he Internet is full of Louis Armstrong top-ten lists, but we’ve noted that most of them seem to lean on the pop material and put “What a Wonderful World” at number one. To correct the balance a bit, this month’s playlist includes ten essential Armstrong pieces, with an emphasis on the early jazz landmarks. “Cornet Chop Suey”: Armstrong did an amazing day’s work on February 16, 1926, recording five historic numbers with the Hot Five. This one said the most for the brilliance of his playing; the first solo is so complex that it anticipated bebop by a few decades. At one point he seems to quote Glenn Miller’s “In the Mood,” except that wouldn’t be written for another 12 years. “Muskrat Ramble”: From the same session comes this joyful number, which wraps up everything appealing about the Dixieland genre. The closing solo is especially fun, including an imitation of what a muskrat was probably supposed to sound like. “Big Butter & Egg Man”: This exuberant early performance says a lot about the romance of jazz—with just a little innuendo, though the title was really a term for a big spender. In any case, singer May Alix first sings about all the nice things he needs, before Louis—full of Southern swagger on one of his first recorded vocals—says he can make it all happen just by playing his horn. “West End Blues”: Another three minutes’ worth of masterful playing, from the opening trumpet cadenza to his brief scatted vocal to the final, joyful reprise of the main theme. Players would struggle with this one for generations to come. “Muggles”: This is often remembered as Armstrong’s ode to marijuana—yes, the title was his slang for it—but it’s more than that, it shows how adventurous you can get with a three-minute, 12-bar blues: Earl Hines’ piano intro is damn near psychedelic, then the clarinet and banjo set up an easygoing mood before Armstrong takes an unaccompanied solo that only seems to accelerate the tempo. “(I’ll be Glad When You’re Dead) You Rascal You”: Armstrong of course recorded many sweet love songs; this wasn’t one of them. The goto version is the duet recording with Louis Jordan, where both singers are positively gleeful about the damage they’re going to do to this unsavory guy. Whatever the drummer does after Armstrong’s shout of “Throw him out!” it sounds like he’s just upset a load of expensive china. “(What Did I Do to Be So) Black and Blue”: Fats Waller may not have intended this as a civil-rights anthem when he wrote it for a Broadway musical in 1929. But by the time Armstrong sang “My only sin is in my skin” on his 1955 album Satch Plays Fats, the significance was hard to miss. “Down by the Riverside”: It took until 1958 for Armstrong to record a gospel album (Louis and the Good Book), and he did it with a too-wholesome sounding chorus. No matter: He absolutely owns this venerable NO– associated song, and it’s one of the great vocal performances of his later era. “A Kiss to Build a Dream On”: Just to show we’ve got nothing against Pops singing pop, here’s a tune that invariably brought out some of his most persuasive, romantic performances. We’ll take the version on the Hello, Dolly! album, where you can hear his enduring fondness for the tune. “What A Wonderful World”: Yes, we’re including this, but we’re specifying the 1970 version (recorded three years after the familiar hit), whose spoken intro adds the real profundity: “Some of you young folks been saying to me, ‘Hey Pops—what you mean, what a wonderful world? How ‘bout all them wars all over the place, you call them wonderful?’ But how about listening to old Pops for a minute? What I’m saying is, see what a wonderful world it could be if only we could give it a chance...” We need that now, more than ever. —Brett Milano www.OFFBEAT.com

IN MEMORIAM

Michael James Joseph (1967–2016)

ew Orleans musician Michael James Joseph passed away Monday, July 11, at the age of 49. Joseph was known as the bass guitarist for legendary New Orleans rock ’n’ roll bands Black Problem, Lump and Norco Lapalco, and as a longtime horn player for Egg Yolk Jubilee. “Mike could pick up any instrument from any country in the world and in 30 seconds he’d be making real music with it,” attests guitarist Lou Thevenot, who started Black Problem with Joseph in 1987. “He had a sense of humor and warmth, and very importantly a lack of ego and pretension, that made him easy to be in a band with. He was fun to make music with because of those things.” Joseph worked at Southern Candymakers in the French Quarter and as a waiter at Morning Call in City Park. Joseph graduated from Archbishop Rummell High School, alma mater of most members of Egg Yolk Jubilee. “I considered Mike and [Black Problem/Lump drummer] A.P. Gonzalez one of the best rhythm sections in rock, ever,” says Egg Yolk guitarist Geoff Douville. “They were an authoritative machine, and played some of the best shows I have ever seen in my life, still to this day.” “When Mike switched from bass to euphonium and trombone for us in Egg Yolk in ’96,” adds Douville, “he brought a really kooky phraseology to his horn playing that was indicative of his overall idiosyncratic approach. The way he spoke and the way he played were linked—the way he www.OFFBEAT.com

communicated verbally was the way he expressed himself on his instrument. He had a really quick sense of humor, and he was also very verbose and talked so much that it was sometimes easy to miss clever things that he would say. All of that I could say about his playing as well.” Egg Yolk trumpet player Eric Belletto was best friends with Joseph since his high school garage band, Virul Nihils. “We’re two halves of the same brain when we’re playing together,” says Belletto. “We’re so used to listening to each other, we could do improv duet. We both joined Egg Yolk together, and entered the 9th Ward Marching Band together—we were always kind of a set.” As the Egg Yolk horn section, Joseph and Belletto backed everyone from legends like Ernie K-Doe, Al “Carnival Time” Johnson and Howard Tate to the Dead Kennedys’ Jello Biafra and Gibby Haynes of Butthole Surfers. In 2012, Joseph left Egg Yolk Jubilee. “Mike needed time to handle health issues he was having and we needed to give him that time,” says Douville. “The last we heard, he was supposedly on the mend, and we were in talks. [His death] really surprised us.” Joseph is survived by his life partner of the last 14 years Kathy Connolly, his father James Joseph, his mother Pat Joseph, his two brothers John and Stephen, and five sisters: Bridget Joseph, Erin Joseph, Jennifer Brewer, Maria Joseph and Heidi Schexnayder. —Michael Patrick Welch AU G U ST 2 016

PHOTO OP

Ascona Jazz Festival Held June-July in Ascona, Switzerland each year, the Ascona Jazz Festival aims to capture the music and culture of New Orleans through jazz, blues and funky vibes. Find more photos from the festival on offbeat.com.

LIGHT TOUCH Clarinetist Bepi D’Amato (right) kept things light on stage. Photo by Cécile Lienhard.

Left: Tricia Boutté jammed with Paul Longstreth Quartet at Papa Joe’s. Photo by Cécile Lienhard. Below: Swedish jazz star Gunhild Carling, a regular at the New Orleans Jazz & Heritage Festival, seduced the audience, passing from song to trumpet to trombone in one breath. Photo by Cécile Lienhard.

AUGUST 2016

www.OFFBEAT.com

JUDY HILL

Just Judy Judy Hill: I Wanna Tell You About Ooh Poo Pah Doo.

AUGUST 2016

Photo: ELSA HAHNE

aking its name from Jessie Hill’s 1960 hit, the Ooh Poo Pah Doo is a new bar with an old soul. Opened in 2013 by the late R&B icon’s daughter, singer Judy Hill, the homey little Treme music venue is laid back and welcoming, full of home cooking, friends and family members, and great live music. Posters from her father’s days performing with Allen Toussaint, Irma Thomas, Fats Domino and the others at the Dew Drop Inn hang alongside pictures of Hill’s nephews, Trombone Shorty, James Andrews and Trumpet Black. As of recently, the bar has also become home to Big Chief Kevin Goodman’s Flaming Arrow Mardi Gras Indians and the Ole & Nu Style Social Aid and Pleasure Club. These organizations are instrumental in planning various second line parades, parties, memorials and other community events around the Treme neighborhood, such as the hundreds-strong Purple Rain Prince tribute second line that took place in April. The Ooh Poo Pah Doo bar’s growing reputation—both via local word of mouth and various travel sites—makes it an interesting meeting point for a wide variety of people. Music lovers from around the world on pilgrimage to the cradle of jazz come to the bar and find venerated players from some of the city’s oldest musical lineages jamming with each other like it’s a backyard party. There are regulars who come by every day from around the corner, and there are regulars who come by every year from places as far flung as England, Italy and Japan. The venue gained much worldwide notoriety when the late Travis “Trumpet Black” Hill launched

his popular “Blue Monday” gig (which continues today led by James Andrews). Judy Hill had been thinking about opening a bar for years before it finally came to fruition. “I had the family history in mind,” she said. “I said, ‘Yeah, we gonna do like we used to do in my mom’s living room…’ We didn’t have a band in our living room; a box. Take the laundry out, and that’s the bass drum. The snare drum was a bottle. That’s how we made music.” By Laura DeFazio

With its casual atmosphere and musicians rotating on and off stage, the Ooh Poo Pah Doo has that living room feeling for sure. It’s turned into a slightly different scene than Hill originally expected, though. “You know, when I first opened, I didn’t expect white people here,” she laughed. “I really didn’t. After awhile, some nights I’m like, ‘Holy shit, there’s more white than black…’” Gentrification, rising tourism and cultural appropriation are

major issues of discussion for the historically black Treme. Running a family-based music venue there in 2016—one that enjoys the full benefits of the markets available without a feeling of “selling out”—might seem like a Herculean task. But Hill seems to navigate the balance between being a business owner and a heart-and-soul community pillar with an easy grace. “I love it. I’ll take it any kind of way… We welcome everybody, you know?” she said. “When I opened www.OFFBEAT.com

JUDY HILL this bar, I didn’t have money on my mind. I really didn’t. I hate that I need the money. I opened this bar for all of us. For you, for me, for the tourists. Everybody. Everybody that has a soul. That likes some good music and likes to sit down on a—sit down on a quiet day like this and exchange stories… I don’t know where you’re from, you don’t know me, but I’m gonna make you feel like this all night. We’re gonna have fun!” Her secret is simple: Be welcoming, be compassionate with each other. And her superpower is a seemingly unlimited supply of social energy. (Also a really badass high-kick—see her performance of “Stagger Lee.”) “Me, my thing is, it’s like my house,” Hill continued. “If I invite you to my house, I open the door and say, ‘You’re welcome to come in whenever you’re in New Orleans. I’m gonna treat you like you at my house.” Sound exhausting? “I love it,” Hill said. “I live for it. It’s just the person I am. You have to be into it. Other than that, you would go outside and scream. People always wanna meet you. I think the difference about me, and I’m not tootin’ my own horn— well, a lady reminded me, she said, ‘Ms. Judy, you know, you never go to a bar where the owner actually entertains her crowd. You dance, you sing, you do everything.’” That’s the other thing. In addition to everything that goes along with operating a neighborhood institution, she’s also somehow finding the time to take her own music career up a notch. You can find her performing most nights at the bar as “Just Judy” or sitting in with Big Chief Alfred Doucette, James Andrews, Guitar Slim, Jr. and Box Fontenot, or whoever else happens to be playing that night. She sings at other festivals and events around town as well. Hill doesn’t remember a time when she wasn’t up on stage, singing and entertaining people. “I always did, from a baby. From a young girl. I always had a nice voice, so my family set at it and they would always get me to sing when company www.OFFBEAT.com

come over. ‘Come on, Judy, get the microphone!’ The microphone was a broom,” she laughed. “And Jessie would have you singin’ all night,” she continued. “Really, he was very passionate. And very serious. He would cuss yo’ ass out! Like, ‘Goddammit girl... go back to that number there!’ ... I used to sing with him at Tipitina’s. Every other month. I was young. The last time I was there I had to be about 18 years old.”

If she learned about music from her dad, though, she learned about being a hostess from her mom. Anyone who hangs around the Ooh Poo Pah Doo knows Ms. Dorothy Hill, an energetic, warmhearted lady who lives around the corner, providing a home base for travelling musicians and serving up piles of food. “My mom, she’s the strongest,” Judy said. “And everything she say to me, I eat it with a spoon. Take

it all in. I always did, from a kid. Every time when my mom would talk I’d be right under. Listening to everything they tellin’... My mom and her momma.” Music, food, family history, Mardi Gras Indians… The Ooh Poo Pah Doo has a lot going for it on paper, but it’s the deeper sense of welcome and community that has given the bar a special place in so many people’s hearts. O

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LOUIS ARMSTRONG

You Blows Who You Is Louis Armstrong embodied the folksy sophistication that marks New Orleans.

t is difficult to say something about Louis Armstrong that is original or new. He is one of the most analyzed and debated American and New Orleans figures. As I go through the process of designing the New Orleans Jazz Museum for the State of Louisiana, I spend a lot of time thinking about Armstrong: who he was, what he saw, what his life was like, how he played what he did. Besides being the most influential American musician in the history of the United States, he touched millions around the world and is as quintessential an American as George Washington or Babe Ruth. He combines and epitomizes so much that is good about music, America, and people that it is hard to quantify. Most of the world thinks of him as being a kindly man who played the trumpet, carried a white handkerchief, smiled for the camera and sang gravelly voiced tunes such as “What a Wonderful World” and “Hello Dolly.” However, he was an artist of the highest order and talent. For instance, in the New Orleans Jazz Museum, there are nine separate sections, but only one dedicated to solely one musician: Armstrong. He was New Orleans in everything he did and he took that attitude around the world and even into space. Armstrong grew up in the early 1900s in as abject poverty as you can find. He lived with his grandmother, who went out behind their house to pick grasses and wild-growing herbs for food and medicine. His neighborhood of Jane Alley at Liberty and Perdido was a slum that has given way to the urban renewal of City Hall and the Public Library. He got his musical and street smarts from running around the music clubs, places of ill repute, and slums that dotted this neighborhood known as Black Storyville. I picture Armstrong as being like the kids who tap dance

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today on Bourbon Street. All of that never left him even as he moved to Chicago to play with King Oliver and then traveled the world. In Chicago, he first made a name for himself for his supple and loud sound in Oliver’s Creole Jazz Band. Then several years later, he changed music forever by recording his Hot Five and Hot Seven. These supreme artistic statements rank him as a By David Kunian

modernist as much as T.S. Eliot and Picasso. Scholar Phil Schaap calls these “the Rosetta Stone of jazz itself.” They culturally and artistically raised both jazz and Armstrong himself as art and artist. His virtuosity was unparalleled. The opening solo on “West End Blues” still amazes, but it’s also the rhythmic drive of “Struttin’ with Some Barbecue,” the strength and suppleness of “Cornet Chop Suey,”

the improvisational call and response with Earl Hines on “Weather Bird.” In some ways, music doesn’t get any better than this. It’s a young band and leader stretching out, feeling, and exerting their power. Even almost 100 years later, these tracks never cease to thrill. This is the pinnacle of Armstrong’s work, but it doesn’t mean that the rest of it suffers in comparison. His big band recordings in the 1930s www.OFFBEAT.com

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redefined how jazz singers could vocalize. His 1950s Columbia recordings of the works of Fats Waller and W.C. Handy are melodic, downhome and simply fun. There’s the sublime “Azalea” with Duke Ellington in 1961 and a joyous tune that has become a recent New Orleans standard, the Zimbabwean “Skokiaan.” Any one of these would make an artist’s reputation and career, but Armstrong had them all. His work is so revered that a recording of one of his last songs, “What a Wonderful World,” was put on the Voyager space craft that has now become the first man-made object to leave the solar system. The scientists at NASA wanted to show the best that the planet Earth has to offer in case an alien civilization comes across the Voyager, and that best is Louis Armstrong. Armstrong had talents other than as a musician. He was a fine cook (his recipe for red beans and rice is in the current Armstrong exhibit in the U.S. Mint on Esplanade and Decatur). Recently books of his correspondence have been published, and he is a funny, perceptive and occasionally ribald writer. Armstrong also made reelto-reel tapes of his favorite records, television shows, and simply the goings-on in his house. He would make detailed and abstract collages on the cases of those tapes, and they are works of art in themselves. Armstrong was also an example of a black man as a strong virtuoso and independent thinker in a time when images of African-Americans ran the gamut of racist caricatures. His mugging for audiences, once thought of as being an Uncle Tom, goes back to older tropes and methods of African-American stagecraft. Any thoughts of him being an Uncle Tom were squashed in 1957 when he did an interview www.OFFBEAT.com

in North Dakota at the time of the Little Rock Central High desegregation crisis. When asked about it, Armstrong said, “It’s getting so bad a colored man hasn’t got any country.” He called President Eisenhower “two-faced” with “no guts.” In reference to Arkansas Governor Faubus, he called him a multiple syllable curse before toning it down with the reference “uneducated plow boy.” He also added, “The way they are treating my people in the South, the government can go to hell.” Few if any African-Americans spoke so forcefully about this, and he became even more of a hero to the country’s black population and some of the white population too. In addition, Armstrong took his New Orleans roots with him wherever he went. His virtuoso musicianship, a New Orleans trait, was obvious. But he also embodied the folksy sophistication that marks New Orleans. The way that different types of people mix and cross paths in New Orleans allows people to be comfortable in many varying situations. Armstrong embodied this sense of being able to hang anywhere from “the penthouse to the outhouse.” He was equally at home with British royalty, Harlem gangsters, Third Ward pimps, and church ladies. He also was very comfortable in his identity and who he was. He took many of these aspects of New Orleans and brought them to the world. He in some ways developed them and made them synonymous to the world with New Orleans. These days anyone can see them in New Orleans natives from Ellen DeGeneres to Tyrann Mathieu to Donna Brazile. They have drunk at the Crescent City well that Louis Armstrong embodied as a New Orleanian, a jazz musician and an artist of the highest order. O AU G U ST 2 016

VICTOR GOINES

Jazz of All Seasons Victor Goines’ first appearance at Satchmo SummerFest. Photo: janis wilkins

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ouis Armstrong influenced us all. The only people he didn’t influence are those who have yet to hear him,” declares clarinetist and saxophonist Victor Goines, who makes his first appearance at Satchmo SummerFest on Sunday, August 7. That night he and his band will also head down to Frenchmen Street to perform at Snug Harbor. All of this happens the day after his 55th birthday, which he’ll celebrate right here in his hometown of New Orleans. Goines first gained international recognition in 1993 when he became a member of the Wynton Marsalis Septet and the trumpeter’s Jazz at Lincoln Center Orchestra, of which he still holds a seat. Among the numerous recordings he’s heard on with both ensembles is Marsalis’ Blood on the Fields, which earned the trumpeter and composer a Pulitzer Prize in 1997. Goines is a perpetual student and teacher of jazz music whose talents have been put to use at such highly-regarded institutions as Juilliard, and locally at Loyola University and the University of New Orleans. As the director of jazz studies for the Bienen School of Music at Northwestern University since 2008, he’s been digging into the Chicago scene. The reedman will be backed on both gigs by a Chicago-based rhythm section including pianist Jo Ann Daugherty, bassist Emma Dayhuff and drummer Gregory Artry. Guitarist, banjoist and vocalist Don Vappie joins the group on the bandstands. Though the musicians will be the same, naturally the focus of the music and the material at the Satchmo SummerFest will be decidedly on traditional New

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By Geraldine Wyckoff

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Orleans jazz. For that show, Goines, who is knowledgeable and fluent in classic and modern jazz, will leave his tenor in its case and blow on clarinet and soprano saxophone. “Obviously we’ll do some stuff by Sidney Bechet and things like that as well as some Caribbean kind of music that Don and I have discussed for years now,” he offers. “I’m also thinking about writing some new music in the traditional style. I want to actually present New Orleans traditional music not in the way it’s been presented in the past but sometimes in the way it has been presented in the past.” Goines points out that the combination of the clarinet and banjo performing together is a part of jazz’s and Caribbean music’s history. “I think it’s just fun to explore music that hasn’t been performed much—it’s challenging,” Goines offers, mentioning that the Chicago-

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based musicians don’t often have the opportunity to play with a banjoist. “It’s more of an exploration as a musician, not just playing the same thing over and over again. Some pieces do warrant repetition, ‘Petite Fleur’ and ‘Blue Horizon.’ Others could use some replacements, I’d say. We want to play things that are so new that people don’t say, ‘This is a good break tune.’” “When we get to Snug Harbor that night, we will be playing music throughout the history of jazz,” declares Goines, who will break out his tenor saxophone. Some of the material will come from his excellent new album, A Dance at the Mardi Gras Ball, his 10th release as leader (his debut was 1992’s Genesis on the AFO label). It’s a disc full of material coming from the leader’s pen that often reflects his abode in the Chicago area. He even does some Chi-town style of honking and burns on the post-

bop opening cut, “Stoit,” which includes some solid drumming by Artry, the only musician from the album who will be down for Goines’ New Orleans shows. “The musicians are always a major influence no matter where I’m living,” Goines says. “Each brings something special and different to the table and it’s an opportunity to collaborate and bring my ideas and have them interpret them in their special way. When you think of Chicago tenor players, there’s the blues scene. [Modern jazz saxophonist] Von Freeman was one of the first people I went to see and visit. There’s a lot of music I’ve gotten to check out and there’s a lot of music I haven’t had a chance to check out.” Unlike so many New Orleans artists who’ve gone on to make a name for themselves, Goines is not from a musical family. He began playing clarinet at

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the age of eight at his mother’s suggestion in order to relieve his asthma. Interestingly, that’s the same reason Lionel Ferbos began playing trumpet and similarly why Pete Fountain picked up the clarinet—to help his “weak lungs.” “Mothers are always right!” Goines proclaims. Somewhat surprisingly, he also didn’t attend the New Orleans Center for the Creative Arts (NOCCA) as did many of his contemporaries, like his friends saxophonist Branford and trumpeter Wynton Marsalis. It might also be presumed that, being a clarinetist in New Orleans, Goines would have been playing a lot of this city’s

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classic jazz. That wasn’t the case, however. At St. Peter Claver elementary school, a band director would come in just once a week and the students would play popular songs like, “King of the Road.” While at Andrew J. Bell Junior High School Goines began playing saxophone, and then as a student at St. Augustine High School he studied both instruments under the direction of Carl Blouin Sr. Goines earned his Bachelor Degree in Music Education at Loyola University. Later he received his Masters Degree from Virginia Commonwealth University. “I didn’t really have many opportunities to play traditional jazz while I was in New Orleans,” Goines laments, adding that Vappie was one of the few musicians who would give him a call to play in the classic style. “I wish I had checked out more when I was in my teens.” Though Goines didn’t attend NOCCA, he seriously hung around the school and all his fellow musicians there. When he became of age, he’d also check out the music at spots like Tyler’s Beer Garden to hear vocalist Germaine Bazzle and saxophonists Earl Turbinton and James Rivers. He’d head downtown to Gerry’s on St. Bernard Avenue and to Central City to catch some jazz at Kemp’s. “I was a student of the community—saxophonists Red Tyler, Fred Kemp. I never took them for granted—I always valued them.” At the time Goines first heard the music of jazz giant, saxophonist John Coltrane, he was studying with the ambition of becoming a classical clarinet

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“The influences of Wynton were priceless from a historic point of view and a modern point of view. His influences still linger on me.”

player. It was a life-changing and music-changing experience. Though he had heard great players in his hometown, like modern jazz clarinetist Alvin Batiste and pianist Ellis Marsalis, Goines more clearly understood the technical ability and proficiency that jazz demands and the freedom that it affords. “Classical music didn’t really allow for that kind of freedom,” Goines explains. “You play what’s on the page. That became intriguing to me and something I wanted to pursue. I immediately became very intense about it, as I do with everything, and started finding every record that I could find that had to do John Coltrane and people—tenor players—who did what Coltrane did. I kept branching out more and more.” “I didn’t necessarily have all of the guidance that I needed at that time,” he remembers. “That came to me some years later in the form of Ellis Marsalis when I studied with him privately.” “I asked Wynton, ‘What do I need to do to get to this next level?’ “He said, ‘You need to try study with my dad, Ellis Marsalis.’ “From there I began to understand the importance of employing all of the history of the music together.” This lesson served him well in future endeavors—particularly when he began playing with Wynton—and he’s earned a reputation for his ability to perform jazz’s full spectrum. Soon after he began his lessons with Ellis, in 1983, Goines became a member of the Ellis Marsalis Quartet. Fast forward 10 years and Goines was invited to join the Wynton Marsalis Septet and the prestigious Jazz at Lincoln Center Orchestra, which is led by the trumpeter. “To be around people

[like Wynton] who are serious like that makes one have to make a decision. ‘Am I going to be serious and stick around or am I not going to be serious and leave this environment?’ That was a very easy decision for me to make,” says Goines, who appreciated the opportunity to delve into the traditional music that he’d heard so much in New Orleans. “The influences of Wynton were priceless from a historic point of view and a modern point of view. His influences still linger on me.” “As we get more historically informed about what we are dealing with as an art form it allows us to go back and reflect, reconsider, reinterpret and articulate those things not just in a language that they existed but in a language that we learned to incorporate on our journey as musicians. Life is a world of improvisation. Everybody’s an improviser. We are improvisers of habit. It’s just a matter of continuing to find a better way of being a part of what’s going on out here.” Victor Goines’ resume as a musician and educator is, well, daunting—he’s a serious guy. Yet he doesn’t mind honking, which got into his blood while backing the great vocalist Ruth Brown. He’s also a romantic who laughingly says that if he thought an audience could handle it he would love to play ballads on the clarinet all night long. When it’s time to play fiery and fast, he grabs the tenor for the job. He sums up his outlook on the wonders of jazz saying, “There are only two kinds of people. People who like jazz and those who haven’t heard it yet.” O www.OFFBEAT.com

PETER FRAMPTON

Frampton Comes Alive Peter Frampton thanks The Advocate’s John Georges at Champions Square.

eter Frampton evolved from British teen idol to guitar hero to international pop star. During his 50-year-andcounting career, he also played sideman for George Harrison, Ringo Starr, Harry Nilsson, Jerry Lee Lewis, John Entwistle and his old school chum, David Bowie. Forty years ago, Frampton released Frampton Comes Alive! The album sold 11 million copies, becoming, for a time, the bestselling concert album of all time. Frampton modeled Frampton Comes Alive! upon Performance: Rockin’ the Fillmore, the concert album he’d recorded when he was a member of the furiously rocking Humble Pie. Just as Humble Pie followed its popular 1971 studio album, Rock On, with Rockin’ the Fillmore, Frampton followed 1974’s Frampton, his likewise most successful studio project to date, with Frampton Comes Alive! “We saw how we worked it with Humble Pie and just followed the same template,” Frampton said in advance of his August 5 return to Champions Square in New Orleans. “I followed the same plan and it kind of worked.” It worked amazingly well. But matching the massive success of Frampton Comes Alive! proved impossible. Even though Frampton’s 1977 follow-up album, I’m In You, and its title song were hits, his career had already begun a steady descent. More setbacks came in 1978. Frampton co-starred in the movie musical flop Sgt. Pepper’s Lonely Hearts Club Band. And on a rainy morning in June in the Bahamas, he crashed his rented car into a wall. New Orleans businessman John Georges (and now The New Orleans Advocate owner), then 17 and staying near the accident site, came to the seriously injured star’s

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aid. Georges was the first person on the scene, Frampton said. A decade after Frampton Comes Alive! Frampton’s fortunes ticked upward. Rock radio played “Lying,” a song from his 1986 album, Premonition. Also that year, Bowie, whom Frampton had known since he was 12, asked the guitarist to play for Bowie’s 1987 album, Never Let Me Down. And then Frampton joined Bowie’s band for the Glass Spider tour. “David could have chosen anybody,” Frampton said. “Anybody. He’d just had Stevie Ray Vaughan on ‘Let’s Dance.’ But he chose me. And that was the biggest gift he could have ever given me—because I was then regarded as not a musician but a pop star. David knew that. “So he reintroduced me as guitar player in stadiums all ’round the world. I’ve never been able to thank him enough. So, yeah, he was always there By John Wirt

to help me. It’s sad that he’s not around. We miss him terribly.” At 66, Frampton is happily engaged in his own busy career. He tours constantly. He’s a prolific songwriter. Frampton’s Nashvillebased writing partner, Gordon Kennedy, co-wrote the Eric Clapton hit “Change the World” as well as songs recorded by Bonnie Raitt, Garth Brooks, Alison Krauss and many more. Their collaborations include the singer-guitarist’s 2014 album, Hummingbird in a Box. A Nashville resident for the past five years, Frampton loves it there. “This is it for me,” he said. “Even though Nashville is growing by leaps and bounds, the core of it is still the same. So many incredible musicians and writers of all types here. And I’ve got so many musician friends here. If you’re a good player, you’re probably in Nashville.” Frampton’s Champions Square show is a stop on a 27-date summer tour. In New Orleans, he’s appearing with Lynyrd Skynyrd.

Frampton, a genuine classicrock star, believes that touring groups that assume the names of classic bands even though they have no original members are ludicrous. He’s fine with Lynyrd Skynyrd, though, which includes classic members Gary Rossington and Rickey Medlocke plus the late Ronnie Van Zant’s brother, Johnny. “Skynyrd sounds like Skynyrd, because Gary is the original guy and he knows how to choose the people to keep it going,” Frampton said. “Many bands have changed members. Pink Floyd, they changed with Syd [Barrett] going and Dave [Gilmour] coming in. Things can change for the better or for the worse. But I do understand the crux of wanting to continue, because that’s what you do and you’ve made your name at it.” A musician since childhood, Frampton has no thoughts of not continuing. “I started off in my bedroom and then I came downstairs and played for my parents,” he said. “And then I went out the door and played for everybody else. Even if I can’t get a gig, I’ll still be playing. “And I’ll always be writing. A painter paints. A writer writes. A photographer takes pictures. I write and play music. And not only do I get to write, play and record music, I get to play it in front of people. That’s the best part.” For Frampton, an artist so heavily identified with performance, performing possibly is the most important work he does. “On stage, I play from wherever it comes from. Certain parts of each song are written, but when it gets to a solo, creating is what it’s all about for me. Always has been. I never play the same thing twice.” O Peter Frampton and Lynyrd Skynyrd perform at 7 p.m. August 5 in Champions Square. www.OFFBEAT.com

illustration: monika danis

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THE NEW ICONS

The New Icons Troy “Trombone Shorty” Andrews has achieved a plateau of excellence that most artists never reach in a lifetime.

few months ago OffBeat publisher Jan Ramsey lamented the passing of a generation of New Orleans musical icons who have given this city so much of its rich musical history. Who will be the new icons? The city has changed so much, particularly since the flood following Hurricane Katrina in 2005, that’s it’s fair to ask this question. Many of the city’s most popular performers since then are transplants who’ve absorbed the musical history of New Orleans and added some of their own identity to it. Other New Orleans musicians have taken the path traversed by Louis Armstrong, and moved away to find their audience. There are a handful of local musicians who have built global careers on their music—off the top of the head you can mention Terence Blanchard, Wynton Marsalis, Big Freedia, Mystikal, Lil’ Wayne, Master P and a few others. One young musician, however, stands out as a millennial version of the traditional New Orleans musicians known around the world—icons like Armstrong, Sidney Bechet and Fats Domino. Troy Andrews, a.k.a. Trombone Shorty, is New Orleans musical royalty—the younger brother of James Andrews; cousin to Glen David Andrews and a host of other musicians; the grandson of the great Jessie Hill; blood relation to Mahalia Jackson and, some say, Armstrong himself. Troy was a local star from early childhood, a prodigy whose ability on trombone and trumpet put him in the highest echelons of the city’s live performers. At age 30 Andrews is no longer a child www.OFFBEAT.com

phenom, but his development has never slowed. He is a fully realized artist with a career of unlimited possibilities still there for him, an international star who nevertheless continues to be a regular presence on the New Orleans scene. His Jazz Fest–closing performances, in which he has assumed the mantle once reserved for the Neville Brothers, are iconic in themselves. This past year, despite two days of drenching rain that forced numerous cancellations, he climaxed his amazing set by diving into the crowd on Lake Acura, playing his trombone through the muck and mire to the delight of his amphibious audience. The great ones have always accumulated extra layers of aesthetic achievement to their mythic status as the years go by. American legends in particular

book, Trombone Shorty by Troy Andrews, a beautifully illustrated autobiography about growing up in New Orleans. Though nothing is fabricated or even misleading, the way Andrews tells his story makes it a fairy tale that any child would find delightful to imagine. “In Treme, music was everywhere,” Andrews writes, “from church, to the street, to my very own house. My grandfather, Jessie Hill, was a musician and my brother James was a musician, and I wanted to be just like them. There were people always coming and going from my house, but music was the thing we had in common. No matter how tough things got, listening to music always made me feel better. “When I was very young, my neighborhood friends and I would pretend that we were like the brass bands that would parade down our

Troy was a local star from early childhood, a prodigy whose ability on trombone and trumpet put him in the highest echelons of the city’s live performers.

gather what are sometimes described as tall tales dedicated to the spectacular nature of their accomplishments. Some of them were shrewd enough to play off their myth, adding their own tales to the legend. Trombone Shorty displays that talent in his latest release, which is not music but rather a children’s By John Swenson

streets, and because we couldn’t afford instruments, we really did make them out of anything we could. The box from a twelve-pack of soda could be fastened around the neck with Mardi Gras beads to become a drum, and pencils became drumsticks. I used to hoist an old Big Wheel bicycle over my shoulders and pretend it was a

tuba. Empty bottles became horn and wind instruments. Thankfully, I got my first trombone when I was four years old and by age six, I was leading my own band. The only reason I succeeded as a musician was because I practiced every day. Practicing was easy to do because I loved playing music so much. I knew that if I just kept playing, good things would happen to me. I felt it in my bones.” Troy’s commitment to practice is a lifelong trait, something I’ve seen him bring up to the young players who flock to after-show meet-and-greets. That dedication made him aware of the deep and varied New Orleans music history. “I played around town with my friends for many years,” Troy writes, “and together we tried to soak in everything we could about the incredible musical traditions of New Orleans. I felt lucky that the previous generations of New Orleans musicians wanted to share their craft with me. It was my job to carry on the musical heritage.” Aside from his performances on the streets of Treme and the French Quarter, Andrews first came to public light when Bo Diddley heard him playing in the crowd during a show at the New Orleans Jazz and Heritage Festival. “Who’s that playing out there?” Diddley barked. When he found out it was a kid half the size of his trombone, he brought Shorty onstage to play with his band. Big brother James took Troy around to his own gigs and came up with the “Trombone Shorty” nickname. He also took him to shows by other musicians, who often asked Shorty up to jam with the band. James and Shorty also played with their cousins in AU G U ST 2 016

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Troy returned home after the Lenny Kravitz tour with a vision of what he wanted his band to sound like, “Supafunkrock.”

the Andrews Family Band. As a player Troy was a veteran, the complete package, while still in his teens. “I attended the New Orleans Center for Creative Arts (NOCCA) and started to develop my own musical style, one that paid tribute to New Orleans’ own jazz, blues and gospel but also mixed in other kinds of music that I loved, like rock and roll, funk, and hip-hop.” Shorty released several records as a teenager, including the traditional New Orleans jazz album Trombone Shorty Meets Lionel Ferbos, the joyous New Orleans R&B session Trombone Shorty’s Swingin’ Gate and his contemporary jazz debut, The End of the Beginning. When the flood following Hurricane Katrina destroyed his hometown, Troy was only 19 and still exploring his musical options. He had been on a world tour as a member of the Lenny Kravitz band, and though he was able to return briefly to play with his brother James at Jackson Square shortly after the deluge, the tour kept him away from home for another six months, forcing him to miss the performance of the Andrews Family Band at Jazz Fest in 2006. Troy returned home after the Lenny Kravitz tour’s conclusion with a vision of what he wanted his band to sound like, what he has come to call “Supafunkrock.” He built that band, Orleans Avenue, around young players whose dedication to practice and constant work matched his own. At the time he was assembling the band he told me that he didn’t want stars, but talented young players who could grow with him as a unit. The first version of Orleans Avenue

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released Orleans & Claiborne in 2007. That band included Troy’s millennial peer Jonathan Batiste (who also appears on Swingin’ Gate), but Batiste had his own career trajectory to follow. Troy kept bassist Mike Ballard for the next incarnation of Orleans Avenue, adding guitarist Pete Murano, drummer Joey Peebles and Dan Oestreicher on baritone saxophone. This is the band that codified the high powered realization of Supafunkrock you hear today when you go to a Trombone Shorty and Orleans Avenue concert. They’ve made three albums—the Grammynominated Backatown (2010), For True (2011) and Say That to Say This (2013), adding current member BK Jackson on tenor saxophone for the latter. The music industry has changed drastically since Troy Andrews was a boy, with live performances now counting much more for an artist’s stature than recordings as the industry has imploded under the weight of streaming and free downloads. Andrews has grown within the new template, particularly as a singer and bandleader in addition to his virtuoso prowess as a player. His stature as an international headliner has grown along with his abilities, a phenomenon I have witnessed over the course of several years of Trombone Shorty and Orleans Avenue appearances at the Festival International de Jazz de Montreal. The Montreal Jazz Festival has an overriding affinity for its sister city from French colonial North America, and New Orleans music is well represented there, from the traditional jazz played by Canadian bands with names like Sweet Dixie, Montreal Dixie and L’Esprit de la Nouvelle-Orleans to local New Orleans bands brought in for the occasion. This year’s www.OFFBEAT.com

Right now Trombone Shorty and Orleans Avenue are as good at live performance as any band on planet Earth. New Orleans visitors included the Preservation Hall Jazz Band, Debauche and Jon Cleary. Shorty has played this festival several times to spectacular effect. He headlined the city’s first “Mardi Gras” parade down one of the main thoroughfares, SainteCatherine Street. Trombone Shorty took over the entertainment when the crowd reached the massive plaza at the Place des Festivals. Andrews and Orleans Avenue delivered a big-stage funk rock concert that went over well, playing everything from “Papa Was a Rolling Stone” and “American Woman” to the Isley Brothers’ “Shout” with material from the thenrecent Backatown mixed in. A year later, Trombone Shorty and Orleans Avenue upstaged the great Bootsy Collins with an electrifying set at the Metropolis that climaxed with a medley of “Saints” and “Everybody Needs Somebody to Love” that had the crowd shouting “You! You! You!” This year Andrews returned to the Metropolis with an even more polished set. The band has been mixing original material with a wide range of covers from the Lenny Kravitz songs “Sistamamalover” and “The Craziest Things” to “Brain Stew” by Green Day and “Killing in the Name” by Rage Against the Machine. This show included an awe-inspiring version of Ernie K-Doe’s “Here Come the Girls” and a supercharged James Brown medley that had the crowd screaming along in call-andresponse ecstasy. Though he has always seemed to do the heavy lifting in previous shows I’ve witnessed, Andrews was not the main attraction in this astonishing set. He was the ringmaster, featuring not just himself but all the other members of the band in featured solo www.OFFBEAT.com

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spots. Oestreicher’s honking baritone solo may have gotten the biggest applause of the night. And when the band was shredding, Andrews would strike mighty poses at center stage while blinding strobe lights pushed the audience’s fervor ever higher. Right now Trombone Shorty and Orleans Avenue are as good at live performance as any band on planet Earth. At age 30, Troy Andrews has achieved a plateau of excellence that most artists never reach in a lifetime. But his thoughts always return to New Orleans and to the future musicians he’s helping through the Trombone Shorty Foundation and the Trombone Shorty Music Academy. “As important as it is for me to carry the torch for the music of New Orleans,” he writes in the Trombone Shorty book, “it’s even more important for me to make sure that this tradition continues. In 2010 I launched the Trombone Shorty Foundation and Trombone Shorty Music Academy to make sure that the music and culture of New Orleans stay alive. While I’ve been fortunate enough to travel the world and share my music, I always return home to New Orleans. Nothing has been more inspiring to me than working with the children there. I wanted to write this book to inspire hope in kids who might be growing up under difficult circumstances but who also have a dream, just like I did. I’m living proof that as long as you work hard, you can make yourself take flight.” Those are words fit for an American icon. O AU G U ST 2 016

JONTE MAYON

Old Soul Jonté Mayon’s pillars of sound.

f all the things to slice through New Orleans summer heat, the sweet sound of Jonté Mayon in vocal flight spilling out onto Decatur Street from B.B. King’s Blues Club is perhaps the finest. It comes as no surprise that she’s been singing her entire life. “I am the youngest child of four,” she said. “We were a musical household. We sang commercials. Even made harmonies of the words my mom would use to scold us. I was part of the family group the Landrum Singers when I was three.” Jonté’s mother, Pamela, directed church choirs. Her grandmother is the legendary Rev. Lois Dejean, the “Queen of New Orleans Gospel.” That special something in the water extends beyond lineage. “I didn’t know I wasn’t related to Marva Wright until I was twelve. She lived nearby and was in my mother’s choir.” Singing in church is one key to Jonté’s sound. In fact, her solo turn on “For the Good of Them” with the Johnson Extension brought down the house in the Gospel Tent at this year’s Jazz Fest. “I’ve always known I’d be a professional singer and dreamed of it,” she stressed. “My grandma was instrumental in bringing me to big audiences, to sing with her. I was six the first time.” Dejean praises, “She’s in an area all by herself. Her voice is extraordinary. She can sing blues. She can sing gospel. You can put her in any arena.” Mayon’s steady gig reveals the other pillar of her sound—five hundred classic songs to choose from at B.B. King’s, those from Etta James to Ann Peebles to the Staple Singers. “I have amazing memories of Gregory, my dad, introducing me to old soul with his record collection. Songs in the Key of Life, I could not believe what my ears were hearing. So many tracks and nothing sounded the same,” she recalled.

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In a world where R&B mostly means little rhythm and no blues, Jonté, along with Anthony Hamilton and Lalah Hathaway, harkens back to the era of church-raised singers such as Marvin Gaye (she admits she prefers male singers and Vulnerable is her favorite of his), Curtis Mayfield and Aretha Franklin. Though she hasn’t yet heard comparisons to her grandma, Aretha’s another story. Mayon, then known as Jonté Short (her first husband’s name), had a major label deal back in 2001 that By Michael Allen Zell

ended up bouncing from London Records to Warner Bros. to Sony BMG. David Steele of Fine Young Cannibals spent a handful of years seeking the perfect voice and she was it. The self-titled release of the group called Fried (with involvement from RZA and Beth Gibbons of Portishead) yielded the should-have-been-a-hit “Things Change” (a must-see live version from Later… with Jools Holland is available on YouTube). The U.K. press heralded Jonté as “the best

voice since Aretha Franklin,” but the record didn’t find its audience. Disaster struck too. “I was recording in London when Katrina hit,” Mayon said. “My two sons were here in New Orleans. The last thing I heard was, ‘Your mom’s taking the boys to the Superdome.’ I saw the city on the news. Didn’t know where they were and how they were.” Jonté eventually connected with her family in Houston, leaving the brush with fame behind and not pursuing other recording contracts. She took every New Orleans gig she could find before returning to church music alongside her second husband, a minister. Their split and the tragic death of her father led to singing on a cruise ship this past winter. “I dealt with all my emotions. Stood in the front of the ship and said all the things I wanted to happen. Stood in the back and said all the things I wanted to let go. Fame is not what I’m looking for. The music is what makes a difference to me,” she said. Mayon has been performing at B.B. King’s since March and is having the time of her life there. Has she worked other than singing? “I’ve had two regular jobs in my life. Combined they lasted three months. I am anointed to sing. Not only gospel. To sing. Whatever I’m singing, you will see the Lord in me. I’m ministering, but my church is bigger. It’s the world.” “Whether the crowd is 2 or 200, she’s going to connect with them,” remarked B.B. King’s Blues Club All-Star Band keyboardist Carroll McLaughlin. The progression of her stage name from Jonté Landrum to Short to Thomas to the present Mayon (her middle name) follows the ups and downs of her life and career. “All day every day I’m writing songs. I have at least two albums finished. Whatever happens, I’m enjoying the ride,” she said. O www.OFFBEAT.com

GARY GIDDINS

Pops and Bing Gary Giddins reminisces about New Orleans and Louis Armstrong.

ary Giddins, the jazz critic whose award-winning writing includes 31 years of Village Voice columns and books about of Louis Armstrong, Bing Crosby and Charlie Parker, is the 2016 Satchmo Symposium’s vastly qualified keynote speaker. Now hard at work on the second of his three-volume Crosby biography, Giddins will present Pops and Bing: A Real Mutual Admiration Society, Friday, August 5, at Le Petit Theatre du Vieux Carré. The winner of six ASCAP Deems Taylor Awards and five Jazz Journalists Association Awards, Giddins discovered his love for jazz in New Orleans. In 1963, during a coast-tocoast trip for teens, Giddins visited the city for the first time. He was 15. Musically and socially, it was an eye-opening experience. At the crest of the civil rights era, for instance, Louisiana’s still-enforced segregation shocked the young New Yorker. “It was one thing to see it on TV,” Giddins recalled recently from New York. “It was another thing to be booked into a motel that has bathrooms marked Men, Women, Colored Men, Colored Women. And when I got on a street car on Canal Street, I sat next to a black lady. This was long after Rosa Parks, yet two white girls, about my age, sitting across from me, berated me for sitting next to her. The whole ride! And the driver didn’t say a word. Nobody said anything. It was staggering to me.” Nonetheless, while in New Orleans, Giddins wanted to do what generations of tourists have done: hear jazz music. A newspaper ad led Giddins and a friend to a Sunday afternoon concert by Emanuel Sayles’ Silver Leaf Ragtimers, featuring George Lewis. The audience at the Royal Orleans Hotel, unlike the sanctioned segregation he’d witnessed all over New Orleans, was integrated.

“Everybody was talking to each other and clicking cocktail glasses and smoking,” Giddins remembered. “I thought, ‘I’ve never even seen this in New York. This is the world I want to be in!’” That afternoon’s performance by Sayles and the Silver Leaf Ragtimers brightened the way for Giddins’ life in jazz. “The music, because it was New Orleans–style, was easy to understand,” the critic said. “And it was terribly exciting.” During the concert’s intermission, pianist Joe Robichaux noticed Giddins and his friend, the only youngsters in the audience. “He called me over,” Giddins said. “And then the musicians came over and talked to me. They asked me about my life and what I was going to do. I felt like I had been adopted.”

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By John Wirt

Upon his return to New York, Giddins said, “I wanted to hear everything.” Everything began with a historical compilation album, The Louis Armstrong Story, Volume III: Louis Armstrong and Earl Hines. “I bought that and my life was forever changed.” Even before his New Orleans visit, Giddins had been searching. “I’d grown up with classical music and ’50s rock ’n’ roll,” he said. “By the early ’60s, all the people I liked were dead or disappeared. Little Richard and Chuck Berry and Fats Domino, a singer named Dee Clark from Chicago, Elvis, Lloyd Price, Jerry Lee Lewis—they were arrested, they were drafted, they got into trouble with the Mafia. I was looking for something else.” Giddins found a clue in Ray Charles’ 1961 album, Genius + Soul = Jazz. The title inspired him

to borrow jazz albums from a friend. Wonderful albums though they were, the music they held was still beyond his understanding. It took the dual revelations of Sayles and the Silver Leaf Ragtimers at the Royal Orleans Hotel and New Orleans native Armstrong’s album, The Louis Armstrong Story, Volume III, to bring the brilliance of jazz into focus. Giddins writes about playing the Armstrong album for the first time in his 2004 book, Weather Bird: Jazz at the Dawn of Its Second Century. The album opens with “Basin Street Blues.” “I played the first track,” Giddins recalled for OffBeat. “And I jumped off the sofa and got to the needle before it went to the second track. I played the first track again. While I was standing there, I noticed a spot on the record. I brushed it with my finger. I realized I had tears in my eyes.” Giddins had previously thought of Armstrong only as a comical entertainer on The Ed Sullivan Show. But after hearing Armstrong’s 1928 rendition of “Basin Street Blues,” he ranked it with his favorite classical piece, J.S. Bach’s Mass in B minor. “The truth is I played each Louis Armstrong Story, Volume III track several times, until I knew it by heart. And it was months before I flipped over to side two. ‘Tight Like This’ is the last track on side one. I thought, ‘This is it. There can’t be anything better than this.’ And then I turned it over to ‘West End Blues’! The rest of the album is relatively minor performances. That was sort of reassuring. Even Armstrong was occasionally not God-like.” O Gary Giddins will deliver the Satchmo SummerFest Symposium’s keynote speech, Pops and Bing: A Real Mutual Admiration Society, at noon, Friday, August 5, at Le Petit Theatre du Vieux Carré. AU G U ST 2 016

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COVER STORY

The Last of the Sixth Ward

Treme Brass Band’s Benny Jones Sr. is what New Orleans is all about. By Geraldine Wyckoff // Photography by Emma Dugas

enny Jones Sr. no longer lives in his beloved Treme neighborhood, where he grew up with the sound of brass band music and the ring of Mardi Gras Indian tambourines as a way of life. Nonetheless, the drummer and leader of the Treme Brass Band can be spotted in the area almost on a daily basis. He heads there just to keep in touch with the people and the goings-on. “I come in and out of the Treme just about every day,” Jones says. “I go by Sylvester’s [the Backstreet Cultural Museum], I stop by [drummer] Shannon Powell’s, I stop by the Candlelight on Tuba Fats Night and I stop by Charbonnet [funeral home] to have a meeting and talk about different things.” His omnipresence in the Sixth Ward and beyond is one of the reasons that when it comes to hiring a brass band, the answer to the question, “Who ya gonna call?” is often Benny Jones. The affable drummer is central to the brass band community so he’s ready to supply the entertainment with his core group or one of its offshoots. Always eager to help out, Jones also has become a go-to guy for artists’ contact info even when it’s not related to a booking. “By me knowing a bunch of musicians and getting along with plenty of musicians, I can always put two bands together,” says Jones, remembering the time years ago when the Young Men Olympian Jr. Benevolent Association asked him to bring three groups to its annual anniversary parade. “I have all of the musicians’ numbers—probably a couple of hundred—written on two or three pads at my house plus a [Musicians’] Union book. My regular musicians they are all in my phone at all times. The numbers are going up too because everybody wants to play with the band,” he adds with a smile. Through the years, many of those players found listed on his pads have been members of the Treme Brass Band, with a number of them going on to pursue successful careers of their own. Back in the early days, trumpeter Kermit Ruffins and tuba man Phil Frazier used to blow with the Treme at the Petroleum Lounge. The Treme’s first gig at Sidney’s Saloon on St. Bernard Avenue included saxophonist Elliott “Stackman” Callier, trumpeter/vocalist Kenneth Terry and tuba player Kerwin James— Frazier’s late younger brother. It just might be easier to list who in the brass band world hasn’t played with the Treme than those who haven’t. Benny Jones, who celebrates his 73rd birthday on August 11th, got what might be considered a late start in his career as a musician, www.OFFBEAT.com

though growing up in the Treme neighborhood he was surrounded by the parade culture. His father, Chester Ralph Jones, an accomplished drummer performing with illustrious ensembles like the Onward, Tuxedo and Eureka brass bands as well as traditional groups at Preservation Hall, was extremely influential. “I would always go around to jazz funerals and second lines and I would always follow the drummer to see what he would do,” Jones remembers. “Then I’d go home and practice different kind of beats.” Jones, always a hard-working guy, came from a family with 12 children so his time as a youngster was spent not pursuing music but working to help support the family. He remembers getting up at 5:30 or 6 in the morning to work with a man who had a mule-drawn peddling wagon and he helped unload produce and attend to the animal. Afterwards, the youngster would head to classes at the Joseph A. Craig Elementary School. In the evening after school, he’d return to the French Market to unload fruit. “Benny is a born hustler—ain’t no shame in his game,” says saxophonist Roger Lewis with a laugh, quickly adding, “He’s a very special guy.” Lewis first met Jones in 1976 as a member of the Original Sixth Ward Dirty Dozen Brass Band, the initial name of the Dirty Dozen Brass Band. The saxophonist, who continues to perform and record with the Dozen, represents the Treme Brass Band’s longest-term member. “Benny don’t lose no time,” says Lewis of Jones’ rhythmic talent. “If you got a drummer that lose time that can be traumatic—you can’t groove. He’s not that fancy of a drummer; he’s no Herlin Riley or Shannon Powell. Benny do what Benny do—he’s like a clock. It’s the gift of God.” The street parades were Jones’ home turf long before he hit them as a drummer. Since the 1960s, he had been parading as a member of the Sixth Ward Diamonds, the Sixth Ward Highsteppers and the Money Wasters Social Aid and Pleasure clubs. “I always hired the Olympia Brass Band so when the first Super Bowl [in 1970] was held in Tulane Stadium, the Olympia hired me and my son, Benny Jones Jr., to be the band’s grand marshals. The emergence of Jones as a musician first came when he was in his twenties and hooked up with the Batiste family’s Dirty Dozen Kazoo Band, another precursor to the now internationally renowned Dirty Dozen. Jones gained entrance into the Batiste family’s Carnival and basically good time organization that included Uncle Lionel, Norman, Arthur, Miriam, Ferdinand and Felicia Batiste, by marrying Felicia’s AU G U ST 2 016

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“I’m a humble kind of guy. I worry about the music being right when I’m out there performing—on time, dress right and give the people what they are looking for, a great performance.”

oldest daughter. The Kazoo band would hit the streets on Mardi Gras, Halloween and St. Joseph’s Night, as well as when it was invited to parties and suppers. Along with the kazoos, improvised instruments including pots and pans were used as the group of often-costumed revelers would hit the streets. Jones says that during this time he was trying to focus on the bass drum. “People knew me first as a bass drummer,” he explains, “and they called me Bass Drum Benny when I was a member of the Dirty Dozen and [Tuba Fats’] Chosen Few brass bands.” The instrument-enhanced Dirty Dozen Brass Band was first heard when the group of musicians played in the bleachers at baseball games between neighborhood teams at Hardin Park. These were informal, fun-loving affairs where the players would clown by wearing dresses. After the games the band and crowd would head over to Darryl’s bar, a Seventh Ward watering hole. The evolving band included bass drummer Jones, snare drummer Andrew Green, sousaphonist Kirk Joseph and his brother trombonist Charles Joseph, saxophonist Roger Lewis, trumpeter Cyril Salvant and drummer Jenell “Chilite” Marshall. As time went on saxophonist Kevin Harris and trumpeter Gregory Davis were added, and later yet trumpeter Efrem Towns. “I bought blue tuxedos for them for certain kinds of gigs,” says Jones, who was obviously very involved with establishing the group. “Then I had some Dirty Dozen T-shirts made.” The Dirty Dozen exploded on the scene with its hybrid style mixing up modern jazz, funk and rhythm and blues in a standard brass band format. Jones was on board during those now-legendary Monday night gigs at the Glass House, which rank up there in stature with classic dates such as pianist James Booker at the Maple Leaf and vocalist Johnny Adams at Dorothy’s Medallion Bar & Restaurant. Jones is also heard on the band’s debut album, the 1984 kicker, My Feet Can’t Fail Me Now. As the Dozen gained in national and international recognition, the increase in out-of-town jobs forced Jones, who worked a day job as a truck driver for an electrical business, to quit the band. Once again, as it did in his younger years, family came first. “My kids were still in school and I wanted to make sure they got the right education, so I decided to step back for a minute,” says Jones, adding that after all, he had a job that provided benefits. His departure from the Dozen didn’t mean he was putting the music aside, just that he wouldn’t be hitting the road. He soon teamed up with a large and influential man on the brass band scene, Anthony “Tuba Fats” Lacen, to become a member of his Tuba Fats & the Chosen Few Brass Band. Naturally, Jones knew Lacen through encounters in the musical community as well as a member of saxophonist Harold Dejan’s Olympia Brass Band. It was with the Olympia that Jones got his first “big” paying job, acting as a grand marshal for the band at a hotel in Atlanta. Jones also made his first trip to Europe with the Olympia and has since traveled there many times leading the Treme. It’s interesting and perhaps unusual that Jones finds all positions that have to do with brass bands equally satisfying. With the Olympia he moved from grand marshal to bass drum and then Dejan moved him to snare drum when Jones’ brother, Michael George, took over on the bass. “Harold had plenty of work,” says Jones, who played in what

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he calls the Olympia II band. “I bought their uniform so was ready at all times.” As the leader of the Treme Brass Band, which he formed in 1994 after leaving the Chosen Few, Jones continues to alternate playing the bass and snare drums. When the Treme does its weekly gig on Tuesday nights at Frenchmen Street’s d.b.a., he’ll play the big drum; on Wednesday night shows at North Robertson Street stalwart the Candlelight Lounge, he’ll strap on the snare. Of course when his life-long friend, “Uncle” Lionel Batiste, who passed away in 2012, was playing the bass drum with the Treme, Jones stuck to the snare. “Sometimes he would double up or triple up the rhythms and I had to play between whatever he was doing and I had to compliment him,” Jones remembers. “He really elevated the band because everybody loved him. The band would rehearse whatever song he wanted to sing because he knew the words to all of the songs.” “Uncle Lionel had that funk on the bass drum, because, you know, the funk comes from the bass drum,” Lewis offers. “And Benny would keep the time—you don’t need to be doing no fancy stuff.” Jones and Batiste made for the perfect combination not only musically but in demeanor. Uncle Lionel was the jolly, outgoing man in the rhythm section. Jones is more laid-back and has earned a reputation for his patience even in the sometimes tumultuous world of brass band. Changing memberships in the Treme Brass Band never seems to faze him and it’s remarkable how he’s been able to keep the quality of the organization and its music so high. “I believe in making people happy,” Jones offers. “They come to hear the band. Sometimes band members get under my skin but I try to hold it in. I come to play music; I don’t come for pushing and shoving. We can do that at another place, another time. I’ve always been that way. I’m a humble kind of guy. I worry about the music being right when I’m out there performing—on time, dress right and give the people what they are looking for, a great performance.” “Benny is a very, very smart guy because he knows how to put the right combination of musicians together,” says Lewis, adding that he’s never seen Jones rattled. “He’s surrounded himself with good people. He has a special talent to do that.” Jones’ experience and active involvement in all aspects of the brass band and second line street culture—and even his patience—have served him well as a founding member of the Black Men of Labor parading and cultural organization. Its goal, since forming in 1994, has been to keep classic brass band music and traditions on the street. Those match Jones’ old-school style that he engages in most everything that he takes on. “He pretty much knows the history of the music and the dancing having participated in both aspects,” says trumpeter and co-founder of the BMOL Gregg Stafford. “He has knowledge of traditional second lining and an understanding of how the music goes. More than anything he’s dedicated to the culture.” “First of all, you’re not going to meet a nicer man and he’s generous,” says Fred Johnson, president and co-founder of the Black Men of Labor. “You really got to go far to get Benny angry with you. When you hear people say some folks have the patience of Job, Benny has the patience of Job. He’ll go forever and ever and ever until he’s got enough of you. He’s brought a certain www.OFFBEAT.com

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kind of balance [to the Black Men of Labor] that has helped us to keep an even hand in decisions, processes and direction.” Johnson, who for decades has seen and been around Jones at Mardi Gras Indian practices and second lines, adds that it’s Jones who puts the band together— often including next-generation musicians—for the BMOL’s parades. Also that Jones always second lines rather than plays in the brass band in the processions and acts as the band’s grand marshal. “At that point the parade supersedes the band for him,” Johnson explains. “Benny is a wonderful representation of what New Orleans is all about. I call him the last of the Sixth Ward.” “I’ve slowed my roll a little bit but I still got it in me,” Benny says with a laugh while comparing his second line moves today with those of the past. Presently, the only club to which he’s associated and where you can catch him steppin’ is the Black Men of Labor. “Some of the clubs started buying real expensive clothes just to parade in and I didn’t need that. I like to buy expensive clothes to dress up when I can wear them for more than one or two times—no $500 shoes.” Actually, the Treme Brass Band only hits the streets, other than short marches for weddings and parties, three times a year and doesn’t participate in any of the four-hour, Sunday afternoon anniversary parades. It rolls at the annual, brass band–filled Krewe du Vieux parade during Carnival season, leads the Lundi Gras day Red Beans parade and steps out for the Satchmo SummerFest second line that follows a jazz mass, which the band plays, that leaves from St. Augustine Catholic Church in the Treme and heads to the festival site—this year at Jackson Square. www.OFFBEAT.com

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“I always wanted to be a drummer like my father...”

Just before its performance on Saturday at 2:45 p.m. at this year’s Satchmo SummerFest, the Treme Brass Band, with favs like Lewis and the trombone pairing of Jones’ nephew Corey Henry and Terrance “Tap” Taplin, will supply the music for a children’s second line as it heads to the stage. Jones’ brother, Oswald “Bo Monkey” Jones will act as grand marshal. (Note: The Dirty Dozen plays the festival on Friday at 1:45 p.m.) Jones has always been supportive and encouraging to the youth as a mentor, bandleader and through his regular participation in the New Orleans Jazz National Historical Park youth education programs. “I like working with young people so they can learn some traditional music,” says Jones, who is always looking to ensure the future of New Orleans classic jazz music. The Treme Brass Band, which has released four albums starting with 1995’s go-getter on Arhoolie Records, Gimme My Money Back, that included the now-classic “Food Stamp Blues.” Next up was 1996’s I Got a Big Fat Woman, 2008’s New Orleans Music, and its latest, 2011’s Treme Traditions, which includes Black Indian participants and tunes for the first time on a Treme album. “I always did follow the Mardi Gras Indians so I thought it was time to for me to put an Indian song out there,” says Jones, who used to play tambourine at Indian practices led by the likes of Big Chief Jake Millon of the White Eagles and Bo Dollis, the Big Chief of the Wild Magnolias. Jones promises that he’s working on a new album and even threatening to write an original tune on which he’ll sing lead. Singer/songwriter would definitely be a new feather in his band cap. “I always wanted to be a drummer like my father and was always surrounded by drummers like James Black, Smokey Johnson and Freddie Kohlman,” Jones declares. Benny Jones Sr. is all about the music and pleasing the people. “I always focus—number one—on my audience and see what kind of crowd I’m performing for and then I know how to present my music,” he explains. “When I see my audience is happy and dancing, I bring the music direct to them. Without an audience, there wouldn’t be no band. When people sit and stare all night, I make the band work harder. If the people are dancing and swinging out that makes my work easy.” O

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EATS

photos: Elsa Hahne

Justin Gehrmann/Kingfish

“F

or this drink, I went with Buckwheat Zydeco. I love that front porch music. That sit-down, laid-back toe tapping. Naturally, I named my drink after something to do with the front porch, so it became the Rocking Chair. Got me a strong sipping cocktail with Booker’s bourbon, and a little Disaronno to sweeten it up. It’s lovely, and it’s just what I imagine drinking on a front porch. Thought of naming it a couple of things: the Wicker Chair, other things related to the front porch, but the Rocking Chair was the best I could come up with. Thought about the Bug Zapper, the Toe Tapper... I was coming up with all kinds of crap. I called my mom to talk to her about it. She says, ‘We call it porch drinking. We porch drink all the time.’ I called her to get her input because she’s a porch sitter. She drinks margaritas, www.OFFBEAT.com

pomegranate margaritas, or red wine during the week. It’s margaritas on Sunday. I drink everything. Coors Light, if I drink beer. Something light and crispy. If I drink liquor, it’s usually green chartreuse. Nice and neat. If I have a cocktail, it’s usually a French 75. It’s delicious. Probably my favorite drink. Gin! Gin all day... I’m not big on the cognac. I drink gin and citrus, or mescal and citrus. Those are my go-to favorites. I’m from Mississippi. I grew up on a porch, with a swing, the table set up and everything. Now I live on Canal Street, without a porch, but I got lucky. If you crawl out of my window, there’s a rooftop that acts like a porch. I don’t have anything up there because I’m scared my landlord will find out that I’m up there. I go out on the rooftop and read books or whatever. Can’t set up a fire pit and have chairs and all that. A portable hot tub was even brought

By Elsa Hahne

up to me, by one of my friends. ‘You know what you’ve got to do, right?’ But I live right above Subway, and if something was to go wrong, we’d be in Subway’s dining area. So we keep it simple. Go out there and drink a beer, or an Old Fashioned. Sipper drinks, so they’ll last, and you don’t have to keep going back inside. Something you can drink for a good 30 minutes. Something on the rocks, so it won’t get hot. Strong and sweet, so it gets better as it sits. So that’s where I went with this cocktail. I’ve never created a cocktail for a musician before, which is weird because that’s an easy one. Two songs into listening, the recipe came right to me. I guess you feel music more than you feel a lot of things. It’s easy to relate. I listened to a couple of Buckwheat Zydeco songs and saw myself sitting on a porch with this drink. He’s amazing and he’s been around for a long

time. He recorded a lot of songs I didn’t even realize I’d heard.”

Rocking Chair 1 1/2 ounce Booker’s bourbon 1 1/2 ounce Disaronno liqueur 2–3 dashes Angostura bitters Orange peel Pour bourbon, liqueur and bitters over ice. Stir. Serve with a nice, fresh sliver of orange peel. AU G U ST 2 016

899-8221 Kingfish: 337 Chartres St., 598-5005 Mr. B’s Bistro: 201 Royal St. 523-2078 Restaurant R’evolution: 777 Bienville St., 553-2277

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 Palm Court: 1204 Decatur St., 525-0200 Rivershack Tavern: 3449 River Rd., 834-4938 Southport Hall: 200 Monticello Ave., 835-2903 Snug Harbor: 626 Frenchmen St., 949-0696 Three Muses: 536 Frenchmen St., 298-8746

FRENCH

NEIGHBORHOOD JOINTS

GERMAN Jaeger Haus: 833 Conti, 525-9200

ICE CREAM/CAKE/CANDY Aunt Sally’s Praline Shop’s: 2831 Chartres St., 944-6090 Bittersweet Confections: 725 Magazine St., 523-2626 La Divina Gelateria: 3005 Magazine St., 3422634; 621 St. Peter St., 302-2692 Tee-Eva’s Praline Shop: 4430 Magazine St., 899-8350

INDIAN Nirvana: 4308 Magazine St., 894-9797

AFRICAN Bennachin: 1212 Royal St., 522-1230.

AMERICAN 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 Primitivo: 1800 Oretha Castle Haley Blvd., 881-1775

IRISH The Irish House: 1432 Saint Charles Ave., 595-6755

ITALIAN

JAPANESE/KOREAN/SUSHI/THAI

The Joint: 701 Mazant St., 949-3232 Whoodoo BBQ: 2660 St Philip St., 230-2070

COFFEE HOUSE

LOUISIANA / SOUTHERN

Café du Monde: 800 Decatur St., 525-4544 Morning Call Coffee Stand: 56 Dreyfous Dr., (504) 300-1157, 3325 Severn Ave., Metairie, 885-4068

Fulton Alley: 600 Fulton St., 208-5593 Mondo: 900 Harrison Ave., 224-2633 Praline Connection: 542 Frenchmen St., 943-3934

CREOLE/CAJUN

MEDITERRANEAN

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 Mulate’s: 201 Julia St., 522-1492 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.,

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Byblos: 3218 Magazine St., 894-1233 Mona’s Café: 504 Frenchmen St., 949-4115

MEXICAN/CARIBBEAN/SPANISH Barú Bistro & Tapas: 3700 Magazine St., 895-2225 Juan’s Flying Burrito: 2018 Magazine St., 569-0000 El Gato Negro: 81 French Market Place, 525-9846

MUSIC ON THE MENU Banks Street Bar & Grill: 4401 Banks St., 486-0258 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 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

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 LeBayou Restaurant: 208 Bourbon St., 525-4755 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 Clover Grill: 900 Bourbon St., 523-0904 Mimi’s in the Marigny: 2601 Royal St., 872-9868

Chris French hits the

Adolfo’s: 611 Frenchmen St., 948-3800 Little Vic’s: 719 Toulouse St., 304-1238 Chiba: 8312 Oak St., 826-9119 Mikimoto: 3301 S. Carrollton Ave., 488-1881 Seoul Shack: 435 Esplanade Ave., 417-6206 Sukho Thai: 4519 Magazine St., 373-6471; 1913 Royal St., 948-9309 Wasabi: 900 Frenchmen St., 943-9433

BARBECUE

Biscuits and Buns on Banks: 4337 Banks St., 273-4600 Cake Café: 2440 Chartres St., 943-0010 City Diner: 3116 S I-10 Service Rd E, 8311030; 5708 Citrus Blvd., 309-7614 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 Parkway Bakery and Tavern: 538 Hagan Ave., 482-3047 Phil’s Grill: 3020 Severn Ave., Metairie, 324-9080; 1640 Hickory Ave., Harahan, 305-1705 Sammy’s Food Services: 3000 Elysian Fields Ave., 948-7361 Tracey’s: 2604 Magazine St., 897-5413 Ye Olde College Inn: 3000 S. Carrollton Ave., 866-3683

PIZZA

Spot

[of Roddie Romero and the Hub City All-Stars]

Of all the Vietnamese restaurants in New Orleans, why Pho Cam Ly? This is my first time here, actually. I’ve been at the hospital with my daughter who just had open heart surgery. Pho is one of my comfort foods, so I did a quick search and read the story about this place. I’m kind of a sucker for the immigrant American success story. My wife’s from England, and my mom’s side of the family is from Sicily. They all grew up in New Orleans.

You live in Lafayette, right? Are there pho restaurants there you like? Yes, we have Maesone Noodle House. It’s a really amazing restaurant, and how we judge pho in Lafayette. ‘Is it as good as Maesone Noodle House?’ It’s in a strip mall, and opened way before pho got cool. So, is your bowl as good as Maesone’s? It’s perfect. I don’t have to add anything to it. —Elsa Hahne

Pho Cam Ly 3814 Magazine St. (504) 644-4228 www.OFFBEAT.com

Photo: ELSA HAHNE

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

Warehouse Grille: 869 Magazine St., 322-2188

DINING OUT

Imperial Woodpecker Sno-Balls Now widely believed to be extinct, the imperial woodpecker was once the largest woodpecker on the planet. It’s a mystery as to exactly how that bit of ornithological history inspired Neesa Peterson to leave behind a career in New York fashion to open a New Orleans snoball shop in the West Village. But luckily for New Orleanians, after three summers she decided to return to her childhood home to continue her contribution to local sno-ball tradition. While the list of flavors includes standards such as blue bubble gum and tart Granny Smith apple, Peterson mixes the flavor concentrates with her own simple syrup to achieve a more restrained level of sweetness. All of the cream and all-natural flavors are made in-house and represent the most popular selections. Lemon-basil and strawberry-basil achieve complementary sensations of tart and sweet against a common herbaceous background. The exotic spiciness of cream of cardamom may

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appeal to some, while the nostalgia brought on from cereal cream may cause spontaneous exclamations of “They’re Grrrreat!” Peterson adheres to the adage that less is more, preferring to let her syrups occupy the spotlight—customers are limited to enriching their sno-balls with either condensed milk or vanilla ice cream. The presence of the preeminent SnoWizard shaver ensures satisfaction of the lone prerequisite of an authentic New Orleans sno-ball: soft, fluffy ice with the texture of snowflakes. The Uptown location of Imperial Woodpecker occupies a shack in front of Café Abyssinia on Magazine Street, where sidewalk seating is supplemented by a lone picnic table. The Downtown location at Spanish Plaza is easily accessible by office workers willing to brave the heat during a lunch-hour jaunt to the river, where a cooling reward can temper the walk back to work. At both locations, the servers are always willing to offer suggestions to kids of all ages, from the toddler whose parents are soothing him with pink lemonade after a bump on the head to the World War II veteran happily scooping away at his dreamsicle. Such is the cross appeal of Imperial Woodpecker, ensuring that the New Orleans sno-ball tradition is a long way from extinction.

Photo: renee bienvenu

EATS

—Peter Thriffiley 3511 Magazine St., 12p–dark; Riverwalk at Spanish Plaza, 11a–dark; (504) 264-7170; iwsnoballs.com

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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

Can’t You Hear the Angels Crying

Wayne Toups Wayne Toups (Malaco Music Group) Longtime fans will notice an artistic shift on Wayne Toups’ first non-trad Americana-ish outing since 2004’s Whoever Said It Was Easy. Unlike on Easy, Toups plays accordion on only five tracks, but the good news is that the signature zydecajun bounce is still soundly intact. Passionate vocals and handpicked, heartfelt songs are really what’s on tap here. Toups enlisted Shreveport native/ Nashville heavyweight producer James Stroud, who brought these proceedings to life and embellished the existing Dockside Studio tracks that Toups had already produced. Though many of these heartfelt ballads could contend somewhere in today’s country market, don’t think of Toups as the next faceless Nashville hat act. This is a showcase for his warm, gritty vocals and quite possibly his best singing yet. While there’s the anxiety of leaving (“How Can I Tell Her”) and lamenting love lost (“A Good One”), the album’s autobiographical blockbuster is “I’m Alive.” Co-written with country hit-making songwriter Randy Boudreaux, the song

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chronicles Toups’ resiliency after hitting rock bottom. If Toups plans on expanding his artist role, it’s paramount to take on the occasional socialpolitical issue. That he does with the 2010 Gulf oil spill on the original “Tears on the Bayou.” Though he doesn’t quite go for the jugular of corporate greed, the appeal is an emotional one. The line “Can’t you hear the angels crying” is not only haunting but suggests that mankind’s destruction of our planet doesn’t go unnoticed from above. —Dan Willging

Swingin’ Melatauns The Melatauns (Independent) If you saw the name of this four or five piece occasionally augmented by horns and thought you might be getting a Swingin’ Medallions type garage band done up NOLA style, well, sorry, no. The Melatauns are old Arabi hands who usually dole out a tight selection of punkish bar-band originals heavily weighted down by the classic sound of old-school Crescent City R&B, but as the visual pun of their third CD’s cover makes clear, these guys are swinging in an entirely different way—ironically, it’s only now that they’re abandoning their grungy blue-eyed soul, however temporarily, for a stab at Louis Prima–style big-band music, with the occasional stylistic detours that era demands (like the Latinsurf instrumental “Baia” and the somewhat misnamed bossa nova workout “Banana Boat Mambo”). It only goes to prove that lurking in the heart of every Crescent City rock band is a jazz

combo waiting to happen, but this stylistic vacation also does the group the disservice of exposing its weak link—vocalist Patrick Ricks, whose register just isn’t geared to the more demanding intricacies of their new style. Frankly speaking, he’s flat a lot, which can’t help but put a damper on otherwise warm

(though practically meaningless) genre workouts like “Coffee and Chicory” and “Day of Sunshine.” That offhand and somewhat deadpan sense of humor you expect from a NOLA bar band is still there—the obligatory Katrina song, “Blue Roof Blues,” is refreshingly light—and aside

Re-Recorded Hits and New Songs Cowboy Mouth The Name of the Band Is… (Independent) With their 25th anniversary in progress, Cowboy Mouth really deserve a definitive, careerspanning anthology—but since their catalogue is spread across a half-dozen different labels, we’re not likely to see that anytime soon. Instead they’ve done this selfreleased compilation, with nine re-recorded hits and three new songs. On the plus side, this may be the best-sounding studio album the band’s ever made: Instead of getting caught up in studio technology, they’ve finally captured their full-blooded live sound. The new songs all fit the direct approach: “Broken Up” is the kind of pithy kiss-off that’s always been one of singer/drummer Fred LeBlanc’s specialties (it makes a good follow-up to “Love of My Life”, also included); “These Days” is a less pissed-off version of same. Best of the bunch is “Bad Men,” really the band’s first political song. With a pointed shout-along chorus (“Listen up, boys and girls/ Bad men rule the world”) and the rare sound of LeBlanc and guitarist John Thomas Griffith trading off vocals, it bears out the band’s roots in the Clash and Replacements, not to mention Griffith’s own Red Rockers. Far as the oldies go, there’s a lot missing—not just live standbys like “Joe Strummer,” “I Believe” and “Man on the Run,” but most of the slower songs that represent the more thoughtful side of the band (the only one here is “Take Me Back to New Orleans,” still one of LeBlanc’s best). Co-founder Griffith gets only one song and former member Paul Sanchez isn’t represented at all (even though his “Light It On Fire” remains their regular concert-opener). But most of their best-known songs are here, and if the new versions aren’t strictly necessary, they’re all done with the proper energy—no small feat, since most were first recorded decades ago. And LeBlanc’s vocals are at least as forceful as before—especially on “Disconnected,” a tough song about being sensitive. This makes a good starting point for anyone coming aboard, but Mouth fans will know it’s only the tip of the iceberg. —Brett Milano www.OFFBEAT.com

REVIEWS

DJ Yamin, Quickie Mart, Tony Skratchere NOLA Bounce Breaks Volume 1 (Super Jock Records)

from a mistaken move into spokenword coffeehouse territory on “Joy Ride,” the groove is authentic. But swinging when you’re used to rocking requires more than just a shift in tempo and rhythm. Especially in this town. —Robert Fontenot

Intended as an homage to the pioneers of New Orleans bounce—T. T. Tucker, DJ Irv, DJ Jimi, Mannie Fresh, DJ Jubilee and the countless other DJs, rappers and producers who have contributed to the genre over the three decades of its history—NOLA Bounce Breaks Volume 1 is a 7-inch full of classic bounce scratch sounds, break beats and bounce rap a capellas from artists like 5th Ward Weebie and Fly Boi Keno meant to highlight the role of the DJ in bounce. Drawing from

A Guide to Jazz in New Orleans Thomas W. Jacobsen The New Orleans Jazz Scene Today: A Guide to the Musicians, Live Jazz Venues, and More (Bluebird Publishing)

bookmark

As the subtitle of Thomas Jacobsen’s latest book on jazz suggests, The New Orleans Jazz Scene Today stands as a “guide” offering snapshot views of what’s presently going on in the music’s birthplace. As the author writes in the preface, “it is intended for a general audience interested in jazz music...” By the naming of this city’s traditional and modern jazz artists and the many clubs and venues that present the music, the intention of the publication was also to indicate just how rich, active, vital and diverse the New Orleans jazz community remains in the post-Katrina era. The 135-page paperback, not including an extensive bibliography and index, includes black-and-white photos taken by Jacobsen from his personal collection. Jacobsen, the author of two books on New Orleans jazz, was a 25year resident of the Crescent City and is professor emeritus of Indiana University. His involvement in the jazz world, his familiarity with this unique and sometimes quirky city and his academia all show up within the book’s pages. It’s difficult to find a jazz musician’s name missed, a club or festival forgotten or a footnote ignored. As a retired professor himself, the author wisely includes a chapter on educational institutions that offer jazz studies. These are from where it is hoped that some of the next generation of artists will emerge. A lot of information can be gleaned from The New Orleans Jazz Scene Today. The spirit of the music and its players, however, often gets lost in the book’s brief synopsis style and the adjective-free listing of names. —Geraldine Wyckoff www.OFFBEAT.com

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REVIEWS

the mold of early scratch records, New Orleans DJs Yamin, Quickie Mart and Tony Skratchere worked collaboratively to produce a project intended as a tool for musicians to make their own bounce music. With tracks divided by geographic location (Uptown, Downtown, 9th Ward), NOLA Bounce Breaks is an intensely local record for global audiences produced in the bounce spirit of collaboration and sampling. In breaking down the building blocks of classic bounce, Yamin, Quickie Mart and Skratchere have offered a record that is both enjoyable and practical, while contributing to the growing movement of portablism (portable turntablism) via 7-inch. —Holly Hobbs

Kris Tokarski Classic Rags New Orleans Style (Solo Art) Jelly Roll Morton is one of the two major pianists who took ragtime and turned it into jazz (the other being James P. Johnson in NYC). In his famous Library of Congress recordings, he played Scott Joplin’s “Maple Leaf Rag” in an approximation of Joplin’s style, followed by his jazzified “Jelly Roll” style. He also on another occasion recorded a transformation of Joplin’s “Original Rags.” 27-year-old pianist Kris Tokarski, a Berklee School of Music grad, moved to NOLA from the NYC area five years ago. Like many recent young

Examining New Orleans R&B Michael Urban New Orleans Rhythm and Blues After Katrina: Music, Magic & Myth (Macmillan)

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Smoke N Bones Amplify (Independent) Here’s another undoubtedly talented NOLA outfit that can take on just about any style of black music invented before Kurtis Blow came along but gets hamstrung by a severe identity crisis. In a way, it’s wonderful to live in a town where so many local bands have mastered a half-dozen styles of music almost as a matter of reflex. On the other hand, it’s that same lack of focus that keeps them from being fit for mass consumption. And Smoke N Bones, like so very, very many other Crescent City bands, deserve better. When led by befroed diva Mykia Jovan, these white boys sound like they should have an armful of yacht-rock Grammys circa 1978: slick, jazzy R&B built around the Fender Rhodes of keyboardist and songwriter Kyle Cripps. When guitarist and vocalist Billy Franklin takes over, which is about half of the time, SNB go straight for the party-cup crowd with rock-funk workouts like “Nobody Knows” and “Ain’t Nobody Gonna Tell Me.” Drummer Kyle

Urban interviewed 56 musicians and observers of New Orleans culture (myself included) with an advocate’s zeal but an academic’s remove, leading some of the subjects to initially balk at discussing his premise. But his rigorous interview style eventually broke down all skepticism, and what we are left with is an unsatisfying account of the state of R&B but a very valuable analysis of New Orleans music as it relates to the city’s culture and even more importantly to the musicians’ own aspirations for it. Urban is far from rosy in his final assessment. The book makes it clear that the indigenous black population of New Orleans was shipped out against its will and given no encouragement to return. The disruption of the neighborhoods and the incursion of wealthy white residents have changed the environment that nurtured New Orleans R&B, perhaps permanently. Without that nurturing environment, the future of New Orleans R&B appears very bleak indeed. Still, those who stay will make of it what they can. “I don’t know what those of us who remain, and the younger ones coming along, are doing or think they’re doing, but they’re not bringing anything back,” Ed Volker tells Urban. “It can’t be done. We can only be inspired by all these dead souls, I figure, and the best homage is not to literalize the bounty of their harvest. So what is going on here today? I’m not exactly sure, but it feels like a scene when I’m down on Frenchmen Street. And I’m glad it’s there. It’s a lot more lively than it ever was before, even if there are no Bookers or Kings or Fesses shouting at us from the edge of things we can’t even imagine.” —John Swenson

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A few years back OffBeat ran the provocative story “Is New Orleans R&B Dead?” Michael Urban has provided his own examination of the question in his new book. Urban, a rigorously disciplined academic with a feel for street culture and an affinity for music, carefully sidesteps answering the question by examining it with the tone of an omniscient narrator, but his method conceals a clever piece of misdirection. By narrowing his subject to R&B he allows himself space to observe a much larger cross-section of post-Katrina music while not committing himself to the near-impossible task of covering all aspects of music in the city since the 2005 flood. He summarizes his findings at the outset by noting, “the striking thing would be how much each of them has absorbed and, in turn, reflects a sense of the community in which they reside. Every bit as much as one’s street address, place of employment or the style of music that one performs, it is participation in this vibrant, affable, and, at times, agreeably eccentric musical community that entitles one to be called a New Orleans musician.”

transplants, he’s multi-stylistic, from rag and trad jazz to bebop (Barry Harris being a particular favorite), and he plays them well. Given Jelly Roll’s recorded legacy, it was a natural idea for Tokarski to conceive an entire album of Mortonized, or “New Orleans Style” rags. The transformation doesn’t always work, especially on a genteel piece like “Heliotrope Bouquet.” But there are many moments which will delight the listener, particularly if he/ she knows the originals (by Joplin, Marshall, Lamb, Scott, Hampton and Turpin) as well as Morton’s playing. Drummer Hal Smith, who’s spent 40 years mastering early jazz styles, and the fine local bassist Cassidy Holden, accompany on half of the tracks. Learning to play in Morton’s style is a lifelong endeavor, and for Tokarski to have grasped so many of the elements in his 20s, and to have applied them so creatively, is impressive. Let’s hope he has another 50 years to follow in this direction. —Tom McDermott

www.OFFBEAT.com

REVIEWS Sharamitaro seems happy to come up with songs for both sides of this band’s personality, and the group as a whole naturally knows how to jam like a jam band jams (the instrumentals “Afro Joint” and “K Why Elly”). Both flavors can come off a little slick and even generic in their appeal—when they’re on autopilot, the band sounds like Lenny Kravitz and Roberta Flack got put on shuffle together—but whether you like it sweet or a little rough, Smoke N Bones can adapt. If only they could learn to combine their seductions into one. —Robert Fontenot

Dick Deluxe Turning 61 on Highway 61 (Independent) Go ahead and get those jokes out of your system now. Dick Deluxe (not his birth name, sorry) is a busker from out California way, the kind of ex-hippie who can boast of some Steve Miller and Cleanhead Vinson gigs on his resume and now lands here, trying to use this city’s cracked mirror to get a glimpse into himself in this weird new century. At least, that’s the idea. Using old Airline Highway as a yardstick for America’s storied promise of whatever is a trick as old as Dylan, but Dick takes a more John Prine, shaggy-dog existentialist approach with titles like “I’m Quitting Dope Next Month” and “It’s an 11-Car Winter.” Unfortunately, great titles are where these songs begin and end—if you were looking for some new insight from a song like “Last Time Buddy Holly Crossed 61,” go ahead and lower that bar on your expectations. “Break Out the Party Hats” means he’s in love, ditto “I Love Inez,” and “Gulf Coast Blues www.OFFBEAT.com

Party” sounds more like a Facebook event than a song. “Sputnik Monroe” is his big character portrait, and the setting is lovely, but as a sketch of the wrestler who helped desegregate the sport, his Wikipedia entry has more personal detail. Dick’s vocals are not up to painting portraits on even this small of a canvas: he’s simply all over the place, which means that even a glimmer of introspection like “I Fail” goes flat. —Robert Fontenot

Nutrio Nutrio (Independent) All original material fills this disc by Nutrio, an adventurous jazz trio with saxophonist and clarinetist Byron Asher, bassist Trey Boudreaux and drummer Shawn Myers. Myers kicks the session off aggressively on Asher’s “The Hero,” with the composer offering contrast when jumping in on clarinet. “The Hero” constantly changes moods and tones and eventually becomes more introspective, especially when compared to the assertiveness displayed at the tune’s beginning. Boudreaux gets more front time on his own composition, “Knowing,” which moves along ever so slowly. Things liven up on “Trini-Cul” and actually get swinging with Asher leading the way on tenor. At just under three minutes, this is the shortest selection on the album with the other four cuts coming in at around six minutes. Its flair and quick pace is refreshing, especially standing among the more experimental and demanding material heard on the rest of the CD. There is a touch of romance on Boudreaux’s second contribution, “Fade,” with a rhythm that occasionally suggests a waltz. These three musicians have been heard in various settings and performing in a range of styles on the New Orleans music scene. For instance, Asher has played with such diverse bands as Smoking Time Jazz Club and Los Po-BoyCitos. Together as Nutrio, they have the opportunity to enjoy complete freedom of expression. —Geraldine Wyckoff AU G U ST 2 016

REVIEWS

C.C. Adcock hits rewind on his eponymously titled 1994 debut, which defined the blueprint of who he is as an artist.

C.C. Adcock C.C. Adcock (Polygram)

“W

ell, I met [Island Records’] Denny [Cordell] through his son Tarka, an English kid, who was a great friend of mine. Tarka and I met in Hollywood where I had gotten a gig with Bo Diddley when I was still a teenager. Our hangout used to be Johnny Perez’s studio. [Perez was the Sir Douglas Quintet drummer.] Tarka was living there and he would invite me for late night jams. When the clubs closed, all these homesick Texas and Louisiana musicians would end up jamming at Johnny Perez’s. Tarka would go back into the control room and record things and the next day we listened to what we had played. It was the first time I ever realized that Tarka had this great talent as a producer. He could capture things in the right way. A couple of years later I was back in Louisiana playing with Buckwheat Zydeco. I didn’t have any desire to make my own record. I had gone into the studio to cut some demos to showcase myself as a gun for hire. Tarka was in New Orleans working on a record, so he came over. I said ‘I’m going to the studio tonight. Why don’t you come in?’ And that’s how it started. I didn’t know his daddy was Denny Cordell. And I certainly didn’t know he was running Island Records. Tarka took these recordings to New York and played them for his dad. His dad gave him money to come back

AUGUST 2016

down and record more things with me. At one point [Tarka] goes, ‘You should make a record.’ We went back into Dockside and made that record over four to five weeks. But it wasn’t the Dockside people know now. It was a barn that had a board and tape machine in it and in a lot of ways, it was hipper. We certainly pushed that equipment.

bad things. Apparently it’s real physical but he never visited me. Because [‘Couchemal’] has lines like ‘Yeah, he mounts me like a stallion/ Yeah he rides me way down South/ And when I wake up in the mornin’ / There is a mange dried up in my mouth,’ all of sudden it’s selling really well in San Francisco. I remember Denny calling me and saying ‘Hey, you are

“...it wasn’t the Dockside people know now. It was a barn that had a board and tape machine in it and in a lot of ways, it was hipper. We certainly pushed that equipment. The needles were always in the red and we were just going for it.“ The needles were always in the red and we were just going for it. I made that record using Jockey Etienne and Warren Storm and in a lot of ways it was the early beginnings of Lil’ Band o’ Gold. I had Tommy McLain and Classie Ballou, Jr. from Boozoo’s band so I was using all my local heroes and cats I was really into. The literal translation [of ‘Couchemal’/Couchemar] is bad sleep, nightmare. It was a sin-based punishment Devil, somebody that comes and rides you at night if you’ve been doing

getting all these weird record sales in San Francisco.’ The gays thought it was some sort of anthem. Wow, we will take the sales, thank you. The lick from ‘Couchemal’ I lifted from the Slammers, this London pub band. They had this cassette demo with a great guitar lick on it. So I just lifted it but at 19, you think nobody’s ever going to find me. Who’s going to know this? So years later, I was playing with Filé at the Maple Leaf and the guys in [Nick Lowe’s band] came out. And this guy Paul ‘Bassman’ Riley comes

up and says ‘Are you C.C. Adcock?’ I’m thinking wow, somebody knows who I am. The record thing must be starting to happen. He goes ‘Yeah I heard your record.’ Then he picked up my guitar and played the lick from ‘Couchemal.’ Oh wow, people are already starting to learn my stuff. Then he looked at me funny. And then I realized, oh fuck, wait a minute and it all clicked. Oh my God! You are that guy from the pub band in London, aren’t you? Yep. Okay, let’s go straight to the bar right now, drinks are on me and the first thing tomorrow we will call the record company and get the publishing straight. I used to bother Bo [Diddley] all the time about how to do [‘Bo’s Bounce,’ titled ‘Beaux’s Bounce’ on the record] because it has that great jungle chooka-chooka-chooka intro … there is this echo and drumstick trick to it. And he would always go ‘I don’t know what you are talking about. I don’t even remember that song.’ One night we were playing in San Diego and came out for the encore. [Bo] grabs the drumstick from the drummer and he just starts lightning up the intro lick to ‘Bo’s Bounce.’ I’m like Jesus Christ, there it is. That’s it. The place went crazy because it’s such an amazing lick. Then he hands me the drumstick in front of everybody and I remember attempting some shit but all I did was chip paint off my Stratocaster banging my guitar with the drumstick. Of course it didn’t sound like anything. I handed him back the drumstick. He lights it up again. And so we go back and forth. It ended up being a comedy. People were snickering and booing and then Bo ended up playing the song and tearing it up. After the gig I was able to check out what he had done on the back of his amp and how he set the echoes. That’s how I learned the lick and put it on the record. And now the joke is on Bo because I’ve licensed my version. It’s been a Guinness ad and it’s done a few things [commercials/ movies/Ace Records compilation]. It has made me a few dollars over the years. I thank Mr. Bo Diddley.” —Dan Willging www.OFFBEAT.com

REVIEWS

Morten Gunnar Larsen Sorgenfri (Herman Records) It is quite the paradox that the greatest ragtime player in the world, and one of the world’s best traditional jazz pianists, is from Norway. Morten Gunnar Larsen is best known to New Orleanians for his long association with Vernel Bagneris. He was one of the pianists in the legendary “One Mo’ Time” show (first performed at the Toulouse Theatre, then offBroadway, then internationally). And he was dazzling as the pianistic accompaniment to Vernel’s portrayal of Morton in “Jelly!,” Bagneris’ offBroadway two-man rebuttal to the slanderous Morton portrait in “Jelly’s Last Jam.” Sorgenfri, a live concert recording from Denmark, is Larsen’s ninth solo album in a recording career dating back to 1975. He plays classic rags by Joplin and Lamb with unusual freedom and power, playing single notes as octaves, embellishing elaborately while maintaining essence. His Morton here is typically creative: “Dead Man Blues,” a band piece rarely played as a solo, with terrific dynamics; and “The Perfect Sporting House Rag,” a mash-up of the best ideas from two Morton versions of the same melody. There’s some great stride piano here too: James P. Johnson’s “Snowy Morning Blues” and an adaptation of Grieg’s “Anitra’s Dance,” by the lesser-known stride hellion Donald Lambert. Wonderful “raggish” pieces by Max Morath, David Thomas Roberts, Eubie Blake and Blind Boone round out the program. Huge technique, imagination, a ferocious appetite for improvisation, tasteful embellishment when called for: Larsen has it all. —Tom McDermott www.OFFBEAT.com

horn section, funky drum rhythms and female vocals. The band uses all of these assets to show off their love for funk and rhythm. With memorable lyrics and sweet-sounding backup vocals, it’s clear the group is ready to make their mark on the world of funk. One listen to the CD and you can tell their sound would be much better experienced live. This shouldn’t be a problem, as they’ve made their way around the local bars Matt Babineaux and clubs for the past several years A Place to Fall and are continuing to do so. (Independent) Tunes such as “A Little Less Gently” and “Ya Mama Got Me You’re allowed to take your time Thinkin’” introduce soul and R&B, to in Americana music, based as it is on form a pleasant mixture. You’d think old folk traditions; one of its main appeals is the way it can slowly unfold with all these different sounds coming itself, whether telling a story or simply together, the band might have trouble making it mesh. But that isn’t creating an atmosphere. Houstonvia-Lafayette expat Babineaux comes the case with In Business. They form a seven-piece ensemble, and no one off like an alt-rocker with his floating band of South Louisiana vets, but his in the group is shy. With an upbeat approach is definitely more personal, bassline and a set of saxophones, it and the seven songs on this debut EP seems each member gets their share of the spotlight, especially the lead aren’t afraid to take their sweet time singer, Whitney Sanders. to tell you what’s on their mind. Officially formed in 2012, In As for what they reveal, and Business has gone through some whether that’s worth the wait... Well. He’s got a pretty good handle changes over the years, one of the biggest and latest being their name— on the atmosphere, thanks to the from The Business to In Business. Cop excellent production, and when Show is their first album since the the whole band kicks in, as it does band’s creation about four years ago, on “Eastbound” and “It Won’t and it’s evident they have been using Last,” it might hit you right in the that time wisely, making a name for feels, especially if you’re on a rocky themselves not just in New Orleans, relationship streak. But Babineaux doesn’t have the insight he sets you but in surrounding cities and states as well. The album is heavily themed— up for, and he’s depressingly literal so much that the CD comes with much of the time, as if writing a a visual aid. A small, graphic comic song about writing a song was a statement in itself. Worse, his deep, book is placed within the CD case appropriately twangy but somewhat to guide listeners through the album weak vocals tend to get swallowed experience. As you can probably up in the mix. Matt only really starts tell from their album name and use of sirens throughout songs, it is to explore his dissolution on the somewhat cop-themed. Whether the closing title track, but it’s too little, group themselves are dirty cops or too late: Overall, A Place to Fall doesn’t bother to justify its leisurely, suited criminals, that’s up to the fans minimalist approach. If you’re going to figure out. —Ian Monroe to be a man of few words, you should weigh those words carefully. —Robert Fontenot Tasha Taylor Honey for the Biscuit In Business (Ruf) Cop Show Tasha Taylor is the daughter of Stax (Independent) soul legend Johnnie Taylor, and far from shying away from her heritage In Business consists of melodic she’s embraced it fully, carrying the guitar notes, smooth bass, a bluesy

torch for soul-blues without a hint of “Disco Lady.” Indeed, her first two independent albums established her firmly in the mold, replete with a cover of Dad’s signature hit “Who’s Making Love,” but her first album for Ruf, Honey for the Biscuit, sounds like her real debutante ball: improved songwriting, better production, a surer sense of self, and a thicker blues streak running through a baker’s dozen of originals. Recorded in Nashville, it sounds more and more like her father’s glory days—on Malaco, that is, where he took up residence during his Eighties comeback. (Memphis horn charts aside.) Tasha’s got nothing more on her mind lyrically than that old blues standby, the ins and outs of bad love and sexual obsession, but despite the fact that she’s changed the hue of her father’s soul-blues ever so slightly to blues-soul, the younger Taylor picks up on the big-picture personal feminism labels like Malaco were hinting at in the early ’70s; you can hear echoes of her dad, Jean Knight, and Betty Wright in her delivery, but there also seems to be a more modern streak of wounded survivalism in there that sounds like nothing so much as Lauryn Hill facing down the patriarchy. Add in the support of a first-class backup band—Stevie Wonder’s bassist Nathan Watts is here, though Don Wyatt’s Wurlitzer is her best counterpoint—and guest shots from Keb’ Mo’, her old boss Tommy Castro, and Robert Randolph (check out his lap steel on the update of her own “Little Miss Suzie”), and there’s no reason Tasha shouldn’t already be considered one of soulblues’ greatest living divas. She’s not the philosopher her dad was, quite, but give it time. —Robert Fontenot AU G U ST 2 016

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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 AUGUST 1

Bacchanal: Raphael Bas (JV) 12p, Helen Gillet (JV) 7:30p Bamboulas: Mark Rubin and Chip Wilson, Swinging Gypsies, Smoky’s Blues Monday Jam with Jeremy Joyce (VR) 2p Banks Street Bar: Lauren Sturm’s Piano Showcase (JV) 7p, Jake Hickey Jazz Jam (JV) 9:30p Buffa’s: Arsene DeLay (VR) 5p, Antoine Diel (JV) 8p Crazy Lobster: the Insta-Gators (VR) 5p d.b.a.: Glen David Andrews (JV) 10p Dmac’s: Danny Alexander Blues Jam Session (BL) 8p Dos Jefes: John Fohl (BL) 9p Dragon’s Den: Jazz Potluck feat. Hot Club of Barbacoa (GY) 7p, Hangover Mondays with DJ Ill Medina (VR) 10p Funky Pirate: Willie Lockett Band (BL) 8p Hi-Ho Lounge: Bluegrass Pickin’ Party (BU) 8p, Instant Opus Improvised Series (MJ) 9p Kerry Irish Pub: Patrick Cooper (FO) 8p Maison: Chicken and Waffles, Aurora Nealand and the Royal Roses, Organized Crime (VR) 4p Maple Leaf: George Porter Jr. Trio (FK) 10p Morning Call: Valerie Sassyfras (VR) 10a Ooh Poo Pah Doo: James Andrews and the Crescent City All-Stars (VR) 8p Preservation Hall: Preservation Hall Jazz Masters feat. Leroy Jones (TJ) 8p RF’s: David Bach (SS) 4p, Jamie Lynn Vessels (RK) 7p the Saint: Motown Mondays with DJ Shane Love (SO) 10p Snug Harbor: Charmaine Neville Band (JV) 8 & 10p Spotted Cat: Sarah McCoy and the Oopsie Daisies (JV) 4p, Dominick Grillo and the Frenchmen St. All-Stars (JV) 6p, Jazz Vipers (JV) 10p Three Muses: Bart Ramsey (JV) 5p, Joe Cabral (JV) 7p Tropical Isle Original: Graham Robinson Band (RK) 5:15p, Trop Rock Express (RK) 9:15p

TUESDAY AUGUST 2 Bacchanal: Raphael Bas (JV) 12p Bacchanal: Geoff Clapp Trio (JV) 7:30p

AUGUST 2016

Blue Nile: Open Ears Music Series feat. Think Less Hear More (MJ) 10p Chickie Wah Wah: Nyce (JV) 6p Circle Bar: Carl LeBlanc (RB) 6p, Day Creeper (PK) 9:30p Crazy Lobster: AC and the Heat (VR) 5p d.b.a.: Treme Brass Band (BB) 9p Dmac’s: the Last Honkey Tonk Music Series hosted by Bridgette London (CW) 8p Funky Pirate: Blues Masters feat. Big Al (BL) 8:30p Hi-Ho Lounge: Grass Mud Horse (FO) 7p, Marshland (FO) 8p Kerry Irish Pub: Jason Bishop (FO) 8:30p Little Tropical Isle: Mark Pentone (RK) 5p, Frank Fairbanks (RK) 9p Maison: Swinging Gypsies, Gregory Agid, Sam Price and the True Believers (VR) 4p Maple Leaf: Rebirth Brass Band (RK) 11p Preservation Hall: Preservation Hall-Stars feat. Shannon Powell (TJ) 8p Snug Harbor: Stanton Moore Trio (JV) 8 & 10p Spitfire: Dick Deluxe’s Wheel of Misfortune (SS) 9p Spotted Cat: Andy J. Forest (JV) 4p, Chris Christy’s Band (JV) 6p, Smoking Time Jazz Club (JV) 10p Tropical Isle Bayou Club: Cajun Drifters (KJ) 7p

WEDNESDAY AUGUST 3

Banks Street Bar: Stone Cold Hippies (VR) 8p, Major Bacon (BL) 10p Bombay Club: Kris Tokarski (PI) 8p Buffa’s: Open Mic Night with Nattie Sanchez (SS) 7p Chickie Wah Wah: Dave Hickey and Jacob Tanner (VR) 6p Circle Bar: the Geraniums (RK) 6p, Get Married (ID) 9:30p Crazy Lobster: Ken Swartz and the Palace of Sin (VR) 5p d.b.a.: Tin Men (BL) 7p, Chris Mule and the Perpetrators (RR) 10p Davenport Lounge (Ritz-Carlton): Jeremy Davenport (JV) 5:30p Dos Jefes: George French Trio (RB) 9p Dragon’s Den: Reggae Night (RE) 10p Funky Pirate: Blues Masters feat. Big Al (BL) 8:30p Hi-Ho Lounge: Shamarr Allen, DJ Chicken (FK) 9p Howlin’ Wolf (the Den): Daryl Hance Powermuse (FK) 9p Kermit’s Mother-in-Law Lounge: Spodie and the Big Shots (JV) 6:30p Kerry Irish Pub: Chip Wilson (FO) 8:30p Little Tropical Isle: Jay B. Elston (RK) 5p, Reed Lightfoot (RK) 9p Maison: Noah Young Trio, Jazz Vipers, Mutiny Squad (VR) 4p Maple Leaf: Gravity A (FK) 10p Morning Call: Valerie Sassyfras (VR) 10a, Krewe du Two (VR) 1p Preservation Hall: Preservation Hall All-Stars (TJ) 8p Rock ‘n’ Bowl: G and the Swinging 3 (SI) 8p Snug Harbor: Uptown Jazz Orchestra (JV) 8 & 10p Spotted Cat: Chris Christy (JV) 4p, Shotgun Jazz Band (JV) 6p, Antoine Diel and the New Orleans Power Misfits (JV) 10p Three Muses: Leslie Martin (JV) 5p, Hot Club of New Orleans (JV) 7p Tropical Isle Bayou Club: Cajungrass (KJ) 7p Tropical Isle Original: Debi and the Deacons (RK) 5:15p, Late As Usual (RK) 9:15p

THURSDAY AUGUST 4

30/90: Andy J. Forest (RR) 5p, Smoke N Bones (FK) 9p Bacchanal: Raphael Bas (JV) 12p, the Courtyard Kings (JV) 7:30p Banks Street Bar: the Groove Orient (RK) 9p BMC: Blind Tiger Burlesque feat. Xena Zeit-Geist and the Dapper Dandies (BQ) 11:59p Bombay Club: Kris Tokarski Duo (JV) 8p Buffa’s: Simon Burke (JV) 5p, Tom McDermott and Heidijo Smith (JV) 8p Bullet’s: Kermit Ruffins and the BBQ Swingers (JV) 6:30p Chiba: Charlie Wooton (JV) 8p Chickie Wah Wah: Phil Degruy and Emily Robertson (VR) 6p

Circle Bar: Jeremy Joyce (BL) 7p, Die Rotzz, An Invitation, Manateees, Trampoline Team, the Zig-Zags (PK) 9p Crazy Lobster: the Spanish Plaza 3 (VR) 5p d.b.a.: CC Adcock and the Lafayette Marquis, Michael Juan Nunez and the American Electric (VR) 10p Dragon’s Den: the Ill Vibe with DJ Matt Scott (VR) 8p Funky Pirate: Mark and the Pentones (BL) 4p, Blues Masters feat. Big Al (BL) 8:30p Kerry Irish Pub: Mark Parsons (FO) 8:30p Le Bon Temps Roule: Soul Rebels (BB) 11p Little Tropical Isle: Allen Hebert (RK) 5p, Frank Fairbanks (RK) 9p Maison: Good For Nothin’ Band, Sweet Substitute, Dysfunktional Bone (VR) 4p Maple Leaf: the Trio feat. Johnny Vidacovich and special guests (FK) 11p Ogden Museum of Southern Art: After Hours feat. Little Freddie King (BL) 6p Old Point Bar: Gregg Martinez (RK) 9p Ooh Poo Pah Doo: Margie Perez and Muevelo (LT) 8p Preservation Hall: Preservation Hall Legacy Band feat. Gregg Stafford (TJ) 6p, Preservation Hall All-Stars feat. Lucien Barbarin (TJ) 8p RF’s: Will Kennedy (PO) 4p, James Martin Band (JV) 7p Rock ‘n’ Bowl: Horace Trahan (ZY) 8:30p Snug Harbor: Craig Klein and Donna’s Revisited feat. Leroy Jones (JV) 8 & 10p Spotted Cat: Sarah McCoy and the Oopsie Daisies (JV) 4p, Miss Sophie Lee (JV) 6p, Jumbo Shrimp (JV) 10p Three Muses: Brett Richardson (JV) 5p, Gal Holiday and the Honky Tonk Revue (CW) 7:30p Tropical Isle Bayou Club: Cajun Drifters (KJ) 5p, Nonc Nu and Da Wild Matous (KJ) 9p Vaughan’s Lounge: Treme Brass Band (BB) 10p W XYZ Bar (Aloft): Coyotes (VR) 5:30p

FRIDAY AUGUST 5

Bacchanal: the Tangiers Combo (JV) 12p, Harmonouche (JV) 5p, Willie Green (JV) 7:30p Banks Street Bar: Retrofit (RK) 10p Bombay Club: Larry Scala (JV) 8:30p Buffa’s: Stuart McNair (JV) 5p, Davis Rogan (VR) 8p, Ben Fox Trio (JV) 11p Bullet’s: Original Pinettes (BB) 8:30p Champions Square: Lynyrd Skynyrd, Peter Frampton (RK) 7p Chickie Wah Wah: Michael Pearce (BL) 6p, Margie Perez Does Motown (SO) 8p, Jack Broadbent (VR) 11p Circle Bar: Rik Slave’s Country Persuasion (CW) 7p, Alligator Chomp Chomp with DJs Pasta, Matty and Mitch (SP) 9:30p Crazy Lobster: Ken Swartz and the Palace of Sin (VR) 5p d.b.a.: Hot Club of New Orleans (JV) 6p, Wild Magnolias (FK) 10p Davenport Lounge (Ritz-Carlton): Jeremy Davenport (JV) 9p Dixon Hall (Tulane University): New Orleans Chamber Orchestra feat. Amy Pfrimmer and Phillip Larroque (CL) 8p Dos Jefes: Joe Krown Trio (BL) 10p Dragon’s Den: Loose Marbles (JV) 8p , the Tipping Point with DJ RQ Away (HH) 10p; Upstairs: Comedy Fuck Yeah (CO) 7p, Latin Night (LT) 11p Funky Pirate: Mark and the Pentones (BL) 2p, Blues Masters feat. Big Al (BL) 8:30p Gasa Gasa: Muuy Bien, Black Abba (PK) 9p Hi-Ho Lounge: Relapse with Matt Scott (VR) 10p House of Blues (the Parish): Chuck Inglish, Choo Jackson, Reese (VR) 8p Kermit’s Mother-in-Law Lounge: Guitar Slim Jr. (BL) 9p Kerry Irish Pub: Mark Appleford (FO) 5p, Beth Patterson (FO) 9p Le Bon Temps Roule: Tom Worrell (PI) 7p Little Gem Saloon: Shamarr Allen and Jarrel Allen Quintet (JV) 8p Maison: Broadmoor Jazz Band, Shotgun Jazz Band (JV) 4p Maple Leaf: call club (FK) 10:30p Morning Call: Valerie Sassyfras (VR) 10a

Old Point Bar: Rick Trolsen (PI) 5p, Jamie Lynn Vessels (RK) 9:30p Ooh Poo Pah Doo: Sturmlandia (VR) 8p Preservation Hall: Preservation Hall Legacy Band feat. Wendell Brunious (TJ) 6p, Preservation Hall Brass Band feat. Daniel Farrow (TJ) 8p Republic: Juvenile, Doon (HH) 10p Rivershack Gretna: Big Al and the Heavyweights (BL) 9p Rock ‘n’ Bowl: Contraflow (RK) 9:30p Snug Harbor: Ellis Marsalis Quartet (JV) 8 & 10p Southport Hall: DJ Jubilee, Partners N Crime (HH) 9p Spotted Cat: Andy J. Forest (JV) 4p, Washboard Chaz Blues Trio (BL) 6p, New Orleans Cottonmouth Kings (JV) 10p Three Muses: Royal Roses (JV) 5p Tipitina’s: IKO All-Stars feat. Papa Mali, Billy Iuso, Reggie Scanlan, CR Gruver, Johnny Vidacovich and Michael Fouquier (VR) 10p (RK) 9:15p Ugly Dog Saloon: Hotel Romeo (VR) 7p W XYZ Bar (Aloft): Walker Lukens (VR) 5:30p

SATURDAY AUGUST 6

Ace Hotel: White Linen Night feat. the Viberian Experience (VR) 5:30p Bacchanal: the Tangiers Combo (JV) 12p, Red Organ Trio (JV) 4p, Miles Berry (JV) 7:30p Banks Street Bar: Elephants Gerald (PO) 10p Bombay Club: Kris Tokarski Trio (JV) 8:30p Buffa’s: Perdido Jazz Band (JV) 2p, Shotgun Jazz Band (JV) 5p, Gentilly Stompers with Catie Rodgers (JV) 8p, Vexed Perspective (JV) 11p Chickie Wah Wah: Jack Broadbent (VR) 9p, Happy Talk Band (RK) 10p Circle Bar: Circle on the Circle feat. Todd Voltz, Gwendolyn Knapp and friends (RK) 6p, Secret Prostitutes, Hiss, Die Rotzz, Heavy Sleeper, Glut (PK) 9:30p Contemporary Arts Center: White Linen Night feat. DJ Matty (VR) 9p Crazy Lobster: the River Gang (VR) 11a Creole Cookery: Trad Stars Jazz Band (JV) 11a Davenport Lounge (Ritz-Carlton): Jeremy Davenport (JV) 9p Dmac’s: the 2 Pistols Jam Session (VR) 2a Dos Jefes: Sunpie and the Louisiana Sunspots (ZY) 10p Dragon’s Den: Studio 504 (VR) 10p; Upstairs: Dragon’s Den: Upstairs: Talk Nerdy to Me (BQ) 7p, Sexy Back with DJ G (VR) 10p Funky Pirate: Mark and the Pentones (BL) 2p, Blues Masters feat. Big Al (BL) 8:30p Hi-Ho Lounge: Close Me Out (CO) 7p, Hustle feat. DJ Soul Sister (FK) 11p House of Blues: Diary of an Ozzman: A Tribute to Ozzy, the Cybin Project, Spacemetal (RK) 8p Howlin’ Wolf (the Den): the Wild Magnolias (MG) 10p Howlin’ Wolf: Tyler Kinchen and the Right Pieces, Rock Steady (FK) 9p Kerry Irish Pub: Van Hudson (FO) 5p, Mark Hessler and friends (FO) 9p Little Gem Saloon: Dr. Michael White (JV) 7p Little Tropical Isle: Jay B. Elston (RK) 5p, Reed Lightfoot (RK) 9p Maison: Chance Bushman and the Ibervillainaires, Roamin’ Jasmine, Smoking Time Jazz Club (JV) 4p, Big Easy Brawlers, No Good Deed (FK) 10p Maple Leaf: Dead 27s (RR) 10:30p Morning Call City Park: Billy D. Chapman (JV) 10a Ooh Poo Pah Doo: Kristina Morales and Inner Organ Trio (JV) 8:30p Preservation Hall: Joint Chiefs of Jazz feat. Jamie Wight (TJ) 6p, Preservation Hall All-Stars (TJ) 8p Rivershack Gretna: Ched Reeves (CR) 9p Rock ‘n’ Bowl: Category 6 (VR) 9:30p Siberia: Wayne “the Train” Hancock (CW) 9p Snug Harbor: Catherine Russell Quartet (JV) 8 & 10p Spotted Cat: Antoine Diel and Arsene DeLay (JV) 2p, Ecirb Muller’s Twisted Dixie (JV) 6p, Davis Rogan (JV) 10p

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LIVE LOCAL MUSIC Three Muses: Chris Christy (JV) 5p, Shotgun Jazz Band (JV) 9p Time Out: Andre Bouvier and the Royal Bohemians (VR) 11a Tipitina’s: Darcy and the Tangle, South Jones (RR) 10p Tropical Isle Original: Down River (RK) 1p, the Hangovers (RK) 5:15p, Late As Usual (RK) 9:15p Ugly Dog Saloon: Johnny Sketch and the Dirty Notes, Honey Island Swamp Band, Gal Holiday and the Honky Tonk Revue (VR) 7p

Snug Harbor: Charmaine Neville Band (JV) 8 & 10p Spotted Cat: Sarah McCoy and the Oopsie Daisies (JV) 4p, Dominick Grillo and the Frenchmen St. All-Stars (JV) 6p, Jazz Vipers (JV) 10p Three Muses: Andre Bohren (JV) 5p, Meschiya Lake (JV) 7p Tropical Isle Bourbon: Rhythm and Rain (RK) 5p, Beach Combers (RK) 9p Tropical Isle Original: Graham Robinson Band (RK) 5:15p, Trop Rock Express (RK) 9:15p

SUNDAY AUGUST 7

TUESDAY AUGUST 9

Bacchanal: the Tangiers Combo (JV) 12p, the Tradsters (JV) 4p, Maddy and her Jazz Friends (JV) 7:30p Banks Street Bar: 17 Sisters (CW) 8p Bombay Club: Tom Hook (PI) 8p Buffa’s: Some Like It Hot! (TJ) 10:30a, Sweet Substitute (JV) 5p, Antoine Diel and the Misfit Power (JV) 7p Circle Bar: Micah McKee and Little Maker, Blind Texas Marlin (FO) 7p, Dressy Bessy, the Junior League, the Hoppers (RK) 9:30p Crazy Lobster: the Neon Shadows (VR) 4p d.b.a.: Palmetto Bugs Stompers (SI) 6p, Smokers World (FK) 10p Dragon’s Den: Konfession (VR) 4p, Church (EL) 10p Funky Pirate: Mark and the Pentones (BL) 4p, Willie Lockett Band (BL) 8p Hi-Ho Lounge: NOLA Comedy Hour Open Mic (CO) 8p, Crooked Vines, KP and the Boom Booms (VR) 9p House of Blues: Riff Raff, Dollabillgates, Trill Sammy, Dice SoHo (VR) 7p Howlin’ Wolf (the Den): Hot 8 Brass Band (BB) 10p Kermit’s Mother-in-Law Lounge: Kermit Ruffins and the BBQ Swingers (JV) 5:30p Kerry Irish Pub: Irish Session (FO) 5p, Patrick Cooper (FO) 8p Little Tropical Isle: Frank Fairbanks (RK) 5p, Mark Parsons (VR) 9p Maison: Chance Bushman and the NOLA Jitterbugs (SI) 10a, Swinging Gypsies, Leah Rucker (VR) 4p Maple Leaf: Joe Krown Trio feat. Russell Batiste and Walter “Wolfman” Washington (FK) 10p Morning Call City Park: Billy D. Chapman (JV) 10a Old Point Bar: Isla Nola (LT) 3:30p Ooh Poo Pah Doo: South Jones (RK) 9p Preservation Hall: Preservation Hall Legacy Band feat. Gregg Stafford (TJ) 6p, Preservation Hall All-Stars feat. Wendell Brunious (TJ) 8p Rock ‘n’ Bowl: Summer Blood Drive feat. the Guardians of the Flame, Soul Brass Band, Jeremy Thomas Trio, Bo Dollis Jr. and the Wild Magnolias, DJ Fayard Lindsay (VR) 11a Snug Harbor: Victor Goines Quartet with Don Vappie (JV) 8 & 10p Spotted Cat: Pfister Sisters (JV) 2p, Kristina Morales and Bayou Shufflers (JV) 6p, Pat Casey and the New Sound (JV) 10p Three Muses: Raphael et Pascal (JV) 5p, Linnzi Zaorski (JV) 8p Tipitina’s: Sunday Youth Music Workshop feat. Johnny Vidacovich Trio (VR) 1p Tropical Isle Bayou Club: Brandon Moreau and Cajungrass (KJ) 2p, Bayou Cajun Swamp Band (KJ) 7p Tropical Isle Bourbon: BC and Company (RK) 1p, Rhythm and Rain (RK) 5p, Debi and the Deacons (RK) 9p

MONDAY AUGUST 8

Bacchanal: Raphael Bas (JV) 12p, Helen Gillet (JV) 7:30p Banks Street Bar: Lauren Sturm’s Piano Showcase (JV) 7p, Jake Hickey Jazz Jam (JV) 9:30p Buffa’s: Arsene DeLay (VR) 5p, Antoine Diel (JV) 8p Chickie Wah Wah: Alexis and the Samurai (ID) 8p Circle Bar: Roselit Bone, Guts Club, Mr. Universe, Phil the Tremelo King (RK) 9p Crazy Lobster: the Insta-Gators (VR) 5p d.b.a.: Glen David Andrews (JV) 10p Dmac’s: Danny Alexander Blues Jam Session (BL) 8p Dragon’s Den: Jazz Potluck feat. Albanie Falletta and the Southern Gentlemen (GY) 7p, Hangover Mondays with DJ Ill Medina (VR) 10p Funky Pirate: Willie Lockett Band (BL) 8p Hi-Ho Lounge: Bluegrass Pickin’ Party (BU) 8p, Instant Opus Improvised Series (MJ) 9p Kerry Irish Pub: Mark Appleford (FO) 8p Maison: Chicken and Waffles, Aurora Nealand and the Royal Roses, Resident Aliens (VR) 1p Maple Leaf: George Porter Jr. Trio (FK) 10p Morning Call: Valerie Sassyfras (VR) 10a Ooh Poo Pah Doo: James Andrews and the Crescent City All-Stars (VR) 8p Preservation Hall: Preservation Hall Jazz Masters feat. Leroy Jones (TJ) 8p RF’s: David Bach (SS) 4p, Jamie Lynn Vessels (RK) 7p

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Bacchanal: Raphael Bas (JV) 12p, Geoff Clapp Trio (JV) 7:30p Banks Street Bar: See Bright Lights (RK) 9p Blue Nile: Open Ears Music Series feat. Cuccia/Zielinski Frame Drum Group (MJ) 10p Chickie Wah Wah: Nyce (JV) 6p Circle Bar: Carl LeBlanc (RB) 6p, the Geraniums (RK) 9:30p Crazy Lobster: AC and the Heat (VR) 5p d.b.a.: Treme Brass Band (BB) 9p Funky Pirate: Blues Masters feat. Big Al (BL) 8:30p Hi-Ho Lounge: Grass Mud Horse (FO) 7p, Marshland (FO) 8p Kerry Irish Pub: Jason Bishop (FO) 8:30p Little Tropical Isle: Mark Pentone (RK) 5p, Frank Fairbanks (RK) 9p Maison: Swinging Gypsies, Gregory Agid, Swamp Kitchen (JV) 4p Maple Leaf: Rebirth Brass Band (RK) 11p Preservation Hall: Preservation Hall-Stars feat. Shannon Powell (TJ) 8p Snug Harbor: Tom McDermott and Mazz Smith (JV) 8 & 10p Southport Hall: Audiotopsy (RK) 7p Spitfire: Dick Deluxe’s Wheel of Misfortune (SS) 9p Spotted Cat: Andy J. Forest (JV) 2p, Meschiya Lake and the Little Big Horns (JV) 6p, Smoking Time Jazz Club (JV) 10p Tropical Isle Bayou Club: Cajun Drifters (KJ) 7p Tropical Isle Original: the Hangovers (RK) 5:15p, Jay B. Elston Band (RK) 9:15p

WEDNESDAY AUGUST 10 Banks Street Bar: Major Bacon (BL) 10p Bombay Club: Kris Tokarski (PI) 8p Buffa’s: Open Mic Night with Nattie Sanchez (SS) 7p Chickie Wah Wah: Dave Hickey and Jacob Tanner (VR) 6p, Tom McDermott and Meschiya Lake (JV) 8p Circle Bar: Jeremy Joyce (BL) 7p, Bango Skank (RK) 10p Crazy Lobster: Ken Swartz and the Palace of Sin (VR) 5p d.b.a.: Tin Men (BL) 7p, Walter “Wolfman” Washington and the Roadmasters (BL) 10p Dragon’s Den: Reggae Night (RE) 10p Funky Pirate: Blues Masters feat. Big Al (BL) 8:30p Gasa Gasa: the Kickback, Heyrocco, Paper Bison (ID) 9p Hi-Ho Lounge: Shamarr Allen, DJ Chicken (FK) 9p Howlin’ Wolf (the Den): Lifted Deezie (HH) 9p Kermit’s Mother-in-Law Lounge: Spodie and the Big Shots (JV) 6:30p Kerry Irish Pub: One Tailed Three (FO) 8:30p Little Tropical Isle: Jay B. Elston (RK) 5p, Reed Lightfoot (RK) 9p Maison: Jazz Vipers, WillFunk (VR) 6:30p Maple Leaf: Gravity A (FK) 10p Morning Call: Valerie Sassyfras (VR) 10a, Krewe du Two (VR) 1p Preservation Hall: Preservation Hall All-Stars (TJ) 8p Rock ‘n’ Bowl: the Boogie Men (SI) 8p Snug Harbor: Uptown Jazz Orchestra (JV) 8 & 10p Spotted Cat: Chris Christy (JV) 4p, Shotgun Jazz Band (JV) 6p, Antoine Diel and the New Orleans Power Misfits (JV) 10p Three Muses: Leslie Martin (JV) 5p, Hot Club of New Orleans (JV) 7p Tropical Isle Bourbon: Jezebels Chill’n (RK) 5p, Debi and the Deacons (RK) 9p Tropical Isle Original: Debi and the Deacons (RK) 5:15p, Late As Usual (RK) 9:15p

THURSDAY AUGUST 11

30/90: Andy J. Forest (VR) 5p, Smoke N Bones (VR) 9p Bacchanal: Raphael Bas (JV) 12p, the Courtyard Kings (JV) 7:30p Banks Street Bar: Vanessa Silberman (SS) 8p BMC: Blind Tiger Burlesque feat. Xena Zeit-Geist and the Dapper Dandies (BQ) 11:59p Bombay Club: Kris Tokarski Duo (JV) 8p Buffa’s: Gumbo Cabaret (VR) 5p, Tom McDermott and James Evans (JV) 8p Bullet’s: Kermit Ruffins and the BBQ Swingers (JV) 6:30p Chickie Wah Wah: Phil Degruy and Emily Robertson (VR) 6p, Alvin Youngblood Hart (BL) 8p

AU G U ST 2 016

LIVE LOCAL MUSIC Circle Bar: Aziza and the Cure, the Landing (RK) 6p, Psychic Temple (RK) 10p Crazy Lobster: the Spanish Plaza 3 (VR) 5p d.b.a.: Mississippi Rail Company (VR) 10p Davenport Lounge (Ritz-Carlton): Jeremy Davenport (JV) 5:30p Dragon’s Den: the Ill Vibe with DJ Matt Scott (VR) 8p, Soundclash (HH) 10p Funky Pirate: Mark and the Pentones (BL) 4p, Blues Masters feat. Big Al (BL) 8:30p Hi-Ho Lounge: Stripped Into Submission (BQ) 9p Kerry Irish Pub: Chip Wilson (FO) 8:30p Le Bon Temps Roule: Soul Rebels (BB) 11p Little Tropical Isle: Allen Hebert (RK) 5p, Frank Fairbanks (RK) 9p Maison: Good For Nothin’ Band, Swamp Donkeys, Dysfunktional Bone (VR) 4p Maple Leaf: the Trio feat. Johnny Vidacovich and special guests (FK) 11p Ogden Museum of Southern Art: After Hours feat. Meschiya Lake and Tom McDermott (JV) 6p Old Point Bar: Sweet Jones (BL) 9p Ooh Poo Pah Doo: Margie Perez and Muevelo (LT) 8p Preservation Hall: Preservation Hall Legacy Band feat. Gregg Stafford (TJ) 6p, Preservation Hall All-Stars feat. Lucien Barbarin (TJ) 8p RF’s: Will Kennedy (PO) 4p, James Martin Band (JV) 7p Rock ‘n’ Bowl: Geno Delafose (ZY) 8:30p Snug Harbor: Mark Brooks Quintet (JV) 8 & 10p Spitfire: James Jordan and the Bo Slims (RB) 10p Spotted Cat: Sarah McCoy and the Oopsie Daisies (JV) 4p, Miss Sophie Lee (JV) 6p, Jumbo Shrimp (JV) 10p Three Muses: Loose Marbles (JV) 7:30p Tropical Isle Bayou Club: Cajun Drifters (KJ) 5p, Nonc Nu and Da Wild Matous (KJ) 9p Tropical Isle Bourbon: Beach Combers (RK) 5p, Debi and the Deacons (RK) 9p Vaughan’s Lounge: Treme Brass Band (BB) 10p W XYZ Bar (Aloft): Paul P of Earphunk (VR) 5:30p

FRIDAY AUGUST 12

Bacchanal: the Tangiers Combo (JV) 12p, Harmonouche (JV) 5p, Willie Green (JV) 7:30p Banks Street Bar: Tangerine Dreams (BQ) 10p Blue Nile: MainLine (BB) 11p Bombay Club: Wendell Brunious (JV) 8:30p Buffa’s: Alan Bailey and friends (JV) 5p, Arsene DeLay and friends (VR) 8p, Offensive Jazz Quartet (JV) 11p Bullet’s: Original Pinettes (BB) 8:30p Chickie Wah Wah: Michael Pearce (BL) 6p, Paul Sanchez Song Swap (RR) 8p Circle Bar: Rik Slave’s Country Persuasion (CW) 7p, Candace (ID) 10p Crazy Lobster: Ken Swartz and the Palace of Sin (VR) 5p d.b.a.: Chubby Carrier (ZY) 10p Davenport Lounge (Ritz-Carlton): Jeremy Davenport (JV) 9p Dmac’s: JT Lewis (VR) 9p Dragon’s Den: Loose Marbles (JV) 8p, the Tipping Point with DJ RQ Away (HH) 10p; Upstairs: Comedy Fuck Yeah (CO) 7p, Latin Night (LT) 11p Funky Pirate: Mark and the Pentones (BL) 2p, Blues Masters feat. Big Al (BL) 8:30p Hi-Ho Lounge: the No Shows, Handsome Scoundrels, Rushmore (VR) 7p, Relapse with Matt Scott (VR) 10p Howlin’ Wolf (the Den): the 9 Songwriter Series (SS) 10p Kermit’s Mother-in-Law Lounge: Guitar Slim Jr. (BL) 9p Kerry Irish Pub: Patrick Cooper (FO) 5p, Hurricane Refugees (FO) 9p Maison: Shotgun Jazz Band, Resident Aliens, Big Easy Brawlers (VR) 7p Maple Leaf: Tank and the Bangas (FK) 10:30p Morning Call: Valerie Sassyfras (VR) 10a New Orleans Museum of Art: Phil the Tremelo King (VR) 5:30p Old Point Bar: Rick Trolsen (PI) 5p, the Business (FK) 9:30p Ooh Poo Pah Doo: Sturmlandia (VR) 8p Preservation Hall: Preservation Hall Legacy Band feat. Wendell Brunious (TJ) 6p, Preservation Hall Brass Band feat. Daniel Farrow (TJ) 8p RF’s: John Marcey and Steve Mignano (RK) 6p, Meghan Stewart Band (JV) 9p Rivershack Gretna: Refried Confuzion (FK) 9p Rock ‘n’ Bowl: Groovy 7 (VR) 9:30p Saenger Theatre: Ron White (CO) 8p Snug Harbor: Ellis Marsalis Quartet (JV) 8 & 10p Spotted Cat: Andy J. Forest (JV) 4p, Washboard Chaz Blues Trio (BL) 6p, New Orleans Cottonmouth Kings (JV) 10p Three Muses: Matt Johnson (JV) 5:30p Tipitina’s: Gal Holiday and the Honky Tonk Revue, Hill Country Hounds, Idlewild String Confederation (VR) 10p

AUGUST 2016

Tropical Isle Original: Down River (RK) 1p, the Hangovers (RK) 5:15p, Late As Usual (RK) 9:15p Ugly Dog Saloon: Ron Hotstream and the Mid-City Drifters (CW) 7p W XYZ Bar (Aloft): Noah Young Trio (VR) 5:30p

SATURDAY AUGUST 13

Bacchanal: the Tangiers Combo (JV) 12p, Red Organ Trio (JV) 4p, Miles Berry (JV) 7:30p Banks Street Bar: On a Fox Hunt (RK) 10p Blue Nile: Washboard Chaz Blues Trio (BL) 7p Bombay Club: Kitt Lough (JV) 8:30p Buffa’s: Al Farrell (VR) 5p, Royal Rounders (VR) 8p, Getting’ It (VR) 11p Chickie Wah Wah: Song Dogs (VR) 9p Crazy Lobster: the River Gang (VR) 11a Creole Cookery: Trad Stars Jazz Band (JV) 11a d.b.a.: Soul Rebels (BB) 11p Davenport Lounge (Ritz-Carlton): Jeremy Davenport (JV) 9p Dragon’s Den: Upstairs: Talk Nerdy to Me (BQ) 7p Funky Pirate: Mark and the Pentones (BL) 2p, Blues Masters feat. Big Al (BL) 8:30p Gasa Gasa: Deerhoof, Blank Spell (ID) 9p Hi-Ho Lounge: Brown Improv (CO) 8p, Hustle feat. DJ Soul Sister (FK) 11p House of Blues: Heart Shaped Box: A Tribute to Nirvana, Colossal Heads (RK) 8p Kermit’s Mother-in-Law Lounge: Neisha Ruffins (JV) 8:30p Kerry Irish Pub: Will Dickerson (FO) 5p, Misfit Toys with Chris Pylant and Mark Carson (FO) 9p Little Gem Saloon: Little Freddie King (BL) 7p Little Tropical Isle: Jay B. Elston (RK) 5p, Reed Lightfoot (RK) 9p Mahalia Jackson Theater: Gipsy Kings, Galen Weston Band (LT) 8p Maison: Chance Bushman and the Ibervillainaires, Roamin’ Jasmine, Swinging Gypsies (JV) 1p, Kumasi, Street Legends (VR) 10p Maple Leaf: BrasiNOLA (LT) 10:30p Morning Call City Park: Billy D. Chapman (JV) 10a Ooh Poo Pah Doo: Kristina Morales and Inner Organ Trio (JV) 8:30p Preservation Hall: Joint Chiefs of Jazz feat. Jamie Wight (TJ) 6p, Preservation Hall All-Stars (TJ) 8p Rivershack Gretna: Paul Molinario (BL) 9p Rock ‘n’ Bowl: the Wiseguys (VR) 9:30p Snug Harbor: Topsy Chapman and Solid Harmony (JV) 8 & 10p Spotted Cat: Shotgun Jazz Band (JV) 2p, Ecirb Muller’s Twisted Dixie (JV) 6p, Jazz Vipers (JV) 10p Three Muses: Chris Peters (JV) 5p, Debbie Davis (JV) 6p, : Shotgun Jazz Band (JV) 9p Time Out: Andre Bouvier and the Royal Bohemians (VR) 11a Tipitina’s: Lost Bayou Ramblers and Poguetry (VR) 10p Tropical Isle Bourbon: Rhythm and Rain (RK) 5p, Debi and the Deacons (RK) 9p Tropical Isle Original: Down River (RK) 1p, the Hangovers (RK) 5:15p, Late As Usual (RK) 9:15p

SUNDAY AUGUST 14

Banks Street Bar: Kyle Smith Band (JV) 4p, Kenny Triche Band (VR) 8p Bombay Club: David Boeddinghaus (PI) 8p Buffa’s: Some Like It Hot! (TJ) 10:30a Circle Bar: Micah McKee and Little Maker, Blind Texas Marlin (FO) 7p, Country Night with DJ Pasta (CW) 9:30p Crazy Lobster: the Neon Shadows (VR) 4p d.b.a.: Palmetto Bugs Stompers (SI) 6p, Soul Brass Band (BB) 10p Dragon’s Den: Konfession (VR) 4p, Church (EL) 10p Hi-Ho Lounge: NOLA Comedy Hour Open Mic (CO) 8p Howlin’ Wolf (the Den): Hot 8 Brass Band (BB) 10p Kermit’s Mother-in-Law Lounge: Kermit Ruffins and the BBQ Swingers (JV) 5:30p Kerry Irish Pub: Chip Wilson (FO) 8p Little Tropical Isle: Frank Fairbanks (RK) 5p, Mark Parsons (VR) 9p Maison: Chance Bushman and the NOLA Jitterbugs (SI) 10a, Higher Heights (RE) 10p Maple Leaf: Joe Krown Trio feat. Russell Batiste and Walter “Wolfman” Washington (FK) 10p Morning Call City Park: Billy D. Chapman (JV) 10a Old Point Bar: Amanda Walker (PI) 3:30p Ooh Poo Pah Doo: South Jones (RK) 9p Preservation Hall: Preservation Hall Legacy Band feat. Gregg Stafford (TJ) 6p, Preservation Hall All-Stars feat. Wendell Brunious (TJ) 8p Rock ‘n’ Bowl: Paul Varisco and the Milestones (BL) 5:30p Saenger Theatre: Frankie Valli and the Four Seasons (PO) 7:30p

Snug Harbor: John Mahoney Big Band (JV) 8 & 10p Spotted Cat: Yvette Voelker and the Swinging Heathens (JV) 2p, Kristina Morales and Bayou Shufflers (JV) 6p, Pat Casey and the New Sound (JV) 10p Three Muses: Raphael et Pascal (JV) 5p, Linnzi Zaorski (JV) 8p Tropical Isle Bayou Club: Brandon Moreau and Cajungrass (KJ) 2p, Bayou Cajun Swamp Band (KJ) 7p

MONDAY AUGUST 15

Bacchanal: Raphael Bas (JV) 12p, Helen Gillet (JV) 7:30p Banks Street Bar: Lauren Sturm’s Piano Showcase (JV) 7p, Jake Hickey Jazz Jam (JV) 9:30p Buffa’s: Arsene DeLay (VR) 5p, Antoine Diel (JV) 8p Chickie Wah Wah: Alexis and the Samurai (ID) 8p Circle Bar: Black Pussy (RK) 9:30p Crazy Lobster: the Insta-Gators (VR) 5p d.b.a.: Glen David Andrews (JV) 10p Dmac’s: Danny Alexander Blues Jam Session (BL) 8p Dos Jefes: John Fohl (BL) 9p Dragon’s Den: Jazz Potluck (GY) 7p, Hangover Mondays with DJ Ill Medina (VR) 10p Funky Pirate: Willie Lockett Band (BL) 8p Hi-Ho Lounge: Bluegrass Pickin’ Party (BU) 8p, Instant Opus Improvised Series (MJ) 9p Kerry Irish Pub: Patrick Cooper (FO) 8p Little Tropical Isle: Frank Fairbanks (RK) 5p, Reed Lightfoot (RK) 9p Maison: Chicken and Waffles, Aurora Nealand and the Royal Roses, Organami (VR) 4p Maple Leaf: George Porter Jr. Trio (FK) 10p Morning Call: Valerie Sassyfras (VR) 10a Ooh Poo Pah Doo: James Andrews and the Crescent City All-Stars (VR) 8p Preservation Hall: Preservation Hall Jazz Masters feat. Leroy Jones (TJ) 8p RF’s: David Bach (SS) 4p, Jamie Lynn Vessels (RK) 7p Snug Harbor: Charmaine Neville Band (JV) 8 & 10p Southport Hall: Whitney Peyton (HH) 7p Spotted Cat: Sarah McCoy and the Oopsie Daisies (JV) 4p, Dominick Grillo and the Frenchmen St. All-Stars (JV) 6p, Jazz Vipers (JV) 10p Three Muses: Bart Ramsey (JV) 5p, Washboard Rodeo (JV) 7p Tropical Isle Bourbon: Rhythm and Rain (RK) 5p, Beach Combers (RK) 9p Tropical Isle Original: Graham Robertson (RK) 5:15p, Trop Rock Express (RK) 9:15p

TUESDAY AUGUST 16

Bacchanal: Raphael Bas (JV) 12p, Geoff Clapp Trio (JV) 7:30p Banks Street Bar: All Changes Apply, My Hero the Villain, Surfwax (RC) 8p Blue Nile: Open Ears Music Series feat. Outer Core (MJ) 10p Chickie Wah Wah: Nyce (JV) 6p Circle Bar: Carl LeBlanc (RB) 6p, Tight Genes (PK) 9:30p Crazy Lobster: AC and the Heat (VR) 5p d.b.a.: Treme Brass Band (BB) 9p Dmac’s: the Last Honkey Tonk Music Series hosted by Bridgette London (CW) 8p Funky Pirate: Blues Masters feat. Big Al (BL) 8:30p Hi-Ho Lounge: Grass Mud Horse (FO) 7p, Marshland (FO) 8p House of Blues (the Parish): Jared and the Mill, Edison (VR) 6:30p Kerry Irish Pub: Jason Bishop (FO) 8:30p Little Tropical Isle: Mark Pentone (RK) 5p, Frank Fairbanks (RK) 9p Maison: Swinging Gypsies, Gregory Agid, Cool Nasty (VR) 4p Maple Leaf: Rebirth Brass Band (FK) 11p Preservation Hall: Preservation Hall-Stars feat. Shannon Powell (TJ) 8p Snug Harbor: Bill Evans Birthday Tribute with Michael Pellera Trio (JV) 8 & 10p Spitfire: Dick Deluxe’s Wheel of Misfortune (SS) 9p Spotted Cat: Andy J. Forest (JV) 4p, Meschiya Lake and the Little Big Horns (JV) 6p, Smoking Time Jazz Club (JV) 10p Tropical Isle Bourbon: Jay B. Elston Band (RK) 5p, Jezebels Chill’n (RK) 9p Tropical Isle Original: the Hangovers (RK) 5:15p, Jay B. Elston Band (RK) 9:15p

WEDNESDAY AUGUST 17 Bacchanal: Raphael Bas (JV) 12p, Jesse Morrow (JV) 7:30p Banks Street Bar: Major Bacon (BL) 10p Bombay Club: Kris Tokarski (PI) 8p Buffa’s: Open Mic Night with Nattie Sanchez (SS) 7p Chickie Wah Wah: Dave Hickey and Jacob Tanner (VR) 6p, Tom McDermott and Meschiya Lake (JV) 8p

Circle Bar: Thyroids, Charlie Mancini, Matthew J. and Ray (RK) 9:30p Crazy Lobster: Ken Swartz and the Palace of Sin (VR) 5p d.b.a.: Tin Men (RK) 7p, Walter “Wolfman” Washington and the Roadmasters (BL) 10p Dragon’s Den: Reggae Night (RE) 10p Funky Pirate: Blues Masters feat. Big Al (BL) 8:30p Hi-Ho Lounge: Shamarr Allen, DJ Chicken (FK) 9p House of Blues: I Prevail, the White Noise, My Enemies and I, Bad Seed Rising (VR) 5:30p Kermit’s Mother-in-Law Lounge: Spodie and the Big Shots (JV) 6:30p Kerry Irish Pub: Tim Robertson (FO) 8:30p Little Tropical Isle: Jay B. Elston (RK) 5p, Reed Lightfoot (RK) 9p Maison: Jazz Vipers, Josh Kagler and the Music Factory (VR) 6:30p Maple Leaf: Gravity A (FK) 10p Morning Call: Valerie Sassyfras (VR) 10a, Krewe du Two (VR) 1p Preservation Hall: Preservation Hall All-Stars (TJ) 8p Rock ‘n’ Bowl: Clockwork Elvis and the 39th Death Anniversary Remembrance (SI) 8p Saenger Theatre: Alice Cooper (RK) 8:30p Snug Harbor: Uptown Jazz Orchestra (JV) 8 & 10p Spotted Cat: Chris Christy (JV) 4p, Shotgun Jazz Band (JV) 6p, Antoine Diel and the New Orleans Power Misfits (JV) 10p Three Muses: Leslie Martin (JV) 5p Tipitina’s: Lee Scratch Perry, Subatomic Sound System (VR) 9p Tropical Isle Bourbon: Jezebels Chill’n (RK) 5p, Debi and the Deacons (RK) 9p Tropical Isle Original: Debi and the Deacons (RK) 5:15p, Late As Usual (RK) 9:15p

THURSDAY AUGUST 18

Banks Street Bar: Josh Benitez (RK) 9p BMC: Blind Tiger Burlesque feat. Xena Zeit-Geist and the Dapper Dandies (BQ) 11:59p Bombay Club: Kris Tokarski Duo (JV) 8p Buffa’s: David Hull and Meschiya Lake (JV) 5p, Marla Dixon Trio (JV) 8p Bullet’s: Kermit Ruffins and the BBQ Swingers (JV) 6:30p Chickie Wah Wah: Phil Degruy and Emily Robertson (VR) 6p, Greazy Alice, Jerry Jeff Walker’s Viva Terlingua (CW) 8:30p Circle Bar: Jeremy Joyce (BL) 7p, Big Eater, Keeping, Rudy Stone (ID) 9:30p Crazy Lobster: the Spanish Plaza 3 (VR) 5p d.b.a.: Blake Amos (VR) 10p Dos Jefes: Loren Pickford Quartet (JV) 9p Dragon’s Den: the Ill Vibe with DJ Matt Scott (VR) 8p Funky Pirate: Mark and the Pentones (BL) 4p, Blues Masters feat. Big Al (BL) 8:30p Kerry Irish Pub: One Tailed Three (FO) 9p Little Tropical Isle: Allen Hebert (RK) 5p, Frank Fairbanks (RK) 9p Maison: Good For Nothin’ Band, Asylum Chorus, Dysfunktional Bone (VR) 4p Maple Leaf: the Trio feat. Johnny Vidacovich and special guests (FK) 11p Ogden Museum of Southern Art: After Hours feat. Kristin Diable (SS) 6p Ooh Poo Pah Doo: Margie Perez and Muevelo (LT) 8p Preservation Hall: Preservation Hall Legacy Band feat. Gregg Stafford (TJ) 6p, Preservation Hall All-Stars feat. Lucien Barbarin (TJ) 8p RF’s: Will Kennedy (PO) 4p, James Martin Band (JV) 7p Rock ‘n’ Bowl: Curley Taylor (ZY) 8:30p Snug Harbor: Indian Blue feat. Big Chief Monk Boudreaux, Johnny Sansone and John Fohl (JV) 8 & 10p Spotted Cat: Sarah McCoy and the Oopsie Daisies (JV) 4p, Miss Sophie Lee (JV) 6p, Jumbo Shrimp (JV) 10p Three Muses: Brett Richardson (JV) 5p, Loose Marbles (JV) 7:30p Tipitina’s: Homegrown Night Concert Series (VR) 8:30p Tropical Isle Original: the Hangovers (RK) 5:15p, Late As Usual (RK) 9:15p Vaughan’s Lounge: Corey Henry and the Treme Funktet (FK) 10p W XYZ Bar (Aloft): Great Peacock (JV) 5:30p

FRIDAY AUGUST 19

Bacchanal: the Tangiers Combo (JV) 12p, Harmonouche (JV) 5p, Willie Green (JV) 7:30p Banks Street Bar: PYMP (EL) 10p Bombay Club: Steve Pistorius (JV) 8:30p Buffa’s: Mike Dill (VR) 5p, John Fohl and Chris Adkins (JV) 8p, Rebecca Zoe Leigh (VR) 11p Bullet’s: Original Pinettes (BB) 8:30p Chickie Wah Wah: Michael Pearce (BL) 6p, Erica Falls (SS) 9p

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LIVE LOCAL MUSIC Circle Bar: Richard Bates (RK) 6p, Ham Jams with DJ Ham Sandwich (VR) 9:30p Crazy Lobster: Ken Swartz and the Palace of Sin (VR) 5p d.b.a.: Smoking Time Jazz Club (JV) 6p Davenport Lounge (Ritz-Carlton): Jeremy Davenport (JV) 9p Dragon’s Den: Loose Marbles (JV) 8p, the Tipping Point with DJ RQ Away (HH) 10p; Upstairs: Comedy Fuck Yeah (CO) 7p, Latin Night (LT) 11p Funky Pirate: Mark and the Pentones (BL) 4p, Blues Masters feat. Big Al (BL) 8:30p Hi-Ho Lounge: Relapse with Matt Scott (VR) 10p House of Blues: Orishas (VR) 8p Howlin’ Wolf (the Den): Midwest State of Mind, $pare Change, the Painted Hands (PO) 10p Kermit’s Mother-in-Law Lounge: Guitar Slim Jr. (BL) 9p Kerry Irish Pub: Mark Appleford (FO) 5p, Rubin/Wilson Folk-Blues Explosion (FO) 9p Le Bon Temps Roule: Piano Bob (PI) 7p, COOT (VR) 10:30p Little Tropical Isle: Reed Lightfoot (RK) 5p, Frank Fairbanks (RK) 9p Mahalia Jackson Theater: Tasha Cobbs (GS) 8p Maison: Broadmoor Jazz Band, Shotgun Jazz Band (JV) 4p, Soul Project, No Good Deed (FK) 10p Maple Leaf: Sonic Bloom feat. Eric “Benny” Bloom (FK) 10:30p Morning Call: Valerie Sassyfras (VR) 10a New Orleans Museum of Art: Quintron (VR) 8:30p Old Point Bar: Rick Trolsen (PI) 5p, Jamey St. Pierre and the Honeycreepers (SO) 9:30p Ooh Poo Pah Doo: Sturmlandia (VR) 8p Preservation Hall: Preservation Hall Legacy Band feat. Wendell Brunious (TJ) 6p, Preservation Hall Brass Band feat. Daniel Farrow (TJ) 8p RF’s: John Marcey and Steve Mignano (RK) 6p, Jamie Lynn Vessels (RK) 9p Rivershack Gretna: Mustard Brothers (CR) 9p Rock ‘n’ Bowl: Bag of Donuts (VR) 9:30p Snug Harbor: Ellis Marsalis Quartet (JV) 8 & 10p Southport Hall: Eyehategod (ME) 9p Spotted Cat: Andy J. Forest (JV) 4p, Washboard Chaz Blues Trio (BL) 6p, New Orleans Cottonmouth Kings (JV) 10p Three Muses: Royal Roses (JV) 5:30p Tipitina’s: Johnny Sketch and the Dirty Notes, Water Seed (VR) 10p Tropical Isle Original: Down River (RK) 1p, the Hangovers (RK) 5:15p, Late As Usual (RK) 9:15p Ugly Dog Saloon: Clay Diamond Quartet (VR) 7p W XYZ Bar (Aloft): Hollis Brown (VR) 5:30p

SATURDAY AUGUST 20

Bacchanal: the Tangiers Combo (JV) 12p, Red Organ Trio (JV) 4p, Miles Berry (JV) 7:30p Banks Street Bar: Thunderosa (RK) 8p, Marina Orchestra (JV) 10p Blue Nile: Washboard Chaz Blues Trio (BL) 7p Bombay Club: Charlie Halloran (JV) 8:30p Buffa’s: Spike Perkins (JV) 5p, Sherman Bernard and the Ole Man River Band (VR) 8p, Michael Liuzza (BL) 11p Circle Bar: Circle on the Circle feat. Todd Voltz, Gwendolyn Knapp and friends (RK) 6p, Happy Talk Band, Rick Slave’s Country Persuasion (RK) 9:30p Crazy Lobster: the River Gang (VR) 11a Creole Cookery: Trad Stars Jazz Band (JV) 11a d.b.a.: Hot 8 Brass Band (BB) 11p Davenport Lounge (Ritz-Carlton): Jeremy Davenport (JV) 9p Dmac’s: the 2 Pistols Jam Session (VR) 2a Dos Jefes: Sunpie and the Louisiana Sunspots (ZY) 10p Dragon’s Den: Swinging Gypsies (JV) 7p, Kompression (VR) 10p; Upstairs: Talk Nerdy to Me (BQ) 7p Funky Pirate: Mark and the Pentones (BL) 2p, Blues Masters feat. Big Al (BL) 8:30p Hi-Ho Lounge: Drunktoons (CO) 7p, Hustle feat. DJ Soul Sister (FK) 11p House of Blues: LouMuzik (VR) 8p Howlin’ Wolf (the Den): N.O. Southern Company feat. Kirk Chambers (RK) 10p Jazz and Heritage Center: Salsa Night feat. Muevelo, Otra and Asheson (LT) 9p Kermit’s Mother-in-Law Lounge: Neisha Ruffins (JV) 8:30p Kerry Irish Pub: Mark Parsons (FO) 5p, Lonestar Stout (FO) 9p Little Tropical Isle: Jay B. Elston (RK) 5p, Reed Lightfoot (RK) 9p Maison: Chance Bushman and the Ibervillainaires, Leah Rucker, Smoking Time Jazz Band (JV) 1p, Big Easy Brawlers (BB) 11:59p Maple Leaf: Song Dogs (FK) 10:30p Morning Call City Park: Billy D. Chapman (JV) 10a

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Old Point Bar: Isla Nola (LT) 9:30p Ooh Poo Pah Doo: Kristina Morales and Inner Organ Trio (JV) 8:30p Preservation Hall: Joint Chiefs of Jazz feat. Jamie Wight (TJ) 6p, Preservation Hall All-Stars (TJ) 8p Rivershack Gretna: Rick Mocklin and the Southern Voice Band (CR) 9p Rock ‘n’ Bowl: Rockin’ Dopsie Jr. and the Zydeco Twisters (ZY) 9:30p Smoothie King Center: Def Leppard, REO Speedwagon, Tesla (RK) 7p Snug Harbor: Delfeayo Marsalis Sextet (JV) 8 & 10p Spotted Cat: Dominick Grillo’s Band (JV) 6p, Meschiya Lake and the Little Big Horns (JV) 10p Three Muses: Chris Christy (JV) 5p, Shotgun Jazz Band (JV) 9p Time Out: Andre Bouvier and the Royal Bohemians (VR) 11a Tipitina’s: Boyfriend’s 4th Annual Birthday Bash (VR) 10p Tropical Isle Bayou Club: the Troubadour (KJ) 1p, Bayou Cajun Swamp Band (KJ) 5p, T’Canaille (KJ) 9p Tropical Isle Bourbon: Rhythm and Rain (RK) 5p, Debi and the Deacons (RK) 9p

SUNDAY AUGUST 21

Bacchanal: the Tangiers Combo (JV) 12p, the Tradsters (JV) 4p, Maddy and her Jazz Friends (JV) 7:30p Banks Street Bar: Jeff “Guitar” Nelson (BL) 9p Bombay Club: David Boeddinghaus (PI) 8p Buffa’s: Some Like It Hot! (TJ) 10:30a Circle Bar: Micah McKee and Little Maker, Blind Texas Marlin (FO) 7p, Country Night with DJ Pasta (CW) 9:30p Crazy Lobster: the Neon Shadows (VR) 4p d.b.a.: Palmetto Bugs Stompers (SI) 6p, Kettle Black (VR) 10p Dragon’s Den: Konfession (VR) 4p, Church (EL) 10p Funky Pirate: Mark and the Pentones (BL) 4p, Willie Lockett Band (BL) 8p Hi-Ho Lounge: NOLA Comedy Hour Open Mic (CO) 8p House of Blues: Warren G (HH) 6:30p Howlin’ Wolf (the Den): Hot 8 Brass Band (BB) 10p Kermit’s Mother-in-Law Lounge: Kermit Ruffins and the BBQ Swingers (JV) 5:30p Kerry Irish Pub: Patrick Cooper (FO) 8p Little Tropical Isle: Frank Fairbanks (RK) 5p, Mark Parsons (VR) 9p Maison: Chance Bushman and the NOLA Jitterbugs (SI) 10a, Swamp Donkeys, Too Darn Hot, Higher Heights (VR) 4p Maple Leaf: Joe Krown Trio feat. Russell Batiste and Walter “Wolfman” Washington (FK) 10p Morning Call City Park: Billy D. Chapman (JV) 10a Ooh Poo Pah Doo: South Jones (RK) 9p Preservation Hall: Preservation Hall Legacy Band feat. Gregg Stafford (TJ) 6p, Preservation Hall All-Stars feat. Wendell Brunious (TJ) 8p Snug Harbor: Peter Harris Trio (JV) 8 & 10p Spotted Cat: Jamey St. Pierre and the Honeycreepers (JV) 2p, Kristina Morales and Bayou Shufflers (JV) 6p, Pat Casey and the New Sound (JV) 10p Three Muses: Pascal et Bart (JV) 5p, Linnzi Zaorski (JV) 8p Tipitina’s: Sunday Youth Music Workshop feat. Robin Barnes (VR) 1p Tropical Isle Bayou Club: Brandon Moreau and Cajungrass (KJ) 2p, Bayou Cajun Swamp Band (KJ) 7p Tropical Isle Original: the Hangovers (RK) 5:15p, Late As Usual (RK) 9:15p

MONDAY AUGUST 22

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LIVE LOCAL MUSIC Preservation Hall: Preservation Hall Jazz Masters feat. Leroy Jones (TJ) 8p RF’s: David Bach (SS) 4p, Jamie Lynn Vessels (RK) 7p the Saint: Motown Mondays with DJ Shane Love (SO) 10p Snug Harbor: Charmaine Neville Band (JV) 8 & 10p Spotted Cat: Sarah McCoy and the Oopsie Daisies (JV) 4p, Dominick Grillo and the Frenchmen St. All-Stars (JV) 6p, Jazz Vipers (JV) 10p Three Muses: Andre Bohren (JV) 5p, Meschiya Lake (JV) 7p Tropical Isle Original: Graham Robertson (RK) 5:15p, Trop Rock Express (RK) 9:15p

TUESDAY AUGUST 23

Bacchanal: Raphael Bas (JV) 12p, Geoff Clapp Trio (JV) 7:30p Banks Street Bar: Nicole Ockman Group (VR) 9p Blue Nile: Open Ears Music Series feat. Alvin Fielder, Michael Adkins, Dave Capello and Jeff Albert (MJ) 10p Chickie Wah Wah: Nyce (JV) 6p Circle Bar: Carl LeBlanc (RB) 6p Crazy Lobster: AC and the Heat (VR) 5p d.b.a.: Treme Brass Band (BB) 9p Dmac’s: the Last Honkey Tonk Music Series hosted by Bridgette London (CW) 8p Funky Pirate: Blues Masters feat. Big Al (BL) 8:30p Hi-Ho Lounge: Grass Mud Horse (FO) 7p, Marshland (FO) 8p Howlin’ Wolf: Sawyer Fredericks, Mia Z (SS) 9p Kerry Irish Pub: Jason Bishop (FO) 8:30p Little Tropical Isle: Mark Pentone (RK) 5p, Frank Fairbanks (RK) 9p Maison: Swinging Gypsies, Gregory Agid, Midas (VR) 4p Maple Leaf: Rebirth Brass Band (FK) 11p Preservation Hall: Preservation Hall-Stars feat. Shannon Powell (TJ) 8p Snug Harbor: Stanton Moore Trio (JV) 8 & 10p Spitfire: Dick Deluxe’s Wheel of Misfortune (SS) 9p Spotted Cat: Andy J. Forest (JV) 4p, Smoking Time Jazz Club (JV) 10p Tropical Isle Original: the Hangovers (RK) 5:15p, Jay B. Elston Band (RK) 9:15p

Funky Pirate: Mark and the Pentones (BL) 4p, Blues Masters feat. Big Al (BL) 8:30p Hi-Ho Lounge: Circus Darling (BQ) 9p House of Blues: Dru Hill (RB) 7:30p Kerry Irish Pub: Will Dickerson (FO) 8:30p Le Bon Temps Roule: Soul Rebels (BB) 11p Little Tropical Isle: Allen Hebert (RK) 5p, Frank Fairbanks (RK) 9p Maison: Good For Nothin’ Band, Roamin’ Jasmine, Dysfunktional Bone (VR) 4p Maple Leaf: the Trio feat. Johnny Vidacovich and special guests (FK) 11p Ogden Museum of Southern Art: After Hours feat. NOCB Clarinet Choir (CL) 6p Old Point Bar: the One Percent Nation (RK) 9p Ooh Poo Pah Doo: Margie Perez and Muevelo (LT) 8p Preservation Hall: Preservation Hall Legacy Band feat. Gregg Stafford (TJ) 6p, Preservation Hall All-Stars feat. Lucien Barbarin (TJ) 8p RF’s: Will Kennedy (PO) 4p, James Martin Band (JV) 7p Rock ‘n’ Bowl: Chris Ardoin (ZY) 8:30p Snug Harbor: Matt Lemmler Trio (JV) 8 & 10p Spitfire: James Jordan and the Bo Slims (RB) 10p Spotted Cat: Sarah McCoy and the Oopsie Daisies (JV) 4p, Miss Sophie Lee (JV) 6p, Jumbo Shrimp (JV) 10p

PLAN A: Frankie Valli and the Four Seasons We learn from the movie Jersey Boys that Frankie Castelluccio changes his name to Frankie Valley, and at the urging of his girlfriend— who tells him “y is a bullshit letter. It doesn’t know if it’s a vowel or a consonant. You’re an Italian. You have to end in a vowel. Like pizza. A vowel says, ‘This is who I am. If you don’t like it, you can go fuck yourself’”—changes it to Valli. The former Four Seasons singer-songwriter and keyboardist

SATURDAY AUGUST 27

WEDNESDAY AUGUST 24 Bacchanal: Raphael Bas (JV) 12p, Jesse Morrow (JV) 7:30p Banks Street Bar: Major Bacon (BL) 10p Bombay Club: Kris Tokarski (PI) 8p Buffa’s: Open Mic Night with Nattie Sanchez (SS) 7p Chickie Wah Wah: Dave Hickey and Jacob Tanner (VR) 6p Circle Bar: Kaz Mirblouk (ID) 9:30p Crazy Lobster: Ken Swartz and the Palace of Sin (VR) 5p d.b.a.: Tin Men (BL) 7p, Walter “Wolfman” Washington and the Roadmasters (BL) 10p Dragon’s Den: Reggae Night (RE) 10p Funky Pirate: Blues Masters feat. Big Al (BL) 8:30p Hi-Ho Lounge: Shamarr Allen, DJ Chicken (FK) 9p Kermit’s Mother-in-Law Lounge: Spodie and the Big Shots (JV) 6:30p Kerry Irish Pub: One Tailed Three (FO) 8:30p Little Tropical Isle: Jay B. Elston (RK) 5p, Reed Lightfoot (RK) 9p Maison: Jazz Vipers (JV) 6:30p Maple Leaf: Gravity A (FK) 10p Morning Call: Valerie Sassyfras (VR) 10a, Krewe du Two (VR) 1p Preservation Hall: Preservation Hall All-Stars (TJ) 8p Rock ‘n’ Bowl: Jerry Embree (SI) 8p Snug Harbor: Uptown Jazz Orchestra (JV) 8 & 10p Spotted Cat: Chris Christy (JV) 4p, Shotgun Jazz Band (JV) 6p, Antoine Diel and the New Orleans Power Misfits (JV) 10p Three Muses: Leslie Martin (JV) 5p, Sarah McCoy (JV) 7p Tropical Isle Bourbon: Jezebels Chill’n (RK) 5p, Debi and the Deacons (RK) 9p Tropical Isle Original: Debi and the Deacons (RK) 5:15p, Late As Usual (RK) 9:15p

THURSDAY AUGUST 25

30/90: Andy J. Forest (VR) 5p, Smoke N Bones (VR) 9p Bacchanal: Raphael Bas (JV) 12p, the Courtyard Kings (JV) 7:30p BMC: Blind Tiger Burlesque feat. Xena Zeit-Geist and the Dapper Dandies (BQ) 11:59p Bombay Club: Kris Tokarski Duo (JV) 8p Buffa’s: David Hull (JV) 5p, Marla Dixon Trio (JV) 8p Bullet’s: Kermit Ruffins and the BBQ Swingers (JV) 6:30p Circle Bar: Jeremy Joyce (BL) 7p Crazy Lobster: the Spanish Plaza 3 (VR) 5p d.b.a.: Little Freddie King (BL) 10p Davenport Lounge (Ritz-Carlton): Jeremy Davenport (JV) 5:30p Dmac’s: Outlaw Country Jam with Jason Bishop (CW) 7p Dos Jefes: Tom Fitzpatrick and Turning Point (JV) 9p Dragon’s Den: the Ill Vibe with DJ Matt Scott (VR) 8p

AUGUST 2016

Maison: G and the Swinging 3, Shotgun Jazz Band (JV) 4p, Big Easy Brawlers, Street Legends (BB) 10p Maple Leaf: Mo Fess: Professor Longhair Tribute feat. Fess Alumni (FK) 10:30p Morning Call: Valerie Sassyfras (VR) 10a Old Point Bar: Rick Trolsen (PI) 5p, Diablo’s Horns (RK) 9:30p Ooh Poo Pah Doo: Sturmlandia (VR) 8p Preservation Hall: Preservation Hall Legacy Band feat. Wendell Brunious (TJ) 6p, Preservation Hall Brass Band feat. Daniel Farrow (TJ) 8p RF’s: John Marcey and Steve Mignano (RK) 6p, Meghan Stewart Band (JV) 9p Rivershack Gretna: the Arrivals (CR) 9p Rock ‘n’ Bowl: Groovy 7 (VR) 9:30p Snug Harbor: Ellis Marsalis Quartet (JV) 8 & 10p Spotted Cat: Andy J. Forest (JV) 4p, Washboard Chaz Blues Trio (BL) 6p, New Orleans Cottonmouth Kings (JV) 10p Three Muses: Matt Johnson (JV) 5:30p Tipitina’s: John “Papa” Gros Band, Daria and the Hip Drops (VR) 10p Tropical Isle Bayou Club: Bayou Cajun Swamp Band (KJ) 5p, T’Canaille (KJ) 9p Tropical Isle Bourbon: Jay B. Elston Band (RK) 5p, Debi and the Deacons (RK) 9p Tropical Isle Original: Down River (RK) 1p, the Hangovers (RK) 5:15p, Late As Usual (RK) 9:15p Ugly Dog Saloon: Will Vance and the Kinfolk (VR) 7p W XYZ Bar (Aloft): Mighty Brother (SS) 5:30p

Tropical Isle Bayou Club: Cajun Drifters (KJ) 5p, Nonc Nu and Da Wild Matous (KJ) 9p Tropical Isle Bourbon: Beach Combers (RK) 5p, Debi and the Deacons (RK) 9p Tropical Isle Original: the Hangovers (RK) 5:15p, Late As Usual (RK) 9:15p Vaughan’s Lounge: Corey Henry and the Treme Funktet (FK) 10p W XYZ Bar (Aloft): Dana Abbott (VR) 5:30p

FRIDAY AUGUST 26

Bacchanal: the Tangiers Combo (JV) 12p, Harmonouche (JV) 5p, Willie Green (JV) 7:30p Bamboulas: Justin Donovan, Chance Bushman’s Rhythm Stompers, Johnny Mastro, Caesar Brothers (VR) 11a Banks Street Bar: Morrison Road (RK) 10p Bombay Club: Phillip Manuel (JV) 8:30p Buffa’s: Jerry Jumonville (VR) 5p, Camile Baudoin and Josh Paxton (VR) 8p, Gumbo Cabaret (VR) 11p Bullet’s: Original Pinettes (BB) 8:30p Chickie Wah Wah: Michael Pearce (BL) 6p, Naylor’s Flyway (VR) 8:30p, Colin Lake (BL) 10p Circle Bar: Rik Slave’s Country Persuasion (CW) 7p, Space Bass II with DJ Obi-1 and DJ Slick Leo (VR) 9:30p Crazy Lobster: Ken Swartz and the Palace of Sin (VR) 5p d.b.a.: Suplecs 20th Anniversary Show (RK) 10p Davenport Lounge (Ritz-Carlton): Jeremy Davenport (JV) 9p Dmac’s: DJ Fireworks (VR) 1a Dragon’s Den: Loose Marbles (JV) 8p, the Tipping Point with DJ RQ Away (HH) 10p; Upstairs: Comedy Fuck Yeah (CO) 7p, Latin Night (LT) 11p Funky Pirate: Mark and the Pentones (BL) 4p, Blues Masters feat. Big Al (BL) 8:30p Gasa Gasa: Futurebirds (RK) 9p Hi-Ho Lounge: Sofi LeBear Burlesque (BQ) 7p, Relapse with Matt Scott (VR) 10p House of Blues: Deft-Ones: A Tribute to Deftones, RevolveR: A Tribute to Rage Against the Machine (RK) 8p Kermit’s Mother-in-Law Lounge: Guitar Slim Jr. (BL) 9p Kerry Irish Pub: Paul Ferguson (FO) 5p, Hurricane Refugees (FO) 9p Le Bon Temps Roule: Jeff “Snake” Greenberg (PI) 7p Little Tropical Isle: Reed Lightfoot (RK) 5p, Frank Fairbanks (RK) 9p

Bob Gaudio, along with producer Bob Crewe, wrote nearly every big hit song for the group: “Sherry,” “Big Girls Don’t Cry,” “Walk Like a Man,” “Rag Doll” and many others, culminating in the million-seller “Can’t Take My Eyes Off You” in 1967. The story of “Rag Doll” (not in the movie) is interesting: A disheveled girl washed Gaudio’s car windshield as he waited at a traffic light in New York’s Hell’s Kitchen. Gaudio gave her a $10 bill because that’s all he had. The surprised look on her face stayed with him and inspired the song. In a San Diego Union-Tribune article we learn that Valli keeps his voice in shape by practicing. “Mainly, I sing while taking a shower. I take a shower that’s a little longer than normal; maybe I’ll be in the shower for half an hour, singing scales and then songs. You do it every day. It’s like lifting weights. You have to keep the machine oiled.” Frankie Valli and the Four Seasons play the Saenger Theatre on Sunday, August 14. Doors at 7:30 p.m., show at 8 p.m. Tickets $45–125.

30/90: Texas Pete (CW) 2p, Kettle Black (VR) 5p, Caesar Brothers (FK) 8p, Bo Dollis Jr. and the Wild Magnolias (MG) 11p Bacchanal: the Tangiers Combo (JV) 12p, Red Organ Trio (JV) 4p, Miles Berry (JV) 7:30p Bamboulas: Mark Rubin, G and her Swinging 3, Christopher Johnson, Smoky Greenwell (BL) 11a Banks Street Bar: Dirty Bourbon River Show (JV) 10p Blue Nile: Washboard Chaz Blues Trio (BL) 7p Bombay Club: Wayne Maureau (JV) 8:30p Buffa’s: Davis Rogan (VR) 5p, the Asylum Chorus (VR) 8p, Keith Burnstein (VR) 11p Champions Square: Lil’ Weezyana Fest feat. Collegrove and others (HH) 7p Chickie Wah Wah: Greazy Alice (VR) 9p, Morning 40 Federation (RK) 10p Circle Bar: Circle on the Circle feat. Todd Voltz, Gwendolyn Knapp and friends (RK) 6p, Mod Dance Party with DJ Matty (VR) 9:30p Crazy Lobster: the River Gang (VR) 11a Creole Cookery: Trad Stars Jazz Band (JV) 11a Davenport Lounge (Ritz-Carlton): Jeremy Davenport (JV) 9p Dmac’s: Dmac’s: the River Rats (VR) 8p, the 2 Pistols Jam Session (VR) 2a Dos Jefes: Betty Shirley Band (JV) 10p Dragon’s Den: Upstairs: Talk Nerdy to Me (BQ) 7p Funky Pirate: Mark and the Pentones (BL) 2p, Blues Masters feat. Big Al (BL) 8:30p Hi-Ho Lounge: the Rip-Off Show (CO) 7p, Hustle feat. DJ Soul Sister (FK) 11p Howlin’ Wolf (the Den): OutKast Tribute (HH) 10p Kermit’s Mother-in-Law Lounge: Neisha Ruffins (JV) 8:30p Kerry Irish Pub: Speed the Mule (FO) 5p, Roux the Day (FO) 9p Little Gem Saloon: Kermit Ruffins and the BBQ Swingers (JV) 7 & 9p Little Tropical Isle: Jay B. Elston (RK) 5p, Reed Lightfoot (RK) 9p Maison: Chance Bushman and the Ibervillainaires, Leah Rucker, Smoking Time Jazz Club (JV) 1p, Miss Mojo, Organized Crime (FK) 10p Morning Call City Park: Billy D. Chapman (JV) 10a Old Point Bar: Maid of Orleans (RK) 9:30p Ooh Poo Pah Doo: Kristina Morales and Inner Organ Trio (JV) 8:30p Orpheum Theater: Orpheum One-Year Anniversary feat. Jon Cleary and the Absolute Monster Gentlemen, Amanda Ducorbier and special guests (VR) 7p Preservation Hall: Joint Chiefs of Jazz feat. Jamie Wight (TJ) 6p, Preservation Hall All-Stars (TJ) 8p Rivershack Gretna: Imaginary Frenz (RK) 9p Rock ‘n’ Bowl: Dale Watson (CW) 9p Snug Harbor: Dr. Michael White and Liberty Jazz Band (JV) 8 & 10p Southport Hall: Crowbar (ME) 9p Spotted Cat: Jazz Band Ballers (JV) 2p, Ecirb Muller’s Twisted Dixie (JV) 6p, Dominick Grillo and the Frenchmen St. All-Stars (JV) 10p Three Muses: Chris Peters (JV) 5p, Debbie Davis (JV) 6p, Shotgun Jazz Band (JV) 9p Time Out: Andre Bouvier and the Royal Bohemians (VR) 11a

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LIVE LOCAL MUSIC Tipitina’s: Rebirth Brass Band (BB) 10p Tropical Isle Bayou Club: the Troubadour (KJ) 1p, Bayou Cajun Swamp Band (KJ) 5p, T’Canaille (KJ) 9p Tropical Isle Bourbon: Rhythm and Rain (RK) 5p, Debi and the Deacons (RK) 9p

SUNDAY AUGUST 28

30/90: Revival (RR) 2p, Ted Hefko (RR) 5p, Otra (LT) 9p AllWays Lounge: Dinosaurchestra (TJ) 9p Bacchanal: the Tangiers Combo (JV) 12p, the Tradsters (JV) 4p, Maddy and her Jazz Friends (JV) 7:30p Banks Street Bar: Ocean Disco (RK) 9p Bombay Club: David Boeddinghaus (PI) 8p Buffa’s: Some Like It Hot! (TJ) 10:30a Circle Bar: Micah McKee and Little Maker, Blind Texas Marlin (FO) 7p, Country Night with DJ Pasta (CW) 9:30p Crazy Lobster: the Neon Shadows (VR) 4p d.b.a.: Palmetto Bugs Stompers (SI) 6p, Soul Brass Band (BB) 10p Dmac’s: Michael Pearce (BL) 11a, Sweet Jones, Beth Lee (FO) 8p Dragon’s Den: Konfession (VR) 4p, Church (EL) 10p Funky Pirate: Mark and the Pentones (BL) 4p, Willie Lockett Band (BL) 8p Hi-Ho Lounge: NOLA Comedy Hour Open Mic (CO) 8p Howlin’ Wolf (the Den): Hot 8 Brass Band (BB) 10p Kermit’s Mother-in-Law Lounge: Kermit Ruffins and the BBQ Swingers (JV) 5:30p Kerry Irish Pub: Pineville Haints (FO) 8p Little Tropical Isle: Frank Fairbanks (RK) 5p, Mark Parsons (VR) 9p Maison: Chance Bushman and the NOLA Jitterbugs (SI) 10a, Asylum Chorus, Brad Walker, Higher Heights (VR) 4p Maple Leaf: Joe Krown Trio feat. Russell Batiste and Walter “Wolfman” Washington (FK) 10p Morning Call City Park: Billy D. Chapman (JV) 10a Old Point Bar: Isla Nola (LT) 3:30p Ooh Poo Pah Doo: South Jones (RK) 9p Preservation Hall: Preservation Hall Legacy Band feat. Gregg Stafford (TJ) 6p, Preservation Hall All-Stars feat. Wendell Brunious (TJ) 8p Snug Harbor: Jesse Boyd Trio (JV) 8 & 10p Spotted Cat: G’s Swinging Three (JV) 2p, Kristina Morales and Bayou Shufflers (JV) 6p, Pat Casey and the New Sound (JV) 10p Three Muses: Pascal et Bart (JV) 5p, Linnzi Zaorski (JV) 8p Tropical Isle Bayou Club: Brandon Moreau and Cajungrass (KJ) 2p, Bayou Cajun Swamp Band (KJ) 7p Tropical Isle Bourbon: BC and Company (RK) 1p, Rhythm and Rain (RK) 5p, Debi and the Deacons (RK) 9p Tropical Isle Original: the Hangovers (RK) 5:15p, Late As Usual (RK) 9:15p

MONDAY AUGUST 29

Bacchanal: Raphael Bas (JV) 12p, Helen Gillet (JV) 7:30p Banks Street Bar: Lauren Sturm’s Piano Showcase (JV) 7p, Jake Hickey Jazz Jam (JV) 9:30p Buffa’s: Arsene DeLay (VR) 5p, Antoine Diel (JV) 8p Chickie Wah Wah: Alexis and the Samurai (ID) 8p Crazy Lobster: the Insta-Gators (VR) 5p d.b.a.: Glen David Andrews (JV) 10p Dmac’s: Danny Alexander Blues Jam Session (BL) 8p Dragon’s Den: Jazz Potluck (GY) 7p, Hangover Mondays with DJ Ill Medina (VR) 10p Funky Pirate: Willie Lockett Band (BL) 8p Hi-Ho Lounge: Bluegrass Pickin’ Party (BU) 8p, Instant Opus Improvised Series (MJ) 9p Howlin’ Wolf (the Den): the Crooked Vines, Puff Puff Beer (FK) 9p Kerry Irish Pub: Mark Appleford (FO) 8p Little Tropical Isle: Frank Fairbanks (RK) 5p, Reed Lightfoot (RK) 9p Maison: Chicken and Waffles, Aurora Nealand and the Royal Roses, Ted Hefko and the Thousandaires (JV) 4p Maple Leaf: George Porter Jr. Trio (FK) 10p Morning Call: Valerie Sassyfras (VR) 10a Ooh Poo Pah Doo: James Andrews and the Crescent City All-Stars (VR) 8p Preservation Hall: Preservation Hall Jazz Masters feat. Leroy Jones (TJ) 8p RF’s: David Bach (SS) 4p; Jamie Lynn Vessels (RK) 7p the Saint: Motown Mondays with DJ Shane Love (SO) 10p Snug Harbor: Charmaine Neville Band (JV) 8 & 10p Spotted Cat: Sarah McCoy and the Oopsie Daisies (JV) 4p, Dominick Grillo and the Frenchmen St. All-Stars (JV) 6p, Jazz Vipers (JV) 10p Three Muses: Keith Burnstein (VR) 5p, Joe Cabral (JV) 7p Tropical Isle Bayou Club: Cajungrass Duo (KJ) 4p Tropical Isle Bourbon: Rhythm and Rain (RK) 5p, Beach Combers (RK) 9p

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Tropical Isle Original: Graham Robertson (RK) 5:15p, Trop Rock Express (RK) 9:15p

TUESDAY AUGUST 30

Bacchanal: Raphael Bas (JV) 12p, Geoff Clapp Trio (JV) 7:30p Blue Nile: Open Ears Music Series feat. Matt Booth and Palindromes (MJ) 10p Chickie Wah Wah: Nyce (JV) 6p Circle Bar: Carl LeBlanc (RB) 6p Crazy Lobster: AC and the Heat (VR) 5p d.b.a.: Treme Brass Band (BB) 9p Dmac’s: the Last Honkey Tonk Music Series hosted by Bridgette London (CW) 8p Funky Pirate: Blues Masters feat. Big Al (BL) 8:30p Hi-Ho Lounge: Grass Mud Horse (FO) 7p, Marshland (FO) 8p Kerry Irish Pub: Jason Bishop (FO) 8:30p Little Tropical Isle: Mark Pentone (RK) 5p, Frank Fairbanks (RK) 9p Maison: Swinging Gypsies, Gregory Agid, Organized Crime (VR) 4p Maple Leaf: Rebirth Brass Band (FK) 11p Preservation Hall: Preservation Hall-Stars feat. Shannon Powell (TJ) 8p Snug Harbor: Joe Krown (JV) 8 & 10p Spitfire: Dick Deluxe’s Wheel of Misfortune (SS) 9p Spotted Cat: Andy J. Forest (JV) 4p, Rhythm Stompers (JV) 6p, Smoking Time Jazz Club (JV) 10p Tropical Isle Bourbon: Jay B. Elston Band (RK) 5p, Jezebels Chill’n (RK) 9p Tropical Isle Original: the Hangovers (RK) 5:15p, Jay B. Elston Band (RK) 9:15p

WEDNESDAY AUGUST 31

Bacchanal: Raphael Bas (JV) 12p, Jesse Morrow (JV) 7:30p Banks Street Bar: Major Bacon (BL) 10p Bombay Club: Matt Lemmler (PI) 8p Chickie Wah Wah: Dave Hickey and Jacob Tanner (VR) 6p Circle Bar: All the Colors of the Dark presents Beyond the Darkness IX (EL) 9:30p Crazy Lobster: Ken Swartz and the Palace of Sin (VR) 5p d.b.a.: Tin Men (RK) 7p, Walter “Wolfman” Washington and the Roadmasters (BL) 10p Davenport Lounge (Ritz-Carlton): Jeremy Davenport (JV) 5:30p Dmac’s: Kenny Triche and Steve (SS) 8p Dos Jefes: George French Trio (RB) 9p Dragon’s Den: Reggae Night (RE) 10p Funky Pirate: Blues Masters feat. Big Al (BL) 8:30p Hi-Ho Lounge: Shamarr Allen, DJ Chicken (FK) 9p Kermit’s Mother-in-Law Lounge: Spodie and the Big Shots (JV) 6:30p Kerry Irish Pub: Paintbox with Dave James and Tim Robertson (FO) 8:30p Little Tropical Isle: Jay B. Elston (RK) 5p, Reed Lightfoot (RK) 9p Maison: Jazz Vipers (JV) 6:30p Maple Leaf: Gravity A (FK) 10p Morning Call: Valerie Sassyfras (VR) 10a, Krewe du Two (VR) 1p Preservation Hall: Preservation Hall All-Stars (TJ) 8p Rock ‘n’ Bowl: the Boogie Men (SI) 8p Snug Harbor: Uptown Jazz Orchestra (JV) 8 & 10p Spitfire: Vixens and Vinyl: Burlesque in Hi-Fi (RB) 9p Spotted Cat: Chris Christy (JV) 4p, Shotgun Jazz Band (JV) 6p, Antoine Diel and the New Orleans Power Misfits (JV) 10p Three Muses: Leslie Martin (JV) 5p, Greg Schatz and the Friggin’ Geniuses (VR) 7p Tipitina’s: Delta Rae (VR) 8:30p Tropical Isle Bourbon: Jezebels Chill’n (RK) 5p, Debi and the Deacons (RK) 9p Tropical Isle Original: Debi and the Deacons (RK) 5:15p, Late As Usual (RK) 9:15p

FESTIVALS AUGUST 5-7 The Satchmo SummerFest takes place in Jackson Square and includes live music, food and drink vendors and a music symposium at Le Petit Theatre. Fqfi.org/Satchmo

SPECIAL EVENTS AUGUST 6 The annual White Linen Night block party in the Warehouse Arts District and along Julia Street features open galleries, live music, food and drinks. The CAC hosts an after-party. Cacno.org/wwln2016 AUGUST 13 Royal Street and French Quarter galleries celebrate Dirty Linen Night with art, food, drinks and live music. DirtyLinenNola.com

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BACKTALK

Lawrence Cotton

talks back

photo: ELSA HAHNE

ianist Lawrence Cotton rightfully calls his band, which will be performing at the Satchmo SummerFest on Saturday, August 5, the Legendary Experience. Cotton, who will celebrate his 90th birthday on February 2, 2017, is definitely in that “legendary” number. First of all, he played, recorded and toured with the rhythm and blues star, the one-of-a-kind Guitar Slim of 1954’s “The Things That I Used to Do” fame. Though Cotton wasn’t on the 45—none other than Ray Charles was at the piano—he took it on the road with Slim. Other singles, like “If I Had My Life to Live Over,” did feature Cotton playing some mean, right-handed triplets. “It did pretty good,” Cotton says proudly. “Everywhere he went he was just a smashing hit,” Cotton is quoted about Guitar Slim in John Broven’s excellent book Walking to New Orleans, which has recently been reissued in an updated version, Rhythm & Blues in New Orleans. Cotton went on, recalling that Slim would have a long chord on his guitar and he’d get on the shoulders of this “heavy guy” who would carry him out into the crowd. Following Guitar Slim’s untimely death in 1959, Cotton began playing piano with other, wellestablished artists—Edgar Blanchard & the Gondoliers, Danny White and the Cavaliers— who lit up New Orleans’ classic R&B era of the 1950s to mid-1960s. Later, the pianist worked extensively with renowned traditional jazz musicians including trumpeters Wallace Davenport and Teddy Riley. He also performed regularly with a trumpeter and vocalist of all seasons, the brilliant Dave Bartholomew. In his words, Cotton played with “them all,” as he names others on this city’s classic jazz scene, like trumpeters Alvin Alcorn and Gregg Stafford and guitarist/banjoist Danny Barker and his wife, vocalist Blue Lu Barker. Music has always been a part of Cotton’s life, primarily because his father was a pianist, though he didn’t play professionally. For the most part, he entertained at house parties which just might have been, in part, the inspiration for Cotton’s annual Carnival season shindig, Cotton Fest, held on the Sunday before Mardi Gras. Cotton didn’t receive any formal training on the instrument until he was discharged

from the Army Air Force. Like many of this city’s servicemen with an interest in music, he used the G.I. Bill to enroll in the Grunewald School of Music. Remarkably, at 89, Cotton continues his studies today. “Music has taken me places I never would never have gone,” declares Cotton, who held a day job through most of his over 60year career in music. He is also noted for his collection of great ties depicting piano keyboards. “I played with some people, man.”

www.OFFBEAT.com

By Geraldine Wyckoff

So who are you playing with at the Satchmo Fest and how did you put the band together? The Legendary Experience has drummer Kerry Brown, trumpeter Wendell Brunious, trombonist Freddie Lonzo, saxophonist Daniel ‘Weenie’ Farrow, bassist Al Bernard and guitarist Joe Cushinberry. Kerry’s wife, Jane [Harvey Brown]—I play in her group too—will also step in on vocals for a couple of numbers. I’ve been playing with [some of] them— Wendell, Freddie, Daniel Farrow and Al—at AU G U ST 2 016

B AC

KTA

“I love all kinds of music, man. As long as it’s good, I love any kind of music. But when it comes to free jazz, I’ve got to run.”

Preservation Hall. From February through May, I was playing with different musicians there for out-of-town school groups. It was just wonderful with different bands like that. Hey man, I’ve been active. How did you get hooked up with Kerry Brown? It seems like he’s been very helpful and supportive of you. He lives next door to you too, right? Kerry and I go way back because we used to play with Teddy Riley’s band a long time ago. Then one time I was playing at the Maison Bourbon, the Saturday night before Katrina. I wasn’t feeling so good so I asked them to drop me off at Touro. They kept me because I had a racing heart and he and Jane stayed there until they checked me in at 4:30 in the morning. From that time on, we’ve been really tight. Kerry, he’s an excellent drummer. That’s the one you should be talkin’ about—he’s been all over the world. More places than I’ve ever been. [Drummer] Earl Palmer gave him a lot of hints and information on business and everything. That’s why he became the director of the Gretna Festival. He got into the business part of it too. Kerry lives in my house—I have two houses. The house where I live is a single and the house where he lives is a double. It was 1934 and I was seven years old when I came into the house where Kerry is living right now. I’ve been on Bellecastle all of my life. The only time I left New Orleans is when I went into the service for three years and when I went on the road with Guitar Slim for four years. That’s seven years I got off of Bellecastle Street. I know you’ve played rhythm and blues and traditional jazz. Have you ever played modern jazz? No, I’ve always been a back-up piano player starting when I went out with Guitar Slim. I could solo, but I wasn’t really featured. You hear so many stories about Guitar Slim—about his innovative guitar playing and wild onstage persona. What was

AUGUST 2016

your experience like playing and touring with him? It was very interesting, very interesting, I can tell you that. It was a lot of fun—really fun. The band was like a family. Slim would jump the meter sometimes and whichever way he went we followed him. I was learning the symbols and how to read music so when we went to the Apollo and other theaters it wasn’t hard for me because I had a little training when I went to school. When I left here with Slim we went straight to the Apollo Theater. That was one of the first times I played with Guitar Slim. When we were going to California [in promotion of ‘The Things That I Used to Do’] we had T-Bone Walker, Joe Turner and Guitar Slim. We were all on the same bill—and we went through Texas and played there. [Bassist] Lloyd Lambert was leading the band. When we started out in 1954, Clarence Ford would play baritone and when Clarence couldn’t make it, I would get Kidd Jordan to come. When we were downtown in Los Angeles, every day we went to the studio. I came up with the song and [legendary producer] Bumps Blackwell named it ‘King Cotton.’ Kerry wants me to play it at the festival so I’ve been practicing on it. One side is ‘King Cotton’ and the other side was ‘Heavy Sugar.’ How different was it playing with Dave Bartholomew? I understand that he was very exacting in wanting the music to sound correct. That was a beautiful thing because we went to his house to practice for almost six months before we went into the Royal Sonesta. It was me, [drummer] Smokey Johnson and [guitarist] Justin Adams. Dave was on trumpet and vocals. We never recorded anything with that band. That was one of the most beautiful gigs I ever played. Dave knew what he wanted. He told you what he wanted and you did what he said. It was always right. He kept good musicians around him all of the time. I bought my first brand-new car when I was working with him over there at the Royal Sonesta. I bought a 1970, rust-colored Cutlass Supreme. Beautiful, man. Oh yeah, I had fun in that car.

Let’s talk about education. What was special about pianist Professor Edwin Hogan? And considering your age and experience, why do you continue to formally study music? He was a wizard. He taught out there at SUNO [Southern University of New Orleans] and also was an organist at this beautiful church on Second Street. I took classical music with him. I studied with him privately at his house. I still have books that I’ve had from way back. Every now and then I look and see some of his writings in them where he says ‘do this, do that.’ Since my wife died, in order to entertain myself, I had to do something. You go crazy living in a house by yourself. I have Roger [highly regarded pianist/composer/educator Roger Dickerson] come every other week. I started maybe 10 or 12 years ago. We have nice little lessons and he shows me different things. Mostly I’m playing for myself. Any song I want to play, he’ll show me how to enhance this bar or that bar. Here’s a tune called, ‘My Foolish Heart.’ [Lawrence sits at the piano and starts playing.] What kind of material will you be doing at the Satchmo Fest? I’m going to play some things I think senior citizens will enjoy, like ‘I Can’t Give You Anything but Love’ and Fats Waller’s ‘Alligator Crawl.’ It’s got a little boogie on it and some stride. I’m going to mix it up a little bit. Jane will be doing tunes from her album like ‘Baby, Won’t You Please Come Home.’ I like everything that Louis Armstrong does, man, and I’ll play ‘Ain’t Misbehavin’’ and [a song made popular by Armstrong] ‘Do You Know What It Means to Miss New Orleans?’ I just loved what he did especially with Ella Fitzgerald. I never did see him in person anywhere. I did see Art Tatum years ago when I was in California—that was amazing. I love all kinds of music, man. As long as it’s good, I love any kind of music. But when it comes to free jazz, I’ve got to run. I can’t remember having a particular idol. I have my own style and didn’t follow anybody though I should have followed Ray Charles. He was a heck of a blues player. He played a lot of songs with Guitar Slim. O www.OFFBEAT.com